Kurz nach dem Mauerfall lud die französische Regierung die interessantesten Künstler der in Auflösung begriffenen DDR nach Paris ein. So saßen im Frühjahr 1990 sieben ostdeutsche Fotografen in einem Markthallencafé und beschlossen die Gründung einer Agentur, um sich für die politischen, wirtschaftlichen und ästhetischen Herausforderungen der neuen Zeit zu wappnen. Sie nannten sich »Ostkreuz« nach der umtriebigen S-Bahn-Station in Berlin. Seitdem schreibt die Gruppe eine einzigartige Erfolgsgeschichte: Ihre Fotos werden in den wichtigsten internationalen Magazinen gedruckt, gemeinsame Ausstellungsprojekte –Die Stadt. Vom Werden und Vergehen oder Über Grenzen – touren durch die Welt. Zum 25. Jubiläum erscheint diese besondere Mappe mit Bilderbögen jedes der 20 Mitglieder, ein Begleitheft erzählt die Geschichte der Agentur und zeigt Fotografen aus der DDR-Zeit, unter anderem von Sibylle Bergemann, Harald Hauswald, Ute und Werner Mahler.

zine with 8 colored prints on A4 yellow book paper edition of 30

On 5 March 2014, Juergen Teller photographed the eagerly anticipated first collection by Nicolas Ghesquière as the new artistic director of Louis Vuitton. In his inimitable style, Teller visualizes the designer’s ambitious manifesto for the luxury house: “Louis Vuitton is a land of contrasts. A time-honored and noble legacy is kept alive by a yearning for discovery and exploration. Coursing boldly and imaginatively through the decades, Louis Vuitton refreshes the world of fashion with an untiring ebb and flow of retrospective and fresh perspective … This initial collection tells a tale of expertise made possible by innovative techniques. It focuses on the highlights and remains open to interpretation. Living proof that today’s ‘timeless’ was at one time seen as innovative. In this collection, the timeless is now.” This book is a collaboration between two of the most influential vanguards working in contemporary fashion. Teller’s candid, unadorned aesthetic perfectly complements the restrained luxury of Ghesquière’s fashion, marking the beginning of a new chapter in the rich history of Louis Vuitton.

“Long Play” ist ein einfühlsames Photobuch über die Ära der Langspielplatte. In den letzten zehn Jahren hat der Photograph Arne Reimer alte Schallplattenläden und ebenso Plattensammler in Europa und in den USA aufgesucht. Seine zeitgenössischen Portraits als auch seine Interieuraufnahmen widmen sich behutsam der Vergangenheit. Die Vinylplatte war einst das dominante Medium, schreibt Ulf Erdmann Ziegler hierzu in seinem Essay, aber ihre wahrhaftige Bedeutung zeigte sich erst, als vor 25 Jahren Second-Hand-Läden die Platte wieder verkauften. Reimer blickt zurück auf das analoge Zeitalter: Stapel mit Plattencovern, Außenansichten von Läden und Kisten mit einer gewissen Patina zeigen sich in seinen Photographien. Sein Photobuch wird zusätzlich ergänzt durch alte, gefundene Photographien, die sich auf die Entwicklung des Mediums konzentrieren und zeigen, wie die Schallplatte Teil des Alltags und der Popkultur wurde. ***** “Long Play” is a subtle and intense photo book about the era of the vinyl record. For more than a decade, photographer Arne Reimer has visited record stores and collectors in Europe and the United States. His contemporary portraits and interior photography also deal thoughtfully with the past. The vinyl record was once a powerful medium, writes Ulf Erdmann Ziegler in his essay, but it's greatness really only became visible when second-hand stores took over twenty-five years ago. Reimer looks back to an analogue age: carefully collecting evidence in dusty crates, shop windows and stacks of record covers. In addition, his photobook shows found footage that documents the evolution of the medium and how the record became part of every day life and popular culture.

The first volume will be published to coincide with the tenth anniversary edition of 'Le Dictateur', and will then be published annually. 'FAQ', or Frequently Asked Questions, references an attempt to synthesize a recurrent flow, a tenor, an ideal visual representation of a given and very subjective “now.” Born out of an acute image consumption disorder, 'FAQ' reflects the mental assimilation of a relentless roving within physical and virtual art spaces: from galleries to Tumblr accounts, museums, or artists studios. It can be seen as a portable exhibition, a show on paper, a project of restitution, a hybrid object that you can leaf and scroll through. Far from being a rational enterprise, its lack of rules, hierarchy, order—or concept for that matter—make it expressly and brazenly as personal and biased as possible. 'FAQ' reflects the obsessive mannerism of its authors. The first issue includes works by Thomas Bayrle, Neil Beloufa, Caroll Dunham, Andra Ursuta, Jon Rafman, Kathy Grannan, Llyn Foulkes, Camille Henrot, Steven Shaerer, Korakrit Arunanondchai, and Judith Bernstein, among many others.

The upcoming Toiletpaper wall calendar 2017 features photographs conceived by Maurizio Cattelan and Pierpaolo Ferrari taken from their magazine Toiletpaper, an image-only publication devoted to the combination of the height of attractiveness with that …

The photographer Jens Klein was invited by the Evangelisches Studienwerk Villigst to produce an image book. He decided to sift through the application documents of over eight thousand scholarship holders from the 1950s on who had submitted analogue passport photographs to accompany their applications. Covering a period from 1950 to 2012, Klein selected 176 photographs of applicants who had received support from the foundation: a kind of transverse look across time and a visual chronicle reflecting Germany’s history and the evolution of photography. The photographs show how the medium has changed over the years: from black and white to colour, from an analogue to a digital medium, from elaborate studio shots to quick photo-booth pictures. In 2012, the Studienwerk introduced an online application process, thus ending the era of analogue images.

In the period from the 1950s to the 1970s, a large number of cinemas were built in both the urban and rural areas of South India. Their architecture is an unusual mix of Western influences and local building styles. The brightly coloured façades resemble stage sets and provide a foretaste of the film experience in the auditorium, where the extravagant forms and embellishments are continued, getting the audience in the mood for the cinematic world before the opening credits roll. One might call this architectural language a kind of hybrid modernism. Many of these cinemas have been maintained in their original state. However, in the big cities, the process of converting them into multiplexes has already begun. Haubitz+Zoche’s photographs from the period 2010 – 2013 document a piece of cinema culture that has already for the most part disappeared in Europe and the USA and is being increasingly displaced in India by commercial interests.

Since the 1979 revolution, Iran has developed its own image culture, with public space serving primarily as a transit zone and a screen where state-sanctioned religious ideology is projected. Pride of place is given to memorials to the first Gulf war (the Iran–Iraq War of 1980–88), which is part of the founding myth of the Islamic Republic. Between 2011 and 2014 Oliver Hartung produced a work on Iran, typological series of images depicting monuments, murals, architecture, and war cemeteries. In it he creates a portrait of an exceptionally photogenic country that is nevertheless largely unknown in the West: in Damghan a colossal ear of wheat acts as a street lamp and in Isfahan a hand grenade with an Internet symbol suggests the potential risks inherent in the world wide web. The names of the places where the photos were taken are provided in English.

Der Katalog zur Ausstellung “Tokoyo”

Das Berliner Gaslaternen-Freilichtmuseum befindet sich gleich am S-Bahnhof Tiergarten, an der Straße des 17. Juni Ecke Klopstockstraße: Es wurde 1978 gegründet, als der Großteil der Straßenbeleuchtung längst elektrisch funktionierte und die technisch wie ästhetisch altmodischen Modelle mehr und mehr aussortiert wurden. Etwa 90 Laternen sind entlang von Parkwegen permanent ausgestellt: die Modelle stammen aus den Jahren 1826 bis 1956 und aus insgesamt 36 Städten. Gleich außerhalb des Parks, die Straße des 17. Juni flankierend, sind zwei elektrische Straßenlaternen zu finden, die weder Teil einer Ausstellung sind noch irgendeine Art von Beschriftung aufweisen: die einen östlich, die anderen westlich der kreuzenden S-Bahn-Gleise. Ihnen ist diese Publikation gewidmet. Im Gründungsjahr des Freilichtmuseums, 1978, widmete der Religionsphilosoph Klaus Heinrich an der Freien Universität Berlin seine Vorlesung des Sommersemesters dem Thema des deutschen Klassizismus in der Architektur, oder genauer: der Willfährigkeit des Klassizismus zwischen Karl Friedrich Schinkel und Albert Speer. Sein Zitat bespricht die Speerlaterne, links. Einige Jahre früher, 1964, veröffentlichte der Verleger und Schriftsteller Wolf Jobst Siedler ein Buch mit dem Titel Die gemordete Stadt. Abgesang auf Putte und Straße, Platz und Baum. Sein Thema ist die Veränderung der Stadt Berlin und des Lebens in ihren Straßen. In Bild und Text beschwört Siedler ein “ursprüngliches”, kaiserzeitliches Berlin – und stellt dies polemisch einem gegenwärtigen, von Neuplanungen geprägten Berlin gegenüber. Sein Zitat bespricht die Peitschenlampe, rechts.

(Deutsche Ausgabe). Göttingen 2011. 26 x 31,5 cm. mit zahlr. Abb. Broschur. Text in deutscher Sprache. Steidl, [art-12813] ISBN 9783869304106

The American photographer Collier Schorr has been working in Southern Germany for the past 12 years, compiling a documentary and fictional portrait of a small town inhabited by historical apparitions. For Schorr, the German landscape is a map of her own history, both imagined and inherited. Combining the overlapping roles of war photographer, traveling portraitist, anthropologist and family historian, the series Forest and Fields (Wald und Wiesen) tells the interwoven stories of a place and time determined by memory, nationalism, war, emigration and family. Forest and Fields is intrinsically about book making, an ongoing suite of artist’s books that utilizes traditional notions of category to create different points of view. It is part diary, photo-annual, palimpsest, and scrapbook.

Since its origins in the 1970s, punk has had an explosive influence on fashion. With its eclectic mixing of stylistic references, punk effectively introduced the postmodern concept of bricolage to the elevated precincts of haute couture and directional ready-to-wear. As a style, punk is about chaos, anarchy, and rebellion. Drawing on provocative sexual and political imagery, punks made fashion overtly hostile and threatening. This aesthetic of violence – even of cruelty – was intrinsic to the clothes themselves, which were often customized with rips, tears, and slashes, as well as studs, spikes, zippers, D-Rings, safety pins, and razor blades, among other things. This extraordinary publication examines the impact of punk’s aesthetic of brutality on high fashion, focusing on its do-it-yourself, rip-it-to-shreds ethos, the antithesis of couture’s made-to-measure exactitude. Indeed, punk’s democracy stands in opposition to fashion’s autocracy. Yet, as this book reveals, even haute couture has readily appropriated the visual and symbolic language of punk, replacing beads with studs, paillettes with safety pins, and feathers with razor blades in an attempt to capture the style’s rebellious energy. Focusing on high fashion’s embrace of punk’s aesthetic vocabulary, this book reveals how designers have looked to the quintessential anti-establishment style to originate new ideals of beauty and fashionability.

Hippie Modernism examines the art, architecture and design of the counterculture of the 1960s and early 1970s. The catalogue surveys the radical experiments that challenged societal norms while proposing new kinds of technological, ecological and political utopia. It includes the counter-design proposals of Victor Papanek and the anti-design polemics of Global Tools; the radical architectural visions of Archigram, Superstudio, Haus-Rucker-Co and ONYX; the installations of Ken Isaacs, Joan Hills, Mark Boyle, Hélio Oiticica and Neville D'Almeida; the experimental films of Jordan Belson, Bruce Conner and John Whitney; posters and prints by Emory Douglas, Corita Kent and Victor Moscoso; documentation of performances by the Diggers and the Cockettes; publications such as Oz and The Whole Earth Catalog; books by Marshall McLuhan and Buckminster Fuller; and much more. While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume, scholars explore a range of practices such as radical architectural and anti-design movements emerging in Europe and North America; the print revolution in the graphic design of books, posters and magazines; and new forms of cultural practice that merged street theater and radical politics. Through a profusion of illustrations, interviews with figures including Gerd Stern and Michael Callahan of USCO, Gunther Zamp Kelp of Haus-Rucker-Co, Ken Isaacs, Ron Williams and Woody Rainey of ONYX, Franco Raggi of Global Tools, Tony Martin, Clark Richert and Richard Kallweit of Drop City, and new scholarly writings, this book explores the conjunction of the countercultural ethos and the modernist desire to fuse art and life.

FORMS OF FORMALISM ist eine Plattform die fotografische Arbeiten und schriftliche Beiträge um den Begriff des Forms sammelt. Die dritte Ausgabe enthält Fotoserien von Bas Princen, Mishka Henner und Maxime Guyon sowie Essays von Parasite 2.0, Moritz Ahlert und Bethan Hughes.   »What is formalism? The countless facets of such a notion keep us inquiring into its nature and possible manifestations. One may assume it is about conception or examination through aesthetic composition, whereas shape and structure — overall technical features — prioritise the medium over content and context. However, since the outset, we’ve been arguing and reflecting on what could represent a meaningful compendium of images and texts under the name of formalism. […] In the grey area between form and meaning, we further this inquiry with the hope of collecting and supplying significant points of view.« (Einleitung von Louis De Belle)

photographer of style

the continuing story of life on earth

coming soon

the movements of clouds around mount fuji

typology 1979

sacrifice your body

what is this thing called polaroid?

bildanalytische photographie 1968-1974

die photografien 1978-2010

trinity

confined space

the end of the world as we know it… (engl.)

the end of the world as we know it … (dt.)

cali coast in current colours

br motels

good kid

zu gross für mein zimmer

self-publish be happy – a diy photobook manual and manifesto

ernst thälmann

cluster

re-prise: 110 photos de heïdi specker

urbanism 1.01

marjorie

bitterfeld

von oben nach unsten und von unten nach oben

anomalien des frühen 21.jahrhunderts

stream of consciousness

choli cholie

areal

junge deutsche Fotografie 2012/2013

riva

stardust