Notes from a curator

curating, photo consulting, visual intelligence, editorial development, picture research, photo education + visual bits & bobs .............................................................................

[willumeit]

Coming soon! (at Kraków, Poland)

[willumeit]

This film by Shane Solanki, was made as a commission as part of his residency at FORMAT International Photography Festival, 2015.

It provides great reflections on the Evidence theme of the 2015 edition for which, together with co-curator Louise Clements, we curated the show: Beyond Evidence - An Incomplete Narratology of Photographic Truths.

Shane sampled images and moments from the festival, integrating these samples, and others, into a surreal story which flits between romance, espionage and the macabre. Music composition is also Shane’s, accompanied by Arthur Lea on piano.

[tmtm-online]

Much has been written about the Derby-based international photography festival over the past month so I won’t reiterate what’s been said, but, as the festival enters its final weekend, (it finishes on Sunday 12 April 2015), I wanted to share a few of my highlights through images, a kind of tribute...

[willumeit]

(via https://vimeo.com/123802443)

[willumeit]

[projekt-2020]

Post|mi|gran|ti|sche Ge|sell|schaft, die

beschreibt eine Gesellschaft, die durch Migrationserfahrungen strukturiert ist. Der Begriff der Postmigration meint keine Zeit, die einer gesellschaftlichen Phase der Einwanderung nachfolgt. Er verweist auf die politischen, kulturellen und sozialen Transformationen von Gesellschaften mit einer Geschichte der postkolonialen und der «Gastarbeiter»-Migration. Postmigration geht davon aus, dass Menschen sobald sie in einer Gesellschaft ankommen, aufhören MigrantInnen zu sein. So erst werden die diskursiven und medialen Bedingungen sichtbar, unter denen diese Menschen ex post als «Einwanderer», «Ausländer», «Fremde»,  bzw. als Subjekte «mit Migrationshintergrund» (selbst- und fremd-) wahrgenommen und der «Aufnahmegesellschaft» untergeordnet werden. Der Begriff der «postmigrantischen Gesellschaft» setzt sich von dem der «Einwanderungsgesellschaft» ab, aus dessen impliziten Setzungen überhaupt erst Forderungen nach «Integration» / «Assimilation» artikuliert werden können. Eine postmigrantische Gesellschaft zeichnet sich durch zunehmende demografische Diversität aus, wodurch sich neue Spannungsräume eröffnen, die auf neue Gerechtigkeitsordnungen zielen. Überall im Alltag treten postmigrantische Situationen auf, die die lebensweltliche Seite dieser Verhältnisse zum Ausdruck bringen: postnationale Wahrnehmungs- und Handlungsräume von Biografien, deren Selbstverhältnisse sich nicht unbedingt nur auf eigene Migrationserfahrungen beziehen, jedoch zwischen Mehrfachzugehörigkeiten und Mehrfachdiskriminierungen reflektiert und gelebt werden.

(via projekt-2020)

Vorwärtsdenken!

[projekt-2020]

Vergesst 1291 noch 1848! Postmigrantische Entwicklungshilfe für die Schweiz.

[barricadebook]

The Barricade Special Edition

'Barricade' will be published by Schilt Publishing, released Fall 2014.

The  Special Edition includes the following:

• Barricade Book  • 8x12” Archival Print • ‘Golden Bread’ magnet • Ukrainian Ribbon • All packaged inside a genuine sandbag from the barricades of Kiev

Price is 50 Euros (plus shipping)

[willumeit]

check this out!

[duck-oliviercablat]

Teleportation : Phase 8

[duck-oliviercablat]

Genealogical study : Main branch

[willumeit]

PREVIEW of the ad for FOR FUTURE REFERENCE, a show I have curated for EAST WING as featured in Foam Magazine Talent Issue 2014 The editors of Foam Magazine are very proud to present the 2014 edition of the Talent Issue, featuring the works of 21 outstanding photographers, selected from submissions coming from 71 different countries. Each photographer’s work is accompanied by an essay that sheds a light over the nature and the relevance of the project. Overall, and again, a broad and inspiring overview of what a new generation of image-makers around the world is up to.

[willumeit]

If in Krakow next week come by: 25.05.2014, 2 PM National Museum in Krakow al. 3 maja 1 Krakow

[willumeit]

here you find an extract from the video: http://www.dazeddigital.com/artsandculture/article/19122/1/ica-presents-hito-steyerl

[willumeit]

A wonderful series by a wonderful photographer for whom I had the pleasure to curate a solo show at East Wing.

[eyecurious-deactivated20190204]

Yann Mingard, Deposit (Fotomuseum Winterthur/Museum Folkwang/FotoMuseum Antwerp/GwinZegal, 2014)

The first image that appears in Yann Mingard’s book Deposit is so dark that it is virtually illegible. A closer look reveals a structure of some kind at the foot of a slope. The caption of the image tells us that we are looking at the Svalbard Global Seed Vault in Norway. The darkness of this first image sets the tone for the rest of the book.

As its cover suggests, the book is sprawling in its ambition: broken up into four major sections—plants, animals, humans, data—it covers topics as diverse as the apocalypse, cryonics, the military-industrial complex and redundancy. It not only grapples with the photographic question of how to depict these technological advances but goes further, seemingly questioning just how much light these technological advances are bringing to our civilisation. 

Deposit is part of what seems to be a growing body of photobooks dealing with the unseen or the invisible such as Taryn Simon’s American Index of the Hidden and Unfamiliar or Trevor Paglen’s Invisible. Whereas Simon sought to create the most highly aestheticized images possible from the secret locations that she visited, Mingard’s images are wilfully unspectacular, ordinary even. He appears to be more interested in the age-old symbolism of darkness and light and its fundamental associations with photography than in finding beauty in the secret or the invisible. 

The book is a collaborative effort, both with Lars Willumeit, who wrote the extensive glossary on the themes explored in Mingard’s images, and the composer Ben Frost who produced a score for the book which can be accessed online. The result is confounding, obscuring as much as it reveals, confusing as much as it enlightens: the perfect reflection of our technological world.

An exhibition of the series is currently on show at the Fotomuseum Winterthur.

[willumeit]

[willumeit]

heute in der NZZaS: ein schöner Text von Nadine Olonetzky zu Yann's Ausstellung DEPOSIT im Fotomuseum Winterthur. todays sunday edition of the NZZ: a nice essay by Nadine Olonetzky on Yann's exhibition DEPOSIT at the Fotomuseum Winterthur