maandag 18 december 2017

Views & Reviews The Fears and Hopes of a Generation Good Luck With The Future Rita Puig-Serra Dani Pujalte Photography


Good Luck With The Future 
Authors: Rita Puig-Serra & Dani Pujalte
Edition 500
120 pages
200 mm ax 270 mm. 
ISBN: 978-84-617-9587-1
Good Luck with the Future is a journey of infinite paths, with a critical starting point and an uncertain destiny. It began as an exploration on how our generation lives and feels the future, to finish in an attempt to discover how do we perceive it ourselves. The project is about what could be, and what will be, although we don't know yet. What will never be, and also of what has been suddenly, without expecting it.

Good Luck With The Future is an ongoing collaborative project between Dani Pujalte and Rita Puig-Serra that has been developed in the last 2 years. Both born in late 80's, they explore through a poetic journey, feelings and expectations of their generation about the future. Uncertain, unknow and sometime scary.


"Good luck with the future is a journey of infinite paths, with a critical starting point and an uncertain destiny. It began as an exploration on how our generation lives and feels the future, to finish in an attempt to discover how do we perceive it ourselves. The project is about what could be, and what will be, although we do not know yet. What will never be, and also of what has been suddenly, without expecting it."

Rita Puig-Serra lives and works in Barcelona. After studying Humanities and a master in Comparative Literature, she studies Graphic Design in IDEP and Photography in CFD and El Observatorio. Her first project “Where Mimosa Bloom” was published in 2014 by Editions du Lic. She received with Dani Pujalte the grant 20ª Fotopres La Caixa to produce the work Good Luck With The Future. She recently start a project with Salvi Danés and David Bestué with the support of Terralab.cat.

Dani Pujalte lives and works in Barcelona where he combines personal projects, assignments, and curating at Wer-Haus gallery&bookshop. His projects revolve around personal exploration as a tool to tackle cultural and social issues. His work has been published in Studio Vortex, Laboratori among other publications. He recently won the grant Fotopres La Caixa to work in the project “Good Luck with the Future” with Rita Puig-Ser

The Fears and Hopes of a Generation
In their latest book Good Luck With The Future, Rita Puig-Serra Costa and Dani Pujalte portray the state of uncertainty of those turning thirty in these days.

© Rita Puig-Serra Costa and Dani Pujalate, from the book, Good Luck With The Future

Highways, buildings. Thousands of cars. Where are these people going? Where am I going? Pyramids, robots, laser rays. The future is uncertain by definition, so why worry about it?

As I turn the pages of Rita and Dani's book over and over again, many questions cross my mind. I empathise with them. We are European. We are more or less the same age: thirty something. When we started to embrace our future around ten years ago, the Western world was entering the biggest financial crisis of modern times. Ever since those days, a sense of precariousness has accompanied our generation. Unemployment. Companies, banks and even states going bankrupt. More recently terrorism, migration, and climate change. At the same time we have been privileged compared to previous generations, and most people of our age around the world. We haven't lived through war. We can travel easily. Technology, the Internet and Social Media have opened up new, unprecedented opportunities.

As I turn the pages I imagine this is the context in which, back in 2014, Rita and Dani - while approaching that age at which you should have a stable job and thinking about having children - decided to face their fear of the future and started a six month journey with no predefined destination. That journey and those years end up in their book, Good Luck With The Future. Yet the journey is not the main focus of this project; it is rather simply an excuse to put their lives on hold and live a sort of extended present - a 180 day parenthesis between the past and the future. It's here that the story begins and you get dragged into this visual exploration towards that sense of uncertainty and something so ephemeral as the future.

© Rita Puig-Serra Costa and Dani Pujalate, from the book, Good Luck With The Future

While looking at these pictures you often feel lost and hopeless. An emergency exit, a labyrinth, a trapped butterfly. A young guy looking at the water of what seems to be a lake. There is a sense of emptiness and resignation in the air. But the book's structure is there to help you. Divided into six chapters - Abolute past, Relative past, Here, And Now, Relative future, Absolute future - it invites you to stop and reflect. See the future starting from the past. Or reverse: to analyse your past starting from where you think or wish to head to. The images do not suggest any clear answers; but however you look at it, this project seems to invite you to take some time to reflect about where you are coming from, where you are, and where you are heading to.

Is this thread sufficient to guide the biggest waves of freelancers of all time who have been dreaming of working 4 hours a day while looking at the Indian Ocean from their laptop? No. Nevertheless what originally seemed to me as a book of emptiness and resignation is turning into a book of hope. It evokes a famous latin adage: unusquisque faber fortunae suae. We are the maker of our own destiny, and we should take responsibility for that, especially if we are in our late 20s or early 30s. Traditional jobs are disappearing, social tensions are increasing as wealth is less and less equally distributed. Yet there is not other option that facing the future and dealing with the issues of our time, as staring soullessly at the horizon won't help that much - apart for some likes on Instagram.

© Rita Puig-Serra Costa and Dani Pujalate, from the book, Good Luck With The Future

Maybe it's normal to feel lost in your late 20s or just something that might happen and you should be ready to face. I turn the page of the book one last time and then I leave it closed on the table. It's only in that moment that I notice the grey message on the black back cover. It says: "Sorry it's taken me 5 months to answer your questions. From the moment I found love, thanks to your lucky coin, to the moment I lost it, at my arrival in Mexico, my life has been chaos. But anyways, that's just another story. (...) The lucky coin just keeps on bringing me more luck ever since the trip we did together. It's nice to think that love does exist and that it can be shared forever. This, I learn from you." Lorelay.

Ok, it's a book of hope or at least I wish to think so. And it leaves me with one final question: in the daily maze of uncertainty and opportunities, is love - found and lost - the only certainty we can rely on?

Maybe. Good luck with the future.

















vrijdag 15 december 2017

If They Like Instagram They’ll Love These Photo Books Holiday Gift Ideas 2017 From the Strategist Photography


PRINTED MATTER
December 14, 2017
2:42 pm
If They Like Instagram, They’ll Love These Photo Books
By
Chris Black

What to get the person whose head is always buried in their ‘gram and who double-taps in their sleep? These, some of my own favorite photo books (a few of them new, but most of them not, and several out of print), would make great gifts for your Instagram-obsessed friends — to show (or remind) them what the medium looked like before iPhones, filters, and DMs. Best case, it will give them a reason to put their phone down for a moment and discuss the work IRL; worst case, they will have a flashy new book for their coffee table. Here are more of our favorite highly giftable coffee-table books and favorite highly giftable vintage books.

If they like classic cars and smoking cigarettes
The godfather of color photography. William Eggleston’s Guide is an essential volume that captures the residents of his hometown of Memphis, Tennessee from 1969 to 1971.

William Eggleston’s Guide

If they take a lot of selfies
For four decades, businessman, art collector, and philanthropist Jean Pigozzi took selfies with his famous friends. A fun look at musicians, actors, writers, hangers-on, socialites, artists, and of course, Pigozzi himself through the years.

Jean Pigozzi: ME + CO

If they romanticize old New York
Nan Goldin’s work showcases the beauty and horror of life at a particular time in New York City, specifically the old Times Square and the Lower East Side. Every image, no matter how intense, comes across as delicate and honest.

Nan Goldin: I’ll Be Your Mirror

If they need a vacation
Years of trips to the seaside, from Spain to China, produced this fun and sometimes absurd look at people being themselves at the beach.

Martin Parr: Life’s a Beach

If they follow lots of models
For one year, from May 1998 to May 1999, photographer Juergen Teller took hundreds of photos of models who visited his West London studio. Even with the limitations of his single location, Teller makes the photographs extremely compelling.

Juergen Teller Go-Sees

If they’re jet-setter types
Tillmans makes 62 color photographs of the Concorde, a “British-French turbojet-powered supersonic passenger jet airliner,” elegant and engaging.

Wolfgang Tillmans: Concorde

If they can quote “Kids”
Larry Clark’s legendary black-and-white collection released in 1971 that set the standard for autobiographical photographic work.

Tulsa by Larry Clark

If they unironically miss the ’90s
Corinne Day helped put Kate Moss on the map and is often credited with popularizing “grunge” fashion photography. Her first book, Diary, is an honest document of her friends during that all-important hazy time before adulthood, when everything is in front of you, and the possibilities are endless.

Diary by Corinne Day

If they appreciate a good cry
Araki is best known for his erotic work. But this is one of his best and easily most personal books, as it tackles two big themes: love and loss. The first section is photos of his wife from their honeymoon; the second part is a chronicle of the final days before her death.

Nobuyoshi Araki: Sentimental Journey 1971–2017

If they have a screwed-up family
A labor of love, this book documents Sultan’s own flesh and blood in an attempt to destroy the mythology of family and the image of success. It’s voyeuristic and engaging.

Pictures From Home by Larry Sultan

If they fancy themselves an artiste
Mark Borthwick’s work is intimate and dreamy. He seamlessly combines fashion and art using light and color.

Not in Fashion by Mark Borthwick

If they use the word “wanderlust” a lot
An intriguing series of large-format color photographs taken along the Mississippi River. Soth captures the American spirit at its best and worst.

Alec Soth: Sleeping by the Mississippi

If they like elephants
A mixed bag of photographs, diary entries, drawings, and environmental activism. Peter Beard combines it all into carefully constructed collages that demand to be studied over and over.

Peter Beard



zondag 10 december 2017

Views & Reviews The wife is at work ... Rear Window Erik van der Weijde Artists Book Photography

Rear Window
[second edition]
Publisher Café Royal Books
City Southport, England
Year 2010
Pages 20 p.
Dimensions 21 x 15 cm.
Cover Paperback
Binding Staple Bound
Process Digital
Color Black-and-White
Edition Size 100

While his wife is at work and his son in school, Weijde captures the sights from his window with a video camera. Stills from the video are collected in this staple-bound book and show black and white, pixelated images of two girls in conversation and a black dog resting in the street, among other inconsequential, yet eye-drawing, happenings.

Erik van der Weijde (b. 1977) lives and works in Amsterdam, NL and Natal, BR. Erik van der Weijde’s work is bringing light to non-spectacular and common images of our daily life - the house we live in, the lamp illuminating the street, our touristic habits, family portraits and many other popular subjects. Through his consistent series of photographs, he traces a path between history, culture, education, cliché and everyday habits; thanks to the immense attention to detail he is able to trace a link between far entities. In Weijde’s treatment images become symbol’s of the subjects they portray.

His photographic work is accompanied by many different books and zines - self published or in collaboration with renewed editors - which in many cases point the attention to the idea of repetition and constancy of his photographic series, allowing the research to be fully presented through the publications.
http://www.4478zine.com/

4478ZINE's publishing manifesto:

01. The book is the carrier for my (photographic) series.
02. The printed page is the perfect form for the reproducibility of the photographic image.
03. The spread contextualizes the single images.
04. The sequence of pages may provide yet another context.
05. The collections of images are mirrored in the collectability of the actual book.
06. The ratio between the quality of the printing and the quality of the image is more complex than to be read 1:1.
07. The relation between form and content is as equally important as both parts separately, but all parts may represent different values.
08. The fetishistic character of the printed matter may provide the extra layers to strengthen the iconic value of its images.
09. The book, as an object, gains strength as it gets re-contextualized by its viewer, owner or bookcase in which it stands.
10. The connections between different publications may be invisible, but are always present.
11. The steps made in the publishing process are solely based on artistic principles.
12. If the book is like a building, then, the publisher's catalog needs proper urban planning.

De nabije omgeving van Erik van der Weijde.

In 2010 publiceerde  Erik van der Weijde i.s.m. Café Royal Books van Craig Atkinson de uitgave Rear Window. Een prachtig voorbeeld hoe Van der Weijde inspeelt op zijn nabije omgeving: "The wife is at work, the son is at school and i’m stuck in the new apartment. With a cup of coffee and my video camera. Wow, those dogs are so cool...".

Publicist, fotograaf en kunstenaar Van der Weijde focust zich in zijn werk op de minder spectaculaire en meer gewone beelden uit ons dagelijks leven; het huis waarin we leven, de straatverlichting, onze toeristische gewoontes, familie portretten en andere populaire onderwerpen. "I believe that in a way, in everyday life, everything is present, if you look carefully. The feeling a movie or a song can give you can also be obtained from a building in the street you pass by every day. I am also interested in what's behind the things we see all the time and take for granted. I also like to look for patterns. To give things a place and to try to understand them. To put my own daily life into a grid. But, pictorially speaking, I am always looking for images that are iconic. A tree, or a house, or my son, that might look like all trees, houses or kids. Images that are both unique and universal. Those are images I always look for" (bron: interview in Lightra.com).

Van der Weijde heeft een Duitse grootmoeder en is woonachtig in Brazilië. Het is daarom ook niet zo verwonderlijk dat de foto opnames vooral in Duitsland en Brazilië zijn opgenomen. In zijn nauwkeurig geordende fotoseries verbindt Van der Weijde de geschiedenis, cultuur, opleiding, het cliché en de dagelijkse gewoontes met elkaar, en toont nu en dan de zwaarte van het dagelijkse bestaan. Inspirerende kunstenaars voor Van der Weijde zijn de Duitse fotograaf Hans Peter Feldmann ("a huge eye-opener for me during art academy"), de Amerikaanse conceptuele kunstenaar Edward Ruscha, de Duitse filmmaker Rainer Werner Fassbinder en het Zwitsers kunstenaarsduo Fischli & Weiss. "And for all the rest of what involves an art practice I would name Paul Kooiker. Both his approach to images and photography as his approach to art or an art practice in general. The time I spent as assistant in his studio were quite crucial for my own work" (bron: interview in Zineswap.com).  Lees verder ...














vrijdag 8 december 2017

The suggestion was piquant enough Christine Keeler Photograph: A Modern Icon Lewis Morley Photography


Christine Keeler Photograph: A Modern Icon

Christine Keeler 1963, Lewis Morley (Australian, born 1925), Gelatin-silver print. Museum no. E.2-2002, © Victoria and Albert Museum, London/Lewis Morley

The urban myth that the photograph of Christine Keeler astride an Arne Jacobsen chair was taken when she was a model is false in more senses than one.

First, the chair used in the photo turns out to be a copy of the original. The hand-hold aperture cut out of the back was a ploy to avoid the legalities of copyright. Secondly the photograph was taken, not on a modelling session, but at the height of the revelations regarding the exposure, of the going-ons, of the War Minister and a young female, caught up in an affair which became known as 'The Scandal' or 'The Profumo Affair'.

Photographer Lewis Morley recalls the photo session which led to the creation of a modern icon:

'This photograph was one of a series of publicity shots for an intended film which never saw the light of day. It was not until 1989 that a film of the 1963 happenings was released under the title Scandal. The photographic session took place in my studio, which at that time was on the first floor of the 'Establishment', a satirical night club, part-owned by Peter Cook of 'Beyond The Fringe' fame. The satirical sketches took place on a small stage on the ground floor of the club. The Dudley Moore Trio played Jazz in the basement.

'During the session, three rolls of 120 film were shot. The first two rolls had Christine sitting in various positions on the chair and on the floor, dressed in a small leather jerkin. It was at this point that the film producers who were in attendance demanded she strip for some nude photos.

Photograph of Christine Keeler by Lewis Morley, London, 1963. Museum no. E.2-2002, © Victoria and Albert Museum, London/Lewis Morley

'Christine was reluctant to do so, but the producers insisted, saying that it was written in her contract. The situation became rather tense and reached an impasse. I suggested that everyone, including my assistant leave the studio. I turned my back to Christine, telling her to disrobe, sit back to front on the chair. She was now nude, fulfilling the conditions of the contract, but was at the same time hidden.

'We repeated some of the poses used on the previous two rolls of film. I rapidly exposed some fresh positions, some angled from the side and a few slightly looking down. I felt that I had shot enough and took a couple of paces back. Looking up I saw what appeared to be a perfect positioning. I released the shutter one more time, in fact, it was the last exposure on the roll of film.

'Looking at the contact sheet, one can see that this image is smaller than the rest because I had stepped back. It was this pose that became the first published and most used image. The nude session had taken less than five minutes to complete. It wasn't until I developed the film that I discovered that somehow I had misfired one shot and there were only eleven images on a twelve exposure film. How this came about is a mystery to me.'

Contact sheet, Christine Keeler 1963, Lewis Morley (Australian, born 1925). Museum no. E.2-2002, © Victoria and Albert Museum, London/Lewis Morley

Copy of an Arne Jacobsen office chair, possibly by Heal's London, 1962. Museum no. W.10-2013, © Victoria and Albert Museum, London

Copy of an Arne Jacobsen office chair, possibly by Heal's London, 1962, showing the names of the famous sitters photographed on it by Lewis Morley. Museum no. W.10-2013, © Victoria and Albert Museum, London

Chairs:(left) Model 3107, designed by Arne Jacobsen, 1957. Museum no. CIRC.371-1970 (right) Copy by unknown designer, possibly by Heal's London, 1962. Museum no. W.10-2013, © Victoria and Albert Museum, London

The chair

A chair inspired by one of the most successful 20th-century furniture designs is at the centre of the story of one of the Victoria and Albert Museum's most unexpected acquisitions. The chair on which Christine Keeler sat in the celebrated portrait session has been correctly identified as a 'knock-off', or imitation, of the classic Arne Jacobsen model 3107 chair. Photographer Lewis Morley bought half a dozen of them in a sale from a London retailer (he thought it could have been Heal’s) for five shillings apiece in 1962 . The chair is inscribed underneath by Lewis with the many famous sitters who have graced it, including Sir David Frost, Joe Orton and Dame Edna Everage, plus the names of the donors.

Although other museums had expressed a strong interest in the chair it was felt that the V&A had to be the perfect place for the chair for two reasons: because it has great collections of both photography and furniture, and because the chair is a British cultural icon. The chair is a pledged gift from Lewis Morley and John and Laura Knaus on loan from the American Friends of the V&A, Inc.

If you put the chair alongside the Arne Jacobsen original it is possible to see why the 3107 is a classic. As Gareth Williams of the Furniture, Textiles and Fashion department at the V&A points out:

'The plywood is much thicker and less subtly moulded. The cinched "waist" of the chair is more pronounced, and the front of the seat is set back too far. Unlike Jacobsen's chair this model has a cut-out handle at the top of the seat, but even this is inaccurately positioned and irregularly cut.'
Lewis Morley's image has become a classic and as widely imitated as Jacobsen's chair. You can see such chairs in second-hand shops described as 'Keeler chairs'.

If you look closely at the photographs, you can see that the back of the chair has been chafed - just like the one now in the V&A. It is touching, somehow, that the perfect photograph was posed in a flawed chair and that both are now in the Museum.

The V&A would like to acknowledge the generosity of Lewis Morley and the Knaus family for the donation of the photographs and the original chair.


De suggestie was pikant genoeg

Stoel

Christine Keeler (1942-2017) werd het middelpunt van een schandaal in 1963; de foto en de stoel waarop ze naakt poseerde een icoon.
Henk van Gelder
7 december 2017

De ‘Keeler-stoel’ in het Victoria & Albert Museum in Londen, met de foto van Lewis Morley
Foto Richard Stonehouse/HH/Camera Press

Nu Christine Keeler is overleden, duikt overal De Foto Met De Stoel weer op. Ze was 21 in 1963, toen uitkwam dat ze het bed deelde met John Profumo, Brits minister van Defensie, én met Jevgeni Ivanov, diplomaat en KGB’er. Alleen al de suggestie dat de Sovjets zo geheimen hadden kunnen bemachtigen, was genoeg voor een rel die Profumo zijn baan kostte en háár zes jaar cel. Maar voor miljoenen mannen (en Nederlandse puberjongens) was het idee van landverraad bijzaak.

Keeler poseerde in de studio van de Londense fotograaf Lewis Morley, in de dagen dat de Profumo-affaire een climax bereikte; de eerste keer dat het privéleven van een politicus binnenstebuiten werd gekeerd. De foto’s waren bedoeld als publiciteitsmateriaal voor een film over haar. De film zou er niet komen maar de fotosessie – zo’n dertig beelden in zwartwit – werd klassiek. Na een aantal geklede poses drongen de filmproducers aan op naaktfoto’s, herinnerde Morley zich. Ze weigerde, maar móést wel: het stond in haar contract.

Morley vroeg alle aanwezigen de studio te verlaten. Binnen vijf minuten zat het karwei erop. Hij liet Christine Keeler zo op een stoel zitten dat ze evident naakt was, maar zonder iets onwelvoeglijks te tonen. De suggestie was pikant genoeg.

Ook de stoel werd beroemd(er); het was een kopie van het vermaarde ‘model 3107’ van vormgever Arne Jacobsen. Een jaar eerder had Morley er een aantal op de kop getikt, altijd handig in een fotostudio. Nadien hebben ook anderen er ironisch op geposeerd, zoals Dame Edna, tv-interviewer David Frost en toneelschrijver Joe Orton. Nadat Morley de stoel en de contactprints van zijn sessie met Keeler in 2002 aan het Victoria & Albert Museum had geschonken, liet Keeler zich er nog eens op poseren, gekleed nu, bij de verschijning van haar biografie, The Truth at Last.

Model 3107, overal ter wereld nagemaakt, staat nu algemeen bekend als ‘Keeler-stoel’.

Henk van Gelder