Ricordare Jean Mohr

“Cara Maria, nel caso tu non l’abbia ancora saputo, Jean è mancato serenamente ieri mattina”.
A darmi questa notizia il 4 novembre è Yves Berger, figlio di John, che del fotografo svizzero Jean Mohr (1925-2018) è stato compagno di strada e di avventure, collaboratore e ‘complice’ a partire dal 1962, quando si incontrarono per la prima volta a Ginevra. Risale a quell’anno l’avvio di un sodalizio professionale che nel tempo si è trasformato anche in una formidabile amicizia. Ne sono nati una serie di libri la cui importanza politica, sociale, artistica e letteraria resta non solo attuale, ma tuttora anticipatrice: A Fortunate Man: The Story of a Country Doctor (1967), inedito in Italia, A Seventh Man(1975) [Il settimo uomo, Contrasto, 2017], Another Way of Telling. A Possible Theory of Photography(1982), da noi ancora inedito.

Doppiozero ︎ Maria Nadotti



Un mare di tensione

Lo scontro militare avvenuto nei giorni scorsi nel mar d'Azov rappresenta il primo confronto diretto tra Russia e Ucraina. Può rappresentare il casus belli per una più massiccia azione militare russa nel mar d’Azov e nel sud est ucraino?




Jan Mammey: Pieces of a Hole


“Architecture has its own cascading dissonance in the public sphere. It deals not only with structure and utility, but also morphs, shifts and challenges the collective memory of a city’s inhabitants. Building are torn down, new edifices arise and shards of what stood previously are sometimes left as strange monuments of bygone times or in the case of post-war economies, a reminder of the devastation that occurred- Most notably, the Kaiser Wilhelm Memorial Church and the ruins of Anhalter Station in Berlin followed by perhaps the Genbaku Dome in Hiroshima. All are firm examples of intentional ruins that challenge the public’s expectations of functional architecture within the fabric of the cityscapes they inhabit.”




Distance is Punishment

“The death certificates could contain perhaps two truths and a lie, sometimes one truth and two lies. “Place of death” was always a lie. “Cause of death” was usually a lie — “heart failure,” “pneumonia,” nothing at all — but sometimes the truth: “Cause of death: execution.” The one line that was most likely to be true was the one that indicated the date of death. There was no telling, though — often the paperwork claimed that a Gulag victim had lived long past the actual execution date. That was when there was any paperwork at all. […] The early Memorial Societies looked for the bodies, the execution sites, the documents identifying the bodies — the truth. By restoring humanity posthumously, they hoped, perhaps, to restore humanity to the country itself.”

— Masha Gessen

Liza Faktor on Medium ︎



Edifice

Edifice by Polish photographer Karol Palka is a visual journey through the interiors of communist-era buildings in Poland, Slovakia and East Germany. It includes shots of the Polana Hotel, an example of Socialist Realist architecture once owned by the Communist Party of Czechoslovakia and visited by Nikita Khrushchev and Fidel Castro, now a disused office building for the management of the Nowa Huta Steelworks.

The Calvert Journal ︎



Edward Gorey’s Enigmatic World

In his little books of sinister whimsy, Gorey was true to his belief in leaving things out, so that the reader’s thoughts could flower.

The New Yorker / By  ︎



Un acte d’une violence indicible

Matthias Bruggmann est le lauréat de la deuxième édition du Prix Elysée, grâce au soutien de Parmigiani Fleurier, pour son projet sur la Syrie. Souhaitant « susciter, chez un public occidental, une compréhension viscérale de la violence intangible qui sous-tend tout conflit », il fait le pari de ne rien voiler de ses images, explicites et brutales. Réalisées sur le terrain, elles enjoignent le spectateur de ralentir, et de prendre la mesure d’un conflit – certes géographiquement lointain, mais rendu omniprésent dans les médias.

Musée de l’Elysée ︎



iPhone film-maker Charlotte Prodger wins 2018 Turner prize


Glasgow-based artist’s film Bridgit praised by judges as ‘unexpectedly expansive’

The Guardian / Bridgit: a memorable, rich and beguiling film ︎



Unraveling the Mysteries of Dorothea Lange’s ‘Migrant Mother’


The history behind Ms. Lange’s photograph of Florence Owens Thompson has intrigued academics and photographers for decades. But a new book sheds fresh light on the portrait’s little-explored details.

The New York Times ︎




Forget Zuckerberg: the tech giants don’t have to own the future




Facebook, Google and Apple make the headlines, but there are many inspiring startups to dissipate the sense of techno-dread.

The Guardian ︎



25 JAHRE! GEMEINSAM GESCHICHTE(N) SCHREIBEN


Für das 25-jährige Jubiläum des Fotomuseums haben wir Weggefährt_innen aus dem nationalen und internationalen Umfeld eingeladen, Lieblingsstücke aus unserer Sammlung, die seit der Gründung der Institution 1993 einen wichtigen Aspekt der Museumsaktivitäten bildet, auszuwählen. Die Direktorin Nadine Wietlisbach fügt der Auswahl weitere Werke des Bestandes hinzu und öffnet damit den Blick in die Zukunft.

Fotostiftung ︎



Silver Lake Drive

Le MBAL présente la première rétrospective de l’une des artistes les plus emblématiques de notre époque. Travaillant entre la photographie et le film, Alex Prager (États-Unis, 1979) développe depuis 10 ans une œuvre qui se distingue par son style inimitable. Ses mises en scène, qu’elles soient photographiées ou filmées, frappent par le soin méticuleux avec lesquelles elles sont réalisées. Hollywood n’est jamais loin pour cette artiste de Los Angeles, inspirée par le cinéma et la culture populaire.


Musée des Beaux Arts - Le Locle
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