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Cosimo Galluzzi
styofa doing anything
almost home
Peter Solarz
★
Xuebing Du
RMH
YOU ARE THE REASON
Lint Roller? I Barely Know Her
he wasn't even looking at me and he found me
Sade Olutola
ellievsbear
Not today Justin
Andulka
🪼
祝日 / Permanent Vacation
"I'm Dorothy Gale from Kansas"
Product Placement
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@hexagonalviews
First, man took a step back from his life-world, to imagine it. Then, man stepped back from the imagination, to describe it. Then, man took a step back from the linear, written critique, to analyze it. And finally, owing to a new imagination, man projected synthetic images out of analysis.
Ebbing Away Of Identity With The Tides | Sushavan Nandy
We know what we are, but not what we may be. The quote from Hamlet gets personified in the islands like Mousuni, Ghoramara and Sagar. These islands located in the Gangetic delta region are disappearing and so are the people who have lived here. The very river they hold sacred, is now encroaching, engulfing, devouring the land with each tidal flood. The villagers are not aware what climate change is, they are unaware of the term “sea level rise”, but their lives are the very testament to it. They have lost the courtyard where they have played, they have lost the trees from which they used to swing in their childhood, they have lost the bed where they made love. As the land beneath their feet got washed away, they have lost their roots. Some of them migrated and got lost in the bonds of bonded labourers, while others re-built their homes only to see the walls crumble a few years later. The already unknown people of these lonesome islands are spending one day at a time, unsure of their own identity. It is not a easy feeling to see your home, your land, your place which has witnessed generations of a family’s history, get disappeared without any fault of their own. It is like getting uprooted and getting your legacy, your identity dissolved among waves and winds.
The saline water destroyed the farms. Peasants had to weave up fishing nets. Later when they had no place to hang them dry, they had to leave. Many women even do not have that luck to escape. Many of them who had took a boat ride one day to these islands, with a dream of a happy married life, now live a lonely sorrow life as their husband left her side and the sinking land mass to earn livelihood elsewhere. It is said that “who we are is who we were”. But one will find an exception to that here on these islands. They know who they were, but they don’t know who they are and who they will be. Their lives are floating over invading waves, floating just enough high on a wind that has no steady direction.
website
zine - the series has just been released as a limited edition zine in our ‘Field Notes’ series. Edition of 100 and just £8 each… still a few left!
All images & text © Sushavan Nandy
Everything acts as a screen. It is firstly for this reason and as such that we live among screens – that is, this is, in a way, how it has always been. The totem and the transitional object, as well as the fetish, are screens – that is, supports of projections that conceal [dissimulent]. But digital screens, like those of Samsung, for example, or, again, those today being designed by Amazon and Netflix, these screens, which are simultaneously electric, electronic, optoelectronic and more and more frequently tactile, are now what both support and occlude the question of the totality of the future, and of the future as totality, and they do so as the fulfilment of nihilism – as well as being what, alone, make it possible to imagine something beyond this fulfil- ment of nihilism.
Bernard Stiegler, The Neganthropocene
Born in Nebraska in 1937 Ed Ruscha grew up in the mid-west city of Oklahoma. Following an early interest in cartooning, Ruscha pursued a career in commercial art, heading west to Los Angeles to enrol at the Chouinard Art Institute ...
Ed Ruscha, Twentysix gasoline stations, 1963
Nadar Rotating Portrait. Circa 1865, Bibliothèque Nationale de France "He is a man of wit without a shadow of rationality . . . His life has been, still is, and always will be incoherent." Charles Philipon, describing Felix Tournachon. Photographers are the most fascinating people. I'm sure there are some that simply spent their life [...]
Images are mediations between the world and human beings. Human beings 'ex-ist', i.e. the world is not immediately accessible to them and therefore images are needed to make it comprehensible. However, as soon as this happens, images come between the world and human beings. They are supposed to be maps but they turn into screens: Instead of representing the world, they obscure it until human beings' lives finally become a function of the images they create.
Villem Flusser, Towards a philosophy of Photography
#photography Now available as a T-shirts @ Amazon: https://amzn.to/2xEF9MR
Valokuvanäyttely OSMOn voisi määritellä yhdellä tasolla tutkivan kypsän aikuisuuden käsitettä, suomalaisen miehen suhdetta kaupunkiympäristöön, mutta OSMO kertoo salavihkaa myös paljon muusta. Kuvissa esiintyvä hahmo liikuskelee kaupungissa, oudoissakin paikoissa, tehden milloin hauskoja, millon hartaita asiota. Vaivattomasti harmaapukuinen mies...
We need to begin asking, what are the mechanisms that have defined ‘good work’?
Architecture by Antonio Sant’Elia
Brutalism has been having a moment. After emerging as a radical style of architecture in Britain in the ‘50s, and sweeping across the world in the ‘60s and ‘70s, Brutalism’s colossal concrete structures were all too often written off as ugly, cold and alienating. Despite earning more than its fair share of haters, this severe style of building is winning new admirers who are unashamed about declaring their love for all things concrete and severe. Graphic designer and Brutalism enthusiast Peter Chadwick just released This Brutal World, presenting a global survey of Brutalism’s greatest hits throughout the 20th century and showing how its influence lives on today. 'The Egg’, Center for the Performing Arts, Albany, New York, USA, 1978 by Wallace Harrison. Courtesy Phaidon Press Buffalo City Court Building, Buffalo, New York, USA, 1974 by Pfohl, Roberts & Biggie. Photo: Vik Pahwa According to Chadwick, his love of Brutalism was ingrained in him from an early age. “Growing up in
Review and critique of “The last of the Nuba” from Susan Sontag - "Fascinating Fascism" (1975)
Leni Riefenstahl is a German film director and photographer. Born in 1902 with a background in dance and acting, Riefenstahl quickly became one of the most known female directors.
Beautiful photo book "The last of the Nuba" (1974) from the controversial film director / photographer Leni Riefenstahl.
Nobuyoshi Araki working in the Bathtub
By "Antonio"
This month we feature photographer Nobuyoshi Araki (well-known by his nickname of ‘Tensai Araki” or ‘Araki the Genius’) and his beloved cat Chiro. Born in the family home of his late-wife Yoko, Chiro came to live with Araki in March of 1988. For the next 22 years, until Chiro’s death at Araki’s side on March 2, 2010, the two forged a loving life partnership. The photobook ‘Itoshi no Chiro’ (‘Lovely Chiro’) was the beginning of Araki and Chiro’s life of feline photography. Below, we introduce Araki’s photography books that portray Chiro along with commentary by the photographer himself. ‘Itoshi no Chiro’ (Lovely Chiro) Published by Heibonsha Ltd. ￥945 Amazon.co.jp “While ...
