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.
Fascinating views by a young foreigner of NYC people in the 1980s
New York has always and still attracts fortune seekers, artists and modern nomads from all over the world. Just as Cornelia Wilhelm who at the age of 19 set out in 1985 from Switzerland to seek her fortune in the city that never sleeps. While her day-job was to play assistant at shootings for the Pirelli calendar, at night she photographed the low nightlife, the offbeat music scene, as well as the everyday world of the Bronx and Harlem.
Her place of retreat was Coney Island, where yesterday's aging amusement parks were lined up one after the other and the funfair showmen hyped their appeal with rough charm to the working class visitors. In her photographs Wilhelm captured numerous little moments, creating a portrait of New York from the perspective of a hungry-for-life young woman, but also a documentary of people living on the other side of glamour in an always fascinating place at a very special time.
Bronx, Harlem and Coney Island in the 1980s
New York zog schon immer Künstler, Glücksritter und Lebenskünstler aus der ganzen Welt an. So auch Cornelia Wilhelm, die sich 1986, im Alter von 20 Jahren, aufmachte, ihr Glück in der Stadt, die niemals schläft, zu versuchen. Während sie tagsüber bei Shootings für den Pirelli-Kalender assistiert, zieht sie nachts durch die Bars und Musikkneipen und fotografiert das Nachtleben, die Künstlerszene, aber auch den Alltag in der Bronx und in Harlem.
Ihr Rückzugsort ist dabei Coney Island, wo sich in die Jahre gekommene Vergnügungsparks aneinanderreihen und die Arbeiterklasse New Yorks ihre Wochenenden auf der Suche nach kleinen Momenten des Glücks verbringt. Wilhelm versteht es, diese kleinen Momente mit ihren Fotografien einzufangen und erzeugt so ein Bild New Yorks aus der Perspektive einer lebenshungrigen jungen Frau, das aber gleichzeitig eine spannende Dokumentation der Menschen auf der anderen Seite des Glamours ist.
A New Western View of Ancient Eastern Culture A Zen garden is the symbiotic fusion of Japanese philosophy and the art of landscape design, a spiritual place of meditation and inner reflection that teaches mindfulness and brings joy to the eyes and the soul. If you want to truly experience this garden culture, nowhere in the world will you find so many wonderful gems in one place as in the city of Kyoto.
This is where Thomas Kierok photographed these unique gardens in all four seasons. Through encounters with leading Japanese garden designers, he was able to develop his own photographic perspective inspired by the spirit of Zen. Poems by renowned Zen poets complement the visual masterpieces.
The book is a sanctuary for the soul, a retreat between two covers whenever there is need for calm, inspiration and grounding. With a preface by Masuno Shunmyo-, best-selling author, garden architect, and professor of garden art at Tama Art University in Tokyo.
Les Suisses ont toujours cultivé leurs propres coutumes locales. Cette énorme richesse d'événements religieux et séculiers communaux et de traditions vivantes est un atout culturel important dans de nombreux villages, districts et régions. Elles s'intègrent dans la vie quotidienne de la population et se transmettent, parfois de la même manière qu'il y a cent ans, parfois de manière adaptée au présent. Les photos et les textes de cet ouvrage ne se contentent pas de donner une image parfaite, souvent bien établie, des brochures touristiques, mais reflètent plutôt l'atmosphère particulière et spécifique que les auteurs et le photographe ont vécue dans chaque lieu. Au cours de conversations avec les participants, on peut découvrir ce qu'est réellement la tradition respective et ce qu'elle signifie pour les gens. C'est une collection de belles trouvailles et d'histoires de gens qui cultivent leurs coutumes et leurs traditions avec beaucoup de c½ur et d'âme.
In a quiet valley of the Swiss mountains, anarchic creatures, half giants, half animals, roam about. A cozy village transforms into a busy Alpine Wall Street in the summertime. And wildly blazing torches on people's shoulders plunge a historic old town into a sea of flames every year.
Quaint, fervent and close to nature - the Swiss cultivate their very own local customs and traditions with a great deal of passion. There are rituals that wistfully bid farewell to summer or exuberantly drive away the long winter, that celebrate religious occasions or cultivate secular events; sometimes similar to those of a hundred years ago, sometimes adapted to the present.
Together, the photographer and authors traveled through Switzerland tracing some of its most beautiful and wildest traditions, exploring what they are really about and what they mean to people. In this volume, the editors present their personal highlights of the customs of Swiss urban and rural life.
La bourse bourgeoise comme déguisement : Les « faux livres » sont des objets qui simulent les supports les plus importants du savoir et de la culture en bouleversant des fonctions fondamentales telles que la visualisation, l'information ou le divertissement. La plupart de ces « simulateurs de livres » sont de beaux contenants, qui servent à ranger - ou cacher - à peu près tout. Le spectateur est toujours confronté à l'écart entre l'apparence et l'être, entre la forme et la fonction. Armin Müller a rassemblé des mannequins de livres de tailles, de styles et de provenances très différents, de différentes époques : des pièces de valeur historique, techniquement sophistiquées et historiquement passionnantes, mais aussi du kitsch de toutes sortes. La richesse imaginative et créative du camouflage et de l'illusion semble inépuisable.
Langages : english, german Objects that surprise, confuse and sometimes even disturb: Book imitations in the form of jewelry cases, holy water containers, musical boxes, ashtrays, flower vases, as well as containers for photos, cosmetics, sewing utensils, lighters, and much more Fake books are surprising, confusing, and amazing objects that claim to be something they are not. Some are camouflaged containers for everyday things, others are small treasure chests that guard precious little valuables and personal memorabilia, or that hide some pleasure and passion, some secret indulgence, which makes onlookers curious and fires their imagination.
The objects introduced in this volume are disguised as books, the world's highest cultural commodity. They represent an imaginative and creative wealth of successful camouflage and illusion and are masterful examples of the art of bookbinding and artistic crafts, whether historically valuable and technically sophisticated, or amusing examples of every type of kitsch.
Objekte, die überraschen, verwirren und manchmal sogar befremden: Buchimitate als Schmuckschatulle, Weihwasserbehälter, Spieldose, Aschenbecher, Blumenvase und Aufbewahrungsort für Fotos, Kosmetik, Nähzeug Feuerzeuge u. v. m.
Scheinbuücher überraschen, verwirren und erstaunen als Objekte, die vortäuschen etwas zu sein, was sie nicht sind. Einige tarnen Behältnisse für Alltägliches, andere sind Schatzkämmerchen, die kleine Kostbarkeiten und persönliche Erinnerungen huüten oder die Lust und Leidenschaft, den heimlichen Genuss verbergen und somit Neugier und Imagination wecken.
Die in diesem Band vorgestellten Objekte im Gewand des höchsten Kulturgutes Buch zeigen den fantasievollen und kreativen Reichtum von Camouflage und Illusion und zeugen von meisterhafter Buchbindekunst und Kunsthandwerk, sind historisch wert- und technisch anspruchsvoll oder amusanter Kitsch aller Art.
At first glance, this illustrated book appears to present a mishmash of the widespread, in some cases unauthorized, unfinished buildings that make a decidedly striking mark on the barren landscape of southern Italy - without which something would almost be missing. On closer inspection, these symbols of stagnation are thought-provoking, a fact that is addressed in this book: from an anthropological-cultural and socio-economic level, via architecture and esthetics, to the existential foundations of life plans and their fragility.
In most cases, the stories behind the building projects have been lost forever. Driven by the idea that houses and people belong together, the author always portrays someone, usually from the neighbourhood, in front of or next to it. Curiosity, anger or simple disregard, pity for the owners or incomprehension about the failure of the building authorities - Gabriel Mauron spoke with each of them about their personal view of the monuments of the abandoned with which they, in a sense, live together.
Les premiers bâtiments de Berlin ont été érigés sur le port historique, près du boulevard Mühlendamm. Mentionnées pour la première fois dans un document en 1298, les installations sur la Spree ont été une condition préalable à l'essor de la Mark Brandenburg et de la Prusse. Tout ce qui était nécessaire à l'expansion de la métropole arrivait par bateau.
Le paysage de l'endroit a inspiré des artistes d'époques très différentes. L'agitation, le travail des gens, leurs vêtements et les différentes atmosphères ont été capturés dans des graphiques et des peintures, qui sont rassemblés ici pour la première fois. Ce volume montre des aspects de Berlin jusqu'alors inconnus, un portrait fascinant de la réalité de la vie au-delà du glamour et du pouvoir.
'Berlin was built from the barge.' Berlin's first buildings were erected at the historic port near Mühlendamm boulevard. First mentioned in a document in 1298, the facilities on the Spree were a prerequisite for the rise of the Mark Brandenburg and Prussia. Everything needed for the expansion of the metropolis arrived by ship.
The scenery of the location has inspired artists of very different epochs. The hustle and bustle, the work of the people, their clothes, and the different atmospheres were captured in graphics and paintings, which are collected here for the first time. The volume shows previously unknown aspects of Berlin, a fascinating portrayal of the reality of life beyond glamour and power.
The work of Sparagana is known for its various types of physical manipulation. Following this concept, the book proposes an alternative "reading" of his work in the form of a literal understanding of visual information as text.
His large-scale work of art "Crowds & Powder: The Revolutionaries" is translated into the format of a mass-market paperback book. Arranged over eighty double-page spreads, each individual page frames a full-scale fragment of this work. Not only does it allude to a growing discourse on the control and manipulation of visual narrative, as increasingly witnessed from political imagery to popular culture, but it also investigates the way we read and process (visual) language.
Awe-inspiring subterranean water reservoirs as mysterious monuments of civilization.
Usually one a year Switzerland's water reservoirs, which are located deep below ground, are emptied and cleaned. Silvio Maraini photographed the empty, abstract, and at the same time grand-looking spaces on precisely those days. The result are architectural photos of rare and magnificent beauty with an almost spiritual character. In his preface, Benedikt Loderer writes : "A water reservoir is also a storage of patience that preserves a piece of eternity. In the future, after the next ice age, archeologists will discover these intact burial chambers and wonder what type of cult they belonged to." Die Erhabenheit von unterirdischen Wasserreservoirs als geheimnisvolle Denkmäler der Zivilisation.
Einmal pro Jahr werden die tief in der Erde verborgenen Wasserspeicher der Schweiz entleert und gereinigt. An genau diesen Tagen hat Silvio Maraini die dann leeren, abstrakt und gleichzeitig erhaben wirkenden Räume fotografiert. Entstanden sind Architekturaufnahmen von seltener und bestechender Schönheit mit einem fast spirituellen Charakter. Benedikt Loderer schreibt in seinem Vorwort : "Ein Reservoir ist auch ein Geduldsspeicher, hier wird ein Stück Ewigkeit aufbewahrt. Später, nach der nächsten Eiszeit, werden die Archäologen diese noch unversehrten Grabkammern finden und über den Kult rätseln, der hier stattfand."
"Philosophy, so said George Lukacs, is essentially homesickness-longing in all directions. Panyoczki's homesickness embraces the whole world. It connects the once separated power blocs through his place of birth Budapest in the East with Zurich in the West, the place of refuge of his family following the 1956 uprising in Hungary. By now Panyoczki has lived for 25 years antipodally between Switzerland and New Zealand. He has erected his emigrant life into an artistic standpoint. Just as the artist remains underway, so his work marks absence by means of traces that stay present. Panyoczki belongs to the generation of the 1980s generation of artists that polemically rejected the mainstream of concept art. He has not, like many others, simply returned to figurative painting, instead having developed a conceptual interest in questions of the mediality of art." In this monograph his works from the past thirteen years are presented from different angles by the authors Wystan Curnow, Brett Graham, Herbert Lachmayer, Marianne Karabelnik and Beat Wyss.
"Philosophie, sagt Georg Lukäcs, sei eigentlich Heimweh: die Sehnsucht nach überall hin. Panyoczkis Heimweh umspannt die ganze Welt. Es verbindet die einst getrennten Machtblöcke durch seinen Geburtsort Budapest im Osten mit Zürich im Westen, dem Ort der Zuflucht seiner Familie nach dem Ungarnaufstand von 1956. Und seit 25 Jahren pendelt er antipodisch zwischen der Schweiz und Neuseeland. Panyoczki hat sein Emigrantenleben zum künstlerischen Standpunkt erhoben: Er verlässt unermüdlich eine Heimat, um dann die andere Heimat wiederzusehen. Wie das Unterwegssein des Künstlers, so zeigt auch sein Werk Abwesenheit durch Spuren, die anwesend sind. Panyoczki gehört zur Generation der Achzigerjahre, die sich polemisch vom Mainstream der Konzeptkunst verabschiedet hat. Er ist jedoch nicht einfach zur gegenständlichen Malerei zurückgekehrt, sondern hat sein konzeptuelles Interesse der Frage nach der Medialität von Kunst zugewendet." In dieser Monografie werden seine Arbeiten der letzten dreizehn Jahre vorgestellt und von den Autoren Wystan Curnow, Brett Graham, Herbert Lachmayer, Marianne Karabelnik und Beat Wyss aus verschiedenen Blickwinkeln beleuchtet.
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.
Icons of renewable energy.
The around 200 retention walls weirs and dams of the Swiss Alps are among the most visibly prominent monuments of Switzerland's economic success story These pioneering structures of industrialization and electricity generation still play a major role today. They are nearly indestructible, low-maintenance and built to last eternally.
As monumental sculptures, these wonders of structural engineering emanate an almost sacral aura of peace. With the enormous bulk, some walls constitute powerful elements in their landscape that they dominate, while others almost seamlessly merge with their surroundings and contribute a lake to enhance the quality of the natural setting.
Photographer Simon Walther is positively mesmerized by the esthetic beauty. Fascinated by the interplay of nature and technology in the harsh conditions of the alpine climate, he us unconventional picture details and perspectives to artistically stage the energy and power that is inherent in every dam.
Ikonen für erneuerbare Energie.
Die rund 200 Staumauern, Stauwehre und Staudämme in den Schweizer Alpen zählen zu den bedeutendsten Monumenten der wirtschaftlichen Erfolgsgeschichte der Schweiz. Diese Pionierbauten der Industrialisierung und der Elektrisierung spielen bis heute eine herausragende Rolle. Sie sind fast unverwüstlich, pflegeleicht und auf Ewigkeit angelegt.
Als Monumental-Skulpturen strahlen diese Wunderwerke der Statik eine schon fast sakral anmutende Ruhe aus. Einige Mauern setzen mit ihrer wuchtigen Masse kräftige Akzente in die Landschaft und prägen sie weiträumig, andere fügen sich fast nahtlos in die Umgebung ein, um die Natur mit einem See um neue Qualitäten zu bereichern.
Der Fotograf Simon Walther ist ihrer Ästhetik regelrecht verfallen: Fasziniert von dem Zusammenspiel von Natur und Technik unter den harschen Bedingungen des alpinen Klimas setzt er in ungewöhnlichen Bildausschnitten und Perspektiven die Energie und Kraft, die jedes Stauwerk birgt, künstlerisch in Szene.
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.
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.
