Lukas/Markus by Kalle Sanner is the result of a photographic project spanning over a decade. Located in the Western Cemetery in Gothenburg, architect Sven Brolid’s two mirrored chapels Saint Lukas and Saint Markus were designed and built in the 1960s, an era when Swedish functionalism was at its very peak. Kalle Sanner (b. 1978) lives and works as a photographer in Gothenburg, Sweden. In addition to self-initiated projects, Sanner works on commissions for cultural institutions, design studios and architectural firms. He is Head of the Photographic Department at Akademi Valand in Gothenburg. Sanner started photographing Brolid's building over ten years ago, after having discovered the building and site while walking around the area. He was drawn to the building's position and to how all of its materials harmonized. From the outset of the project, Sanner didn't have a clear idea of what form it would take, instead trying to remain open to the aspect of time and new influences. According to the photographer; both the images and his way of approaching image making has transformed during the project's decade long duration. The building and the shifting seasons with their changes in light has provided a surface to try different types of images on, all shot with a large format camera. The book also contains an essay, titled Earthbound, by Karl Palmås (b. 1976). Palmås is a Gothenburg-based social researcher, acting as associate professor at the Science, Technology and Society division at Chalmers University of Technology. His most recent work investigates the built environment as it relates to social models and political imaginaries. The book’s clothbound hardcover features an embossing with partial, transparent foil, echoing the iconic facade of Sven Brolid’s building. When hit by light, the partial foil spells out Gothenburg's area code '031', on the back cover. On the front cover, abstract letters form 'VKG', an abbreviation for Västra Kyrkogården which was also Sanner's working title for the project. Lukas/Markus is printed on uncoated paper from Arctic Paper and Fedrigoni on a Komori HPT press. It includes two double foldouts and, while the head-band and endpaper (from G.F Smith) is matched to the chapel's interior textile details, the cloth used for the cover and the sand coloured paper used for the text segment of the book both correspond with the building’s facade. The crematorium’s oxidized copper chimney guided the selection of the turquoise silk bookmark. The book, which is co-published by ll'Editions and Blackbook Publications, is also available as a special edition of 30 copies. Divided into three sets of 10, the special edition includes a signed copy of the book with one of three c-prints, signed and numbered by the photographer and an embroidered handkerchief. The inclusion of the handkerchief was informed by the book’s last image, depicting an empty bench in the Markus chapel with a forgotten handkerchief on it. It becomes a symbol of loss and grief, as the chapels most frequently host funerals. The embroidered monogram is a hybrid between the ll'Edition's and Blackbook Publication’s monograms, specially designed for this co-publishing venture. The special edition is housed in a clothbound, hot-foiled clamshell box, handmade by Flodstrands Bokbinderi. As it happens, the bookbinder is located just next to the Western Cemetery. Lukas/Markus was released on the 6th of May 2018, at Hasselblad Center in Gothenburg, during the finissage of the Hasselblad Foundation’s 'Published', a major exhibition on the history of the Swedish photobook. During the release, a panel discussion with Kalle Sanner and Karl Palmås, in conversation about the project, was moderated by curator and writer Niclas Östlind. The discussion was followed by a book signing in the shop of the Gothenburg Museum of Art.
East is a 'on the road' journey through the countries of the Balkan Peninsula. The project aims to explore the relationship between the past and present of these nations and show how the past may influence or interact with the world today. A particular focus is given to countries which until 2006 were part of Yugoslavia and is immortalized what remains of his socialist period, a period that has left in these lands significant traces of relations with the Soviet Union. In the project also have been immortalized some ‘Spomenik’. The "Spomenik" memorials are reminders of bloody battles and thousands of deaths in the concentration camps. They were part of the celebratory program of the Yugoslav government, in an attempt to show the strength of the Socialist Republic through a strong visual impact. It shows how ideology has interpreted the idea of commemorating the fallen, in a totally opposite way to the memorials we are used to; the Spomenik are totems that through their abstract figurative language, recalling shapes and organic shapes like petals, crystals or flowers totally immersed in the nature.They are a great testimony of a macabre chapter of world history that is not always remembered with due importance; at the same time are unique sculptures and architectural works of their kind. Architecture, landscapes and portraits are captured in different seasons, from summer to winter, to show all the facets of this lands and deepen their knowledge and their aesthetics. The nostalgic key that acts as a conductor thread of the story is also maintained through the exclusive use of analog cameras. The nations that you see portrayed until today are Bulgaria, Bosnia and Herzegovina,Croatia, Serbia, Montenegro, Albania, Romania, Moldova and Transnistria.
Dream for Sale
The largest lake of California has a person thinking of lush green landscapes with a rich flora and fauna. It was the desertlike surroundings that struck me most when I first arrived. Ruinous houses everywhere, old piers indicate former water levels, stranded boats now only fit for scrap, inhabitants that seem a lot less euphoric than the postcards from the 1950’s promised. Wandering around in this wasteland words like desolate and barren come to mind. Why do people hold on to this place? For what reason do they stay and fight against nature although there is no recovery in sight? The American Dream is a theoretical construct which serves as the base upon which an entire system of beliefs was built. Independence, freedom, the possibility to cultivate land and the conviction to be able to achieve everything by hard work are at the core. These agents have beckoned people to the new world for centuries.At times the American Dream can be adventurous, even hazardous. It may appear to be a path gone astray, even to be a lost cause. Considering the frontier spirit one might critically bring into question at which point holding on to a chosen path turns into an aberration. Does a secluded life in a desert qualify as a dream come true? Dream for Sale is a story about people living in a lost place. Salton Sea in the midst of a desert is a saltlake surrounded by a hostile environment. Originally, the Salton Sink was a part of the Gulf of California and the Pacific Ocean. It was separated by sediments of the Colorado River. Thus, Lake Cahuilla was created. Due to the climate it dried up hundred of years ago.In 1905 a dam of the Colorado River broke. For two years the river changed its course and emptied itself into the deepest point of the Salton Sink. The largest lake of California, Salton Sea, was born. During the 1950’s major touristic development plans existed for Salton Sea. Investors became interested, infrastructure was built, even celebrities took part in the promotions. Plenty of lots were sold and the area experienced a great boom.Many people from the surrounding cities like Los Angeles or San Diego spent their free time at the lake. Boatraces became popular and a sport fishing scene was established due to best weather conditions and a broad variety of marine life. There were numerous motels and even a golf court. An ever growing number of celebrities from Hollywood attracted more and more people. The idyll did not last long, however. In the mid 1970’s two tropical storms swept across the area. Since Salton Sea does not have an outlet it bursted its banks considerably. Many buildings close to the shore were flooded and essentially destroyed. The initial elation to create a French Rivera in California was ruined. As a result of the devastation long term ecological problems grew as well. In the following years the waterquality consistently declined and the salinity rose. As a result several mass die-offs of fish and birds occurred in the 1990’s. Nowadays only one species -The Nile Tilapia- is able to survive in the water conditions. Furthermore, the lake had over decades evolved into a wildlife refuge for migrating birds on the Pacific Flyway, which are now also endangered.The lake’s water supply is fed by three rivers, which first provide freshwater for the surrounding fields, take the agricultural runoffand finally find their way into the lake. Over the years large amounts of heavy metals contained in agricultural fertilizers have thus accumulated on the bottom of the lake. These heavy metals are not too dangerous while underwater, but due to a slow drying up of the lake, more and more of the lake’s bed is exposed. The wind picks up the soil, the heavy metals are airborne and consequently the air quality is lowered. The area’s child-asthma-ratio is up to three times higher compared to the rest of the United States. Salton Sea dries up because of the hot climate. Additionally the lake suffers from a reduction in the water supply system. In the near future the drying-up is expected to hasten its pace due to a new regional water contract. The agricultural runoff is supposed to be transferred to San Diego from 2018 on. The main water supply of the lake will be cut off and the fight over water will heat up in this highly indebted State during the biggest drought ever. Today a lot of houses in the area are vacant - a place where plans for the future and their decline are omnipresent. A vast infrastructure had been constructed, the horizon is spiked with power lines, but only isolated homes were built. A dream of an eternal vacation turned into a collecting pond for dropouts and outcasts of America`s prosperous society. The motivation of these people are manifold, some of them stay there because of the sheer lack of alternatives, some of them because they belief in a dream deferred. But at their core the qualities which are inherent in the American Dream are what drive these people: persistence, independence and freedom. Surrounded by a hostile environment these people exist in a place doomed by the workings of nature, constantly struggling to survive by the faith in their own will. A situation which ironically mirrors the situation of the first settlers. In contrast, the inhabitants of Salton Sea do not fight the uncultivated wilderness but the leftovers of civilization itself.
Triple Point interprets a small volcanic eruption (Holuhraun, Iceland, 2014) in context of abstract image-making, and in translation from digital (RGB) to printed (CMYK) space: drawn layers and color separations as parallels to elemental, earthly materials. "Positive and negative space drift in and out of position as stone appears as lava and lava appears as atmosphere. Fittingly, Triple Point is a scientific term referring to the exact pressure and temperature at which a substance can exist simultaneously in each of the three phases (gas, liquid, solid). This tenuousness pervades the work presented here, with all of the elements shifting and coalescing in continuation. We seem to be witnessing the formation of an island or the unmaking of a digital landscape, but there is an uncertainty as to which direction these transformations are playing out. As you try to hold on to the forms, they shift and break free." — Daniel Everett
From the introduction by Martin Parr: Consider these facts. In Italy the right to worship, without discrimination, is enshrined within the constitution. There are 1.35 million Muslims in Italy and yet, officially, only eight mosques in the whole country. One consequence is that the Muslim population have accumulated a huge number of makeshift and temporary places of worship. These are housed in a variety of buildings including lock ups, garages, shops, warehouses and old factories. This shortage of places to worship is particularly acute in north east Italy – where the photographer Nicolò Degiorgis lives – home to many anti-Islamic campaigns headed by the right wing party Lega Nord. The dull images of the many and diverse buildings that house the makeshift mosques are printed on folded pages. You open up the gatefold to reveal the scenes inside the mosques, shot in full colour. The size of the gatherings varies, from large crowds who sometimes pray outside to a small room full to bursting, or to intimate groups of two or three Muslims. Degiorgis provides a fascinating glimpse of hidden world and leaves the conclusions about this project entirely in our own hands.
15m2 of Freedom
On just a few squatted terrains in The Netherlands there are people who choose to live trucks, vans or trailers. It is fascinating to see how these people ‘obtain’ their freedom because it isn’t always that easy to live this way. There isn’t so much space, the water isn’t always running, a toilet (compost toilet) usually is a little further down the road, you have to chop wood to heat the stove before having a little warmth etc… The daily life has a real different pace then that of us hasty city people. Most of the terrains have evolved into cultural breeding ground where festivals and concerts take place every year. In the Netherlands it’s a subculture that has become more and restricted because of the repressive policy of the government and project developers. It has become expected of everyone to live in a ‘normal’ way – in a house. It takes a lot of courage and persistence to choose an alternative way to live. The left activist scene in the Netherlands isn’t what it used to be. How different is this in Germany, where squatting never has been legal in the first place. Every big city has a couple of terrains where people live in busses or trailers. ‘15m2 of freedom’ is about the search for freedom and the constant paradox that follows with it. Will you get a sense of freedom when you reduce your possessions and throw away all excess baggage? Isn’t it just a ‘state of mind’ that allows a person not to care so much about what one ‘should’ do, or is ‘supposed’ to do. And what if the terrain you are living on is maybe going to be evicted?
Burning Down the House
A photographic study of Berliner graffiti writers
“To be a writer is a big secret. It’s the biggest secret that I keep from my parents. You don’t tell many people, you only tell people who you can trust. There’s a big impulse to maintain secrecy.” – Duko. <br> The photobook burning down the house offers an in depth look at Berlin’s graffiti writer scene for the first time. Against the backdrop of publicly accessible and non-accessible surfaces being continually written upon, a constant presence of the subject in the media in relation to the surveillance of public space, the increasing costs of removal on behalf of transport companies and the accompanying harsher penalties for graffiti offences, the author Norman Behrendt has over a five year period approached the subject of graffiti writing in his own way. Detached from stereotypes and with the conscious decision to forgo the depic-tion of graffiti, Behrendt aims to introduce the anonymous authors of Berlin’s public space and give a human face to the often-discussed subject of the illegal writing on the wall. Instead of accompanying the graffiti writers on their nocturnal adventures and photographing them in action at the scene of their work’s execution, Behrendt decided on quieter alternative – a portrait. The photobook burning down the house includes about 80 portraits of very differently operating graffiti writers. It consists of two different photographic portrait series. For the first series Behrendt met the writers with an analog medium format camera and a precise concept, which included two important questions: 1. In which location should the portrait be created? and, 2. How would the person like to reveal themself? For the second series Behrendt photo-graphed the writers with a Polaroid camera so that they were recognizable, and thus possibly identifiable, in the subway stations of Berlin. He then gave them back the Polaroid photo and asked their permission to use the image, so that it could be published. The resulting portraits testify in an illustrative way to the tense relationship between visibility and anonymity, between possible recognition and the accompanying possible identification by third parties, or, ultimate-ly, even the police. Finally, the book contains 76 interviews with the individual artists. It creates an intimate picture of the protagonists, which manifests itself in their answers to the questions of motivation, their own representation and their selected locations.
Night and Day
Night & Day brings together a selection of iconic Kodachrome pictures from David Armstrong's archive of the late 70's and early 80's New York scene. The images illuminate an intimate and carefree epoch of innocent-bohemian wilderness -a time just before the tumultous 80's. Dispersed through out the series are images of generation of youngsters which changed culture - including Rene Ricard, Philip-Lorca diCorcia, Jean-Michel Basquait, John Waters to mention a few. Vernacular yet with a undeniable ability to capture and create timeless images, David Armstrong's Night & Day tells tales of a bygone era. The book contains 110 images, including a facsimile of an original poem typed out in 1979 by Rene Ricard. We also tracked down Rene to design the cover of the book and have a conversation between David Armstrong and Jack Pierson!
Nick Waplington lived in Jerusalem between 2008 and 2013, visiting over 350 distinct Jewish settlements in the region, from populous cities like Ariel to tiny outposts made up of a few caravans. This book’s title, Settlement, refers to the Jewish communities built in the region of the former state of Palestine known as the West Bank, an area of approximately 2,173 square miles, between the Jordan River and Jerusalem. The area was occupied by Israel in 1968, in the aftermath of the Six-Day War; Israel's right to govern is not recognised by the United Nations, which deems any Israeli building in this area to be a violation of international law. The book investigates the topography of Jewish identity in the West Bank, which is in conflict not only with the Palestinian majority but also with mainstream Israeli society: While all the settlers are Jewish, and almost all are Israeli citizens, many are not natives of Israel. Most of the men and women photographed by Waplington are immigrants who arrived in the West Bank from the United States, South Africa, Australia, the UK, the former Soviet Union, and other parts of the wider Jewish diaspora. The exact number of settlements cannot be determined with accuracy, as both construction and demolition take place regularly throughout the region. In general, however, the presence of Jewish settlers in the West Bank is entrenched, and their building projects continue with the support of the state of Israel.
Five years ago, French photographer Stéphane Lavoué discovered a charming corner of the United States. Located in the state of Vermont, it is known as the Northeast Kingdom. This little area is characterised by the wild ruggedness of the landscape, as well as by its residents, who are the focus of the series. You are invited to take part in a special journey!
Fire in Cairo
Fire in Cairo emerged from Egypt as an oblique and fragmentary document of revolutionary struggle. The book charts Connors’ uneasy engagement with the political turmoil that gripped the nation during its rapidly unfolding history. The complexity of the situation resisted comprehensive explanation, but invited metaphorical speculation. In his images Cairo reveals itself to be an enormous studio for social change, ripe with visual, sculptural and atmospheric residues of resistance. He weaves these together with portraits of Egyptians from across the political spectrum and his own experimental fiction. The result is a book that careens between reportage, poetry and surrealism to heighten the tensions between beauty, threat and historical consequence.
Die zweite Heimat
Die zweite Heimat is the continuation of his project Heimat, first published in 2005. Between 2011 and 2016, Peter Bialobrzeski traveled through Germany and returned with 30,000 photographs of places and non-places. He spent time in Andernach, Berlin, Bottrop, Eisenhüttenstadt, Hamburg, Hagen, Haßloch, Meißen, Frankfurt, Offenbach, Wolfsburg, and especially the wide expanses in between, these foreign yet familiar places, with their rows of garage doors, street lamps, and gas stations, as Henning Sußebach describes in the accompanying book published by Hartmann Books. With this series, more than thirty years after Steven Shore’s famous publication Uncommon Places, Bialobrzeski has attempted to compile a photographic inventory of the German condition. He himself speaks of "exploring the social surface of Germany."