News // 7 News by KEHRER Verlag
As a wonderful coffee table book this week, we recommend 'Petrus' by Francesca Catastini, appearing at Kehrer Publishing. This at first glance seemingly incoherent collection of photos of beautiful objects opens up a second perspective when you read the intention of the photographer. Francesca Catastini (*1982) studied Photography and Visual Design (MA) at the NABA in Milan and has already exhibited internationally. We bring you a sneak peek at the book here on GoSee, and more is available on Vimeo.
“Petrus reflects on a certain rhetoric of masculinity in Western culture.” says Kehrer Publishing, and continues: “It is about the human drive to define ourselves and the world through a definite form. Form is never stable though. It is the ever-changing result of a never-ending tension between forces pushing from within and pressures coming from without. Through a cynical, tender, and arbitrary analysis of what probably cannot be sliced and diced, Francesca Catastini plays with archetypes and images considering the way they sculpt ourselves and shape our views. Looking for subtle discrepancies, her images go beyond their figurative meaning in order to activate new analogies and connotations.”
Text from Francesca Catastini: “Dear Petrus, I named you after a bottle. A dark one, with a red cap. The bottle of liquor advertised during the 80s as the perfect drink for the the strong man. The man living according to nature. But what is nature? When I met Albrecht it was hot. I had been to the quarry that day. He was spending his holidays in his former home. The kind of holidays that are not real. Just before leaving, he gave me the keys to his place and asked me to take photos of it. Albrecht liked the idea of having some memories to look at when away. The house was empty and not. Halfway between the habitual and a certain sense of putting life on hold. Going away with no goodbye just to come back and then leave again. I found his things there. I had never seen them before, but I thought I kind of knew: objects belonging to the schoolboy, the footballer, the student, the smoker, the musician, the believer, the husband, the engineer, and the teacher. Albrecht in a suit. The construction of a form.”
07.08.2019 // show complete article
As the granddaughter of a family from Sudetenland, Yvonne Most pursues her family roots photographically. More than three million Germans from the Sudetenland were driven away from their home countries after WW2 in a Diaspora spreading them all over the world. Yvonne was compelled to find out more about their flight and the fate of her family. In doing so, she discovers connections to collective experiences from traces of memory and historical research. Her photo series opens up a new perspective on the region, a landscape with deep scars, which is constantly evolving.
The challenge was finding a way to combine a hybrid of a documentary photographic narrative with fragments from present day life in terms of content and form. The photographer is interested in the incomplete, the imperfections, and what happens or does not happen on the periphery. The photo series raises questions about the artist’s own biography and enables the viewer to reflect on his or her need for an old and new homeland
About - Yvonne Most (*1981) studied photography at at the Kunsthochschule Halle and the Ostkreuzschule in Berlin and works as a freelance photographer for numerous magazines, including Neon, Nido, and ZEIT Campus, and as a lecturer at, among other places, C/O Berlin.
11.06.2019 // show complete article
Kiosks, newsstands or mini-shops tell you a lot about a place. The shopping experience here is more authentic than in large retail chains due to the people who cherish and care for their very special spaces. For his series of works entitled The Guardians, Vladimir Antaki traveled across Europe, the Middle East and America, photographing shopkeepers or “Guardians”; keepers of what Antaki terms “urban temples”, unique spaces which, in an age of cookie-cutter, corporate shops, hearken back to an earlier time and mode of urban life.
Antaki creates visually arresting portraits of the Guardians in their urban temples that make the viewer connect to the beauty of these often forgotten spaces. Antaki believes that these temples are the heart and soul of every city; they are what gives the urban center its uniqueness in time and place. There is also a duty of memory associated with these spaces because so many of them are closing.
The book published by Kehrer is a collection of portraits and statements by 45 shop owners and craftsmen from Beirut, Berlin, Bordeaux, Istanbul, London, Mexico City, Miami, Montréal, New York, Paris, Philadelphia, Toronto, and Venice Beach. We have a preview here on GoSee, and more is available on Vimeo.
From the foreword by Edward Burtynsky: “Through his photographic survey, Antaki addresses the social value and fragile nature of individualized work in an increasingly homogenized, consumerist society. In our highly technological era, where the past is quickly forsaken by a lust for the newest, latest, and greatest, the economic conditions supporting those purveyors of our quirky cultural ‘heirlooms’ are gradually becoming more tenuous. Work places themselves are increasingly democratized, depersonalized and scaled-up for the sake of commercial efficiency. The artist sees this, and he responds. The Guardians tell their stories, but also implicit in these images is the close association of each person to the articles they have surrounded themselves with, which prompts us to consider the psychological relationship between each subject and their created environment. Antaki steps deeply into the treasured realms of these individuals. With his acute perception of the present moment and a gentle curiosity, he eloquently takes stock, allowing us privileged access to the idiosyncratic wealth of the Guardians.”
Vladimir Antaki (*1980 in Riyadh, Saudi Arabia) grew up in Paris and studied art history and film at La Sorbonne. In 2003, Antaki moved to Montréal, where he graduated with a Bachelor of Fine Arts in visual and media arts from UQÀM in 2007. The Guardians was exhibited in public places in France, Canada and the US. It won an Infopresse Lux prize in 2013 and was selected to represent Canada in The Other Hundred, a photo-book curated by the Global Institute For Tomorrow. In 2018, The Guardians was on display at TheAlternative and at Institut Français in Beirut, Lebanon.
27.05.2019 // show complete article