┐ Assaf Shaham – in the gap between the comma and its following letter └

© Assaf Shaham, Untitled, from the series Time After Time and Again “The work Time after Time and Again deconstructs photography into its components and reassembles them on one surface that encompasses the essence of the photographic act, the fundamentals of color photography, and the marvel that combines light and time into a photograph. At the same time, in a kind of an aside, Shaham also subverts the concept of freezing the moment which religiously accompanies photography and differentiates it from cinema. In a simple but not innocent still photograph, Shaham records movement on a timeline: a landscape depicting a … Continue reading ┐ Assaf Shaham – in the gap between the comma and its following letter └

┐ Contemporary housekeeping or How to stumble on a stove └

© Catherine & Harriet Beecher, in American Woman’s Home, 1869 © family archive © Erica Brejaart, Untitled, from the series Portraits of Mothers and Housewives © Erica Brejaart, Untitled, from the series Portraits of Mothers and Housewives “In the Divine Word it is written, “The wise woman buildeth her house.” To be “wise,” is “to choose the best means for accomplishing the best end.” It has been shown that the best end for a woman to seek is the training of God’s children for their eternal home, by guiding them to intelligence, virtue, and true happiness. When, therefore, the wise … Continue reading ┐ Contemporary housekeeping or How to stumble on a stove └

┐ roots & fruits #5 – Tito Mouraz └

© Tito Mouraz, Untitled, from the series Leitura(s) © Tito Mouraz, Untitled, from the series Leitura(s) © Tito Mouraz, Untitled, from the series Finally, No One © Tito Mouraz, Untitled, from the series Finally, No One “There has been, since ever, an almost innate obsession for space and its domain through the most varied forms and ways. This domain goes several times beyond intended expectations, such as, self-control that we could or should have about something to which we call “place”, where things happen, grow and bloom, since space is, in its entire definition, more genuine, original and infinite. When … Continue reading ┐ roots & fruits #5 – Tito Mouraz └

┐ roots & fruits #4 – João Varela └

© João Varela, Untitled, from de Toerist © João Varela, Untitled, from de Toerist © João Varela, Untitled, from de Toerist © João Varela, Untitled, from de Toerist “De Toerist came about in November 2010 when I went to study at AKV|St.Joost in Breda, Netherlands. As I arrived there, the weather was really different than the one that I was used to. This was one of the many difficulties that I had among others such as renting a house, language barrier and the adaptation to the classes. With all of these feelings coming to me, I always felt like a … Continue reading ┐ roots & fruits #4 – João Varela └

║ J. M. Ballester ║

© J. M. Ballester, Vista desde el hotel, 2005 © J. M. Ballester, Ciclista a contraluz, 2005 “If we cannot change the world, at least we can change the way we see it.”José Manuel Ballester “Ballester’s attitude towards his subjects is neither critical nor approving. It is observant and pensive. The stillness of the spaces he photographs is as palpable as the light that filters through them. It is as if the artist is putting the brakes on the speed of a technology changing so quickly we have no time to stop and ask where it is going and for … Continue reading ║ J. M. Ballester ║

║ Marrigje De Maar ║

© Marrigje De Maar, Tollonjoki, Wanja, Russia, from the series Home Made © Marrigje De Maar, Venray, refter, from the series Time Out © Marrigje De Maar, China-Zhaoxing, old farmer, from the series Rambles (people) Time Out consist of pictures of rejected spaces. The structure of these buildings may still be sound, but the inside is considered “economically worn out”. These interiors seem no longer fit to house any succesful enterprise. For these buildings an anxious time of waiting has began. Hopefully somebody sees a new life for them and is willing to invest in their restauration. But time is … Continue reading ║ Marrigje De Maar ║

║ Yves Marchand & Romain Meffre ║

.© Yves Marchand & Romain Meffre, Kraftwerk, Muldenstein,from the series Eastern Germany industrial vestiges © Yves Marchand & Romain Meffre, Bleichert Transportanlagen, Leipzig from the series Eastern Germany industrial vestiges “During the industrial revolution, factories were built with a great aesthetic concern since there used to promote the image of companies. More than all others, Germans proved to be particularly ingenious and original builders. Eastern Germany was one of the most industrialized area. Industries of every type were established, it resulted an extraordinary diversity of architectural forms. With the Soviet occupation, all the industries, even most obsolete ones, were maintained. … Continue reading ║ Yves Marchand & Romain Meffre ║

║ Daniel Mirer ║

© Daniel Mirer, Shea Stadium, Players Walkway, from the series ArchitorSpace, 2003 © Daniel Mirer, Shea Stadium, Office Hallway, New York 2, from the series ArchitorSpace, 2003 “The “ArchitorSpace” photographs display a specific interest and fears I have about the banality of spaces such as those of enclosed areas. These places are typologies of contemporary postindustrial architecture that makes the individual so displaced within the uncanny. They are heavy with absence yet entirely familiar and forgotten places. These deserted (non-sites) environments reveal no history or functionality. These deserted environments, are places that architecturally reveal no history or functionality but subconsciously … Continue reading ║ Daniel Mirer ║

║ Ville Lenkkeri ║

© Ville Lenkkeri, The Collected Works of Lenin, from the series The Place of No Roads © Ville Lenkkeri, Dead Domestic Plants II, from the series The Place of No Roads “Two Russian communities on Spitsbergen have had their times of bloom. Now one of them is a ghost town and also the other one is running out reasons and will to exist. In this series these towns are studied subjec-tively as cases of risen and fallen utopias. Photographed on Spitsbergen 2003-. Work in progress.”Ville Lenkkeri To see more of Ville’s work click here Continue reading ║ Ville Lenkkeri ║

║ Michael Schnabel ║

© Michael Schnabel, Elephants/Rinoceri, Stuttgart, 2000 © Michael Schnabel, Monkeys, Stuttgart and Hannover, 2000 “German photographer Michael Schnabel’s large-format images of zoo interiors in Germany and Switzerland resonate with a minimalist beauty, which oddly emphasizes their mid-century modernist architecture.[…]Like Elephants/Rhinoceri, Stuttgart, some of the spaces Schnabel photographed resemble indoor spas rather than cages. Some even have elements that suggest a posh lifestyle, such as an ornately tiled floor or wood slatted ceiling. In other pictures, even the metal bars form appealing, grid-like patterns.[…]For one thing, there’s an overwhelming feeling of empty space, leading one to notice the conspicuous absence of … Continue reading ║ Michael Schnabel ║

║ James Nizam ║

© James Nizam, Anteroom (pile of cabinets in room), 2007 © James Nizam, Dwellings #13, 2006 “James Nizam’s work reveals a fascination with the processes of change, decay, and reclamation within our built environment. His new series of colour photographs—shot inside abandoned houses slated for demolition—speaks eloquently about the booming real-estate market in Vancouver and the disappearance of modest, single-family dwellings from urban life. But his images also tell us something poetic about the relationship between people and the domestic spaces they fleetingly occupy. The show clearly relates to Nizam’s previous series of chromogenic prints, shot inside the old Woodward’s … Continue reading ║ James Nizam ║

║ Richard Ross – Architecture of Authority ║

© Richard Ross, Guantanamo, Cuba © Richard Ross, Eastern State Penitentiary, Philadelphia © Richard Ross, Angola State Penitentiary, Angola Louisiana “For the past several years—and with seemingly limitless access—Richard Ross has been making unsettling and thought-provokingpictures of architectural spaces that exert power over the individualswithin them.From a Montessori preschool to churches, mosques, and diverse civic spaces—a Swedish courtroom, the Iraqi National Assembly hall, the United Nations—the images in Architecture of Authority build to ever harsher manifestations of authority: an interrogation room at Guantánamo, segregation cells at Abu Ghraib, and finally, a capital punishment death chamber.Though visually cool, this work deals … Continue reading ║ Richard Ross – Architecture of Authority ║

║ Laurenz Berges ║

© Laurens Berges, Berlin – Karlshorts III, 1995 © Laurens Berges, Potsdam V, 1995 “Several images in the series record the intersection of architectural elements with the ground in harmonious if unspectacular compositions, pregnant with the implication of what might have occurred or still could occur there. In others, architectural elements enter into timid competition with nature, the separation of the two realms symbolizing the psychical compartmentalization of experience in general. Like Berges’ earlier studies of Russian barracks, these images derive their impact from inherent contradictions; where a quality of quiet permanence suffuses the abandoned interiors of the earlier series … Continue reading ║ Laurenz Berges ║

║ Duarte Amaral Netto ║

© Duarte Amaral Netto, Growing Into © Duarte Amaral Netto, Rumor “In the new photographic series of works by Duarte Amaral Netto, the end of time seems near, doom and gloom awaits. Demolished office furniture in ruined interiors, by the hands of vandals maybe, or lvacated bya company now bankrupt or having moved to better locations. These photographs by Netto create a sense of nostalgia the seventies when all was still flourishing in that space.Another series of works is about people and their relationships. In these images one gets the same emotional feeling as with the photos with the demolished … Continue reading ║ Duarte Amaral Netto ║

║ Anne Hardy ║

© Anne Hardy, Untitled I (cobwebs), 2003 © Anne Hardy, Cipher, 2007 “Anne Hardy’s interiors look aged, as if they were lived in or used for years and years in pursuit of some specific, perhaps obsessive aim, (…) and then photographed after everyone’s left. They are plenty of labeled cubby holes, cigarette butts, trophies, assorted plants, phone numbers scribbled on a wall – things that almost tell a story, but don’t quite. Like with a Cindy Sherman still, you can’t help but try to put the narrative pieces together. The best part is, they don’t exactly fit.” Amy Karafin Continue reading ║ Anne Hardy ║