Ramsay de Give‘s photography for the on-going project ‘The Weight of Objects‘, created by Kristen Joy Watts. The project is about collecting stories of people’s portraits and the connection with their most treasured belongings.
“Seven years ago, when I co-curated an exhibition of works by Dionne Simpson, I was also recovering from Hodgkin’s disease. After the exhibition was over, Simpson gave me the most minimal of the works, and my favourite of her deconstructed canvases. Now, this piece hangs in my bedroom, and I wake up to it every morning – a daily reminder of the generosity of the human spirit, and the gems that await you after life’s struggles.”
“Isadora Duncan’s story – being an eccentric, reckless, courageous woman in a time when it would have been nearly impossible to be so – changed the way I thought about my own life. I look for this book every time I’m in a new bookstore and pick up copies to give to friends. Even if I lost it I feel like fragments of her stories are kind of part of me now.”
Visit the site to read all the stories and view the gallery.
‘Excavations’ explores the invisible social space of family storytelling through photography. I make c-prints of family pictures from expired Kodak film, as well as using original snapshots from the album, then carefully hand-sand them with various types of sandpaper. I aim to loosen the complexities of material encounter with intangible concepts. Mine is also a literal assault. I cross into taboo territory, the transgression and squeamish horror of destroying original personal possessions.”
Following in the footsteps of the artist Johannes Larsen (1867-1961) to mark the centenary of his first visit to the area at Filsø, Denmark, resulted in a story how she as an artist experienced the place within the same harsh but sensual landscape, he sought out.
Inspired by the watercolor artworks in Tangier, Morocco, of Spanish painter Josep Tapiró i Baró (1836 – 1913).
With commercial advertising around every corner, it is easy to view everything in a passive way. Inspired by the botanical illustrations of Pierre-Joseph Redouté, Kenji Toma started a series of flowers showing their ‘unreal’ beauty as a revival of the concept of the botanical encyclopedia from the 19th century.
Darren Almond’s series ‘Fullmoon’ – a long exposure and the invisible landscape turns to a visible meditation.
“Light generates life – this is why we are drawn to it, but contrary to the harsh light of the sun, the reflective light of the moon makes us see further. The landscape of the night is an emotional landscape as much as it is a physical landscape.”
The first photographs on nights with a full moon, English artist Darren Almond took in 1998 initiated an experiment, which he called Fifteen Minute Moon. This became the starting point to an ongoing series of works, now known as ‘Fullmoon‘ and available as a photo book published by Taschen.
“The moon is the sculpture, that belongs to everybody on the planet. It’s a small glimmer of light between two voids of darkness. The moon to me is a historical point, a point we can relate to. Everything beyond the moon is just too far away, is beyond language.”
‘In an effort to emphasize the inevitable interaction of these two concepts, German photographer Andreas Mühe chose to link the ‘Pathos‘ and ‘Distance‘ in the title of this book with the conjunction ‘as‘ – “Pathos as Distance“. Not in the sense of a comparison, as in ‘as tasty as an apple’, but rather as a transformation of one concept into the other and their mutual dependency. Pathos becomes distance, and this distance becomes a precondition that allows for pathos.’
The photographs by Andreas Mühe are accompanied by excerpts from the novel 1913 ‘The Year before the Storm’ by Florian Illies.
“1913 reminded me a little bit of our here and now. This unburdened and rather easy-going lifestyle right before World War One breaks out – [the start of the war] completely surprising, but very predictable at the same time. It is similar to our way of closing our eyes and us trying to ignore what’s obviously happening around us. It’s all good but it’s not. Like nobody feels the catastrophe coming. I sometimes get the feeling that we do not realize the disconcerting situation these days, neither politically nor socially. Refugees, political struggles, religious issues, parallel societies. Us looking away, us ignoring the signs. It’s all part of our daily lives.”