Le changement climatique ne menace pas seulement la nature, les écosystèmes et la biodiversité, mais aussi et surtout les hommes eux-mêmes. Pour donner un visage à ce danger, Barbara Dombrowski s'est rendue pendant dix ans sur les cinq continents habités, dans des lieux sensibles au climat, où elle s'est immergée dans la vie d'ethnies indigènes dont l'existence est menacée par des influences extérieures massives : les Inuits du Groenland oriental, les Achuar et les Shuar de la forêt amazonienne, les nomades mongols du désert de Gobi, les Maasai de Tanzanie et la population micronésienne de l'État insulaire de Kiribati dans le monde fragile du Pacifique Sud. Sur des bannières textiles grandeur nature, elle a présenté les portraits d'une région dans l'espace de vie d'un autre des peuples visités. Par cette juxtaposition, elle montre de manière impressionnante combien il est nécessaire de jeter des ponts à l'échelle mondiale et de prendre conscience d'une responsabilité commune. Les portraits eux-mêmes, la documentation photographique des installations symboliques et les descriptions très personnelles de leurs visites illustrent et thématisent à plusieurs niveaux la crise climatique de manière percutante.
We Are All in This Together!
Climate change threatens not only nature, ecosystems and biodiversity, but above all people themselves. To make this visible, Barbara Dombrowski has spent ten years visiting climate-relevant sites on all five inhabited continents and immersing herself in the lives of indigenous peoples whose existence is threatened: the Inuit of East Greenland, the Achuar and Shuar in the Amazon rainforest, Mongolian nomads in the Gobi desert, the Maasai of Tanzania, and the Micronesian population of the island state of Kiribati in the fragile world of the South Pacific.
On life-size textile banners, she presented the people of one region in the habitat of another of the ethnic groups she visited. Through this juxtaposition, she powerfully demonstrates the need to build global bridges and to become aware of a shared responsibility. The portraits themselves, the photographic documentation of the symbolic installations, and the very personal descriptions of her visits illustrate and address the climate crisis on multiple levels in a haunting way.
Photographic book by Ulrich Seidl accompanying the launch of his latest film titled Im Keller (In the Basement) Following his large-scale PARADISE trilogy, Ulrich Seidl's latest film essay Im Keller (In the Basement) is due to be released in autumn 2014. It is the director's return to the documentary film. Im Keller (In the Basement) is a nightmare journey through the depths of the Austrian soul: it is about brassband music and opera arias, expensive furniture and sleazy jokes, sexuality and sadism, fitness and fascism, snakes and weapons, love and the yearning for it. This accompanying book intends to draw attention to the specific aesthetics and social dimension of Seidl's tableaux with the help of film frames and texts. Selected motifs of this tour through the basement of a typical Austrian family home communicate with texts by film critics, philosophers, psychologists, authors and essay writers, shedding light on subterranean secrecy.
Collages filled with humour, depth and imagination Marlies Pekarek's book features selected texts from her art diaries that she once began during her studies in Australia and has continued until today. It is based on Australian Womens Diary, an annual calendar with diary sections for personal notes, stories about women in Australia and nostalgic illustrations and texts from historical guide books for women. Pekarek has reinterpreted this model and developed it in her own context.
The artist and author not only includes current global events in her collages consisting of press photos and other findings, but general considerations as well, such as reflections on symbols of power, different religions and the position of women. From within the printed frame of the calendar, the artist develops expressive and playfully light-hearted illustrations and associative connections. Even if these diaries originally emerged as a kind of artistic by-product of her current work cycles, as independent works, they aptly illustrate key issues in Marlies Pekarek's creative development.
Images of a cross-cultural journey.
The Swiss photographer Joël Tettamanti, born 1977 in Cameroon is a restless traveller. Assignments for international magazines and global company groups take him to known and unknown places all over the world, which he, through his lens, more or less coincidentally approaches as an artist.
Moving from unspoiled countryside across the borders between nature and civilization to the centers of agglomeration, he focuses on places and subjects that give each location its specific identity. His richly detailed pictures explore the encounter between seemingly rationally constructed civilization and natural forms, showing just how absurd and surreal man-made structures can appear.
Bilder eines Grenzgängers zwischen den Kulturen Arbeiten für internationale Zeitschriften und global tätige Firmen bringen Joël Tettamanti an bekannte und unbekannte Orte der Welt, denen er sich vom Zufall geleitet fotografisch annähert. Von der unberührten Landschaft über die Grenzen zwischen Natur und Zivilisation bewegt er sich bis zu den Zentren von Agglomerationen, und arbeitet dabei in seinen Bildstrecken die Details heraus, die jedem Ort seine spezifische Identität verleihen. Seine detaillierten Aufnahmen zeigen das Zusammentreffen von scheinbar rational konstruierter Zivilisation und Natur und muten dabei oft surreal an.
Basierend auf einem einzigartigen Konzept, verbindet dieses Buch traditionelle Drucktechnik mit modernen Print-on-Demand Verfahren. Die Auflage wird dadurch nicht nur regelmäßig aktualisiert, sondern kann vom Leser zudem individualisiert werden - was jedes Buch zu einem einzigartigen Sammlerstück macht.
Les émotions sont au coeur de nos actions et façonnent profondément et durablement notre identité et nos sociétés. Ces phénomènes psychologiques, physiques et sociaux complexes que sont les émotions ont toujours fasciné les penseurs, les écrivains et les artistes, et font également l'objet d'un grand nombre d'études empiriques et conceptuelles.
Grâce à une approche interdisciplinaire, cet ouvrage s'attache à tisser des liens entre le monde artistique et le monde universitaire. Emotions conjugue la psychologie, la philosophie, la littérature et les neurosciences avec la photographie, exemple parfait de l'art comme vecteur de représentation et de déclenchement des émotions.
Les textes de chercheurs et d'universitaires issus de différents domaines des Sciences Affectives, juxtaposés aux travaux de photographes contemporains et à une sélection d'images de grands maîtres de la photographie comme Joséf Koudelka, Robert Capa, Robert Doisneau et Henri Cartier-Bresson dévoilent dix émotions humaines fondamentales : la colère, la joie, la peur, le dégoût, la surprise, la tristesse, l'amour, l'envie, la fierté et l'émerveillement.
Emotions are at the heart of human actions and shape both our individual beings and our societies in deep and lasting ways. These complex mental, physical and social phenomena have fascinated writers, painters and other artists, and have been the subject of many sophisticated experimental and conceptual studies.
This volume aims to bridge the gap between art and academia by taking an interdisciplinary approach. Emotions combines psychology, philosophy, literature, and neuroscience with photography which exemplifies perfectly how art is an ideal vehicle to both represent and elicit emotions.
Contributions from experts and scholars in the different fields of the affective sciences are juxtaposed with photographic essays by contemporary photographers and a selection of images by masters of the art including Josef Koudelka, Robert Capa, Robert Doisneau and Henri Cartier-Bresson that convey ten fundamental human emotions: anger, joy, fear, disgust, surprise, sadness, love, envy, pride and wonder.
