“On Saturday, 14 November 2015, as we were walking through the city, we saw that the people selling fruit and vegetables on the Boulevard de Rochechouart had already unloaded the crates from their cars before realizing that the state of emergency that had been imposed on Paris also affected their market. They stood around, uncertain what to do. They weren’t quite ready to pack up their perishable goods again. The terrorist attacks had had an impact on them too. It was only later that I realized that I should have recorded the situation, that it revealed more about the day than the endless repeats of reports from the scene and rituals of grief.” This was the entry Jan Wenzel, publisher of Spector Books, posted in his Facebook blog. The État d’urgence affected everyone who was in the capital at the time. Like so many of her colleagues, Bettina Lockemann had travelled to the city to attend Paris Photo. On 14 November 2015 she roamed through the city with her camera, recording the oppressive atmosphere in its streets and squares.

Der Einfluss des Unternehmers Hugo Junkers auf die weltweite Entwicklung der Luftfahrt ist unumstritten legendär, sein lokaler wie globaler Eingriff in urbane und architektonische Prozesse aber bislang kaum dokumentiert. Das dicht geknüpfte Netzwerk seiner Fabriken und Büros, aber auch der Wohnungen seiner Mitarbeiter erschließt sich nach Jahrzehnten der Zerstörung und Überformung nur durch eine intensive Spurensuche in der Stadt Dessau. Zudem belegen die internationale Verbreitung und die vielfältige Nutzung seiner Lamellen-Konstruktionen den ganzheitlichen Ansatz des Industriellen Junkers – eine neue Perspektive, die den konkreten Ort seines Wirkens wie den Radius seiner Ausstrahlung auf überraschende Weise in den Blick nimmt.

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”

Verlag: Brinkmann u. Bose (Oktober 2011) Sprache: Deutsch ISBN-10: 3940048119 ISBN-13: 978-3940048110 Größe und/oder Gewicht: 23,3 x 2,5 x 32,6 cm

Spring is a self-published newspaper which contains large format graphics of abandoned factories in Czech Republic. The cascade of destructions of the images takes them beyond their concrete stories – as if they were memories of things that have never happened.

Der Katalog zeigt eine sehr persönliche Begegnung des Malers Neo Rauch mit den Arbeiten seines Vaters und Künstlers Hanno Rauch, den er schon sehr früh bei einem tragischen Zugunglück verlor. Hanno Rauch begann 1959 an der Hochschule für Grafik und Buchkunst in Leipzig zu studieren. Während dieser Zeit zählte der Maler Hartwig Ebersbach zu seinem Kommilitonen und Freund. In dem Katalog werden Holzschnitte, Grafiken und Zeichnungen von Hanno Rauch präsentiert. Von Neo Rauch sind neben neuen Grafiken und Zeichnungen auch großformatige Malerei auf Papier und Leinwand abgebildet.