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I like to travel routes unknown, not for snobbery or thirst for distinguish myself, but simply because i like to follow my thought and my instict in the wake of curiosity.


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From GERMAN to EMILIA LAND: EMIL OTTO HOPPE’ “UNVEILING SECRET”. WORLD PREMIERE of Industrial landscape’s photos by Emil Otto Hoppé at the MAST BOLOGNA.

From GERMAN to EMILIA LAND: EMIL OTTO HOPPE’ “UNVEILING SECRET”. WORLD PREMIERE of Industrial landscape’s photos by Emil Otto Hoppé at the MAST BOLOGNA.


Mast gallery “ Emil Otto Hoppé il segreto svelato/unveiling a secret”,
21 january – 3 may 2015, Bologna (Italy), free enter.

To picture the rhythm and design of very ordinary, everyday things, which ninety-nine persons out of every hundred are probably passing every hour of every day without noticing them, because they are so familiar with them that they would consider it a sheer waste of time to give them a second glance. It is one of the chief delights of photography that it creates a spirit of adventure and sharpens the powers of observation. So many people miss the significance of little things and are therefore robbed of a fundamental key to beauty”. -E.O. Hoppe’

Skeleton of Graf Zeppelin, Friedrichshafen, 1928.

Skeleton of Graf Zeppelin, Friedrichshafen, 1928. © The E.O. Hoppé Estate|Curatorial Assistance, Inc

I’ m so proud to talk about this philanthropic emilian foundation that is excellence in the cultural world and offers some of the most interesting exhibitions of photography.

After exhibiting the David Lynch photographs, the FONDAZIONE MAST (Arts, Experience, Technology) is opening a new exhibition in its Gallery, curated by Urs Stahel, and dedicated to EMIL Otto Hoppé (1878-1972), with over 200 works on industry and labour, taken between 1912 and 1937.
Like his contemporaries Alfred Stieglitz, Edward Steichen, Walker Evans, August Sander, and Edward Weston,
Hoppé was one of the most important photographers of his era, also famous for his landscape and travel images.

In the twenties and thirties, after having consolidated his reputation as a topographic and portrait photographer depicting famous European artists, scientists and politicians like George Bernard Shaw, Ezra Pound, T.S. Eliot, Rudyard Kipling, George V, Vita Sackville-West, Filippo Tommaso Marinetti, and Albert Einstein, E. O. Hoppé set off on his travels to capture the romance and grandeur of industrial sites around the world.

During his explorations – in Germany, Great Britain, the United States, India, Australia, New Zealand and other countries – he photographed the futuristic industrial landscape, seeing its gargantuan machinery as both technology and art. Hoppé was acutely aware of how contemporary industrial technology was heralding the world into a new era where the very nature of work and production would profoundly change.

Emil Otto Hoppé: Unveiling a secret presents for the first time his iconic images of the second industrial revolution and brings Hoppé’s work to the attention of the public.

Camell Laird's Yards, The Midlands, c.1926.

Camell Laird’s Yards, The Midlands, c.1926.© The E.O. Hoppé Estate|Curatorial Assistance, Inc

This work had remained hidden for a long time in the London photographic archives which had purchased fifty years of works from the artist himself at the end of his long and prestigious career.
Alongside
Hoppé’s industrial photography on show, in the area dedicated to “side events”, MAST will exhibit the rich variety of subject matter in the artist’s repertoire with a series of digital projections of other themes from celebrity portraits to nudes and from human typologies to landscapes.

Emil Otto Hoppé was born on April 14th 1878 in Munich, where he received his initial schooling and drawing lessons from the watercolorist, Hans von Bartels (1856-1913).
In 1897, after two years compulsory service in the Army, Hoppé followed his father into banking but he also travelled to Paris and Vienna to study painting and portrait photography. In 1900 Hoppé moved to London to work at the Deutsche Bank and Lombards and in 1903 met British photographer John Cimon Warburg (1867-1931) who demonstrated the artistic possibilities of photography to him.
Inspired by Warburg he acquired his first camera, a Goertz-Anschutz model, and the same year was admitted as a member of the Royal Photographic Society where, over the next four years, he regularly exhibited his amateur photographic works. In this same year Hoppé was also associated with The Linked Ring Brotherhood with fellow members, Alvin Langdon Coburn (1882-1966), Henry Peach Robinson (1830-1901) and George Davidson (1854-1930), who played an important role in international art photography, maintaining close ties with continental and American groups including the Vienna Camera Club and the Photo-Secession, New York.

Modern Gasometer, Fulham, London 1925.

Modern Gasometer, Fulham, London 1925.© The E.O. Hoppé Estate|Curatorial Assistance, Inc

Hoppé also contributed reviews, illustrations and photographs to various established magazines of the time including ‘The Bookman’ and around 1917 he became one of the founding members of ‘The Plough’ theatre club in London, a group who specialised in producing plays that had previously not been performed in Britain where Hoppé designed some of the stage sets. By this time Hoppé was one of the most sought after portrait photographers of the time and is reported to have made over 600 portraits during one year. In 1922, a highlight of Hoppé’s career was a large one-man exhibition consisting of 221 prints at the Goupil Gallery, London, for which he was widely celebrated. Prior to this, in 1918 Hoppé made his first visit to New York where he photographed modernist cityscapes and made portraits of “street types.”

In 1921 Hoppé returned to New York to open a studio on West 57th Street and was celebrated that year by a major exhibition of his work at the famous Wannamaker Gallery and with the publication of his “The Book of Beautiful Woman.”

The publicity garnered by Hoppé at this time made him more famous in the United States and elsewhere than the one we now point to as the champion of photographic art, Alfred Stieglitz.From this time on, and using London as his base, Hoppé travelled to many different countries throughout the world for the purpose of making a comprehensive photographic portrait of each as the subject of his many photographically illustrated books that he published over the next decades.

Sydney Harbour Bridge from the North Side, Australia, 1930

Sydney Harbour Bridge from the North Side, Australia, 1930, © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Many of Hoppé’s titles were made for the Orbis Terrarum series of books that were beautifully printed in the gravure process. Countries photographed by Hoppé include Romania, North America, Cuba, Jamaica, the West Indies, United Kingdom, Germany, India, Ceylon, Australia, New Zealand, Indonesia, Singapore, Malaya, Africa, Bavaria, Poland, and Czechoslovakia.

His subjects in each country include the natural and man-made landscape and people. A favourite subject of Hoppé is large-scale industrial machinery found in factories, shipyards and steel mills where he is less interested in the subject’s function as he is in its artistic potential for abstraction. In this sense Hoppé’s photographs of the 1920s anticipate the work of Bernd (1931-2007) , Hilla (1934- ) and Albert Renger-Patzsch (1897-1966).

In the late 1920’s whilst travelling, Hoppé continued with some photographic work in Germany for the UFA studios (Universum Film AG ) which included photographs of Fritz Lang, Conrad Veidt, Victor McLaglen, Brigitte Helm, Mona Maris, Erich Pommer, Lilian Harvey and many more, as well as production stills of Marlene Dietrich and Anna May Wong.

Then thanks to MAST you will have the opportunity to discover this enormous artist, although unknown to date.

View from the Delaware Bridge, Wilmington, 1926

View from the Delaware Bridge, Wilmington, 1926 © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Industrial Docks on the Thames.

Industrial Docks on the Thames, © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Hosch Steelworks, 1928.

Hosch Steelworks, 1928. © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Power Station, Sydney Harbour, 1930

Power Station, Sydney Harbour, 1930 © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Girl and lamp post Frankfurt am Main, 1928.

Girl and lamp post Frankfurt am Main, 1928. © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Ford Factory, Detroit, Michigan2, 1926.

Ford Factory, Detroit, Michigan2, 1926. © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Ford Factory, Detroit, Michigan, 1926

Ford Factory, Detroit, Michigan, 1926 © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Crane on London Docks, London

Crane on London Docks, London © The E.O. Hoppé Estate|Curatorial Assistance, Inc

03_Rotary_Kilns_Under_Construction_in_the_Boiler_Shop_-_Vickers_Armstrong_Steel_Foundry_-_Tyneside_590-490

Rotary Kilns Under Construction in the Boiler © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Delaware Bridge, Philadelphia, Pennsylvania, USA, 1926

Delaware Bridge, Philadelphia, Pennsylvania, USA, 1926 © The E.O. Hoppé Estate|Curatorial Assistance, Inc

 

 

 


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THE POWER OF MEMORY through the INDUSTRIAL ARCHEOLOGY by BERLINO EXPLORER

“The sites have memory. They remember everything. The memory is etched in stone. It is deeper than the deepest waters. It is like the sand of the dunes, which is constantly changing. “ WIM WENDERS

This time I have the pleasure to welcome an interesting article and discussion by Zuleika Munizza, responsible of BERLINO EXPLORER, about INDUSTRIAL ARCHEOLOGY.

It’s an argument that touches me personally because from the photographic and architectural standpoint is often a source of inspiration for my work. Just because these places transmit texture and surface memories of people who have lived.

Zuleika said: “What is industrial archeology and because in Germany there is great attention and interest in dell’Industriekultur, literally Corporate Culture?

The industrial archeology was born as a branch of classical archeology at the time of termination of the phase of the industrialization process in Europe, explores and examines all the evidence related to this process since its origins, which are identified at the end of ‘700 , before the industrial revolution.

As discipline of study, I.A. born in the first half of the fifties in England, for deepening the knowledge of the history of past and present production, taking into analyzing the archaeological traces generated in the places, where these processes beginning from the second half of the eighteenth century, phase just before the Industrial Revolution, to the present day.
Certainly a different way of reading the city and its changes, It’s performing paths of industrial archeology, to get to explore interesting areas which survive in old factories; then last time the city is reclaiming these places, to promote activities permanent or temporary, cultural and not.2012-12-30 14.32.28

The Industrial Archeology, as well as architecture, are a perfect way to read the hidden traces of history.

Berlin is full of wonderful architectural industrial volumes , but despite their productive function often become reason for specialized architects to represent, through the majesty of the design and the attention to detail, the importance of the historical moment.

hese fascinating structures, are now like giants who wake up in the middle of a city and are changing dramatically the urbanistic situation, especially in Berlin, as well as in all cities with a significant past production, then you can see contemporary skyline near these volumes of the past.

In Germany the Gründerzeit, the stage of economic development of the nineteenth century (the second industrial revolution) corresponds to that historical period in Central Europe, during which the bourgeoisie acquires the role of cultural guide, assigning new tasks to aesthetics, especially in the field of architecture and all manual arts, which leads to the development of an eclectic art forms already existing.

In Berlin, in the heart of the city, the production leaves in the urban structure the signs of the passage of a flourishing economy that, for historical reasons well known to us (for example World Wars) stopped abruptly.

The activities take up again after the official division of the country and the process reconverts; in different cities of the German Democratic Republic, as in Leipzig for example, after the reconstruction of the early post-war years, we can see the rebirth and revival its productive capacity.

2012-12-28 13.06.24Process in East Berlin will be slower than in other parts of East Germany; the reconstruction of the city, burned to the ground for almost 85% of its totality, is the obvious priority; rebuild homes and fabric of the city, are the starting points for the revival.
The pride of the industrial productivity during the Democratic Republic is Leipzig, with the fall of the Berlin Wall and the collapse of utopia community, then collapses beneath the weight of almost total ddisposal of its factories, now mostly abandoned.

Here in Leipzig, as in all industrial cities, the working-class community is very active in the trade unions in defending the rights of workers, and even more so during the communist regime.

From these movements born Friedlichen Revolution, the peaceful revolution of autumn ’89, (the famous “protests fo Monday”), decisive events that herald the final failure of the DDR (founded by another, ironically, officially Oct. 7 ’49) .”

Then BERLINO EXPLORER has began the discovery of Leipzig area. I am very happy to deal  this topic on my blog and I hope very soon to come back to talk about. Stay Tuned!

http://www.berlino-explorer.com/

Info and Contact:

Zuleika Munizza

Frankfurter Allee 5
10247 Berlin

telefono: | email: z.munizza@berlino-explorer.com

2012-12-29 13.36.33


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The World c. 1914. Colour Photography Before the Great War at the MARTIN-GROPIUS BAU

1897700_841313702566188_4004090231990996226_nLovers of photography get down to Martin – Gropius Bau Berlin to see an extraordinary collection of pre-1914 coloured photographs from around the world.
Photography for my creative work is the first source of inspiration and especially a lover of travel liek me, I’m happy to recommend this exhibition.

In commemoration of the outbreak of the First World War, the Martin-Gropius-Bau is presenting an exhibition entitled The World ca. 1914 – Colour Photography Before the Great War, which features nearly forgotten colour photographs and films commissioned by the French banker Albert Kahn (1860-1940) before the First World War.
As the nations of Europe were already arming themselves for battle, Kahn, who was excited by the Lumière Brothers’ colour photography process, dispatched photographers out into the world to develop a unique photo archive. Over 70,000 colour photos have survived in this collection.
They represent an immense ethnographic treasure and were also intended to perform a mission of peace: Bringing the outside world closer to home. Kahn’s activities were intended to help secure the fragile peace. The exhibition brings this treasure trove of images from a long forgotten world to light.
For Albert Kahn, knowledge of peoples, buildings, landscapes and lifestyles was directly related to his desire for global peace: People who know and respect one another, and who encounter one another face to face, do not need to wage war.mongolei__ulaanbaatar._der_finanzminister_des_unabhaengigen_staats_mongolei_auf_dem_marktplatz__stephane_passet__22._juli_1913
In 1908/09, excited by the new autochrome process of the brothers August and Louis Lumière, Kahn commissioned his photographers to document the world with the goal of assembling an archive of colour photographs from Europe, Asia and Africa. They photographed local scenes and people in typical clothing as well as monuments of cultural history.
From this global treasure trove, more than 160 images have been selected for this exhibition. The autochromes from the Kahn archive form the centrepiece. The exhibition also displays images and projections by Adolf Miethe (1862 – 1927) and Sergei M. Prokudin-Gorskii (1863 – 1944).
mgb14_welt_1914_01_buddhistischer_lama_media_gallery_resAdolf Miethe, the inventor of a panchromatic film-coating process and thus the creator of three-colour printing, played a significant role in the development of colour photography. His presentation before the Kaiser led to a commission to create a colour documentation of German landscapes for the St. Louis World’s Fair. His work also enjoyed great popularity as collectible pictures sold with chocolate bars. This resulted in the “Stollwerck Album” – Germany’s first coloured photographic album.

Moreover, the Miethe Process inspired the Russian photographer Sergei Mikhailovich Prokudin-Gorskii. His work is present in the form of approximately twenty-five colour prints and fifty projected photos. A special item is on loan from the German Museum in Munich: The original projector with which Sergei Prokudin-Gorskii exhibited his work to Nicholas II, the last tsar. In 1909, as a result of this presentation, Prokudin-Gorskii received a commission to record the Russian Empire in 10,000 photos. Between 1909 and 1915, Gorskii made several thousand photographs of great brilliance. He documented the cultural diversity of the tsarist empire from the Crimean Peninsula to Siberia.

 

Organizer Berliner Festspiele. A cooperation project of LVR-LandesMuseums Bonn and Gropius-Bau, Berlin.
As part of the European Month of Photography Berlin
The Martin-Gropius-Bau is funded by the Federal Government Commissioner for Culture and the Media
Partners WALL, BTM-Visit Berlin, Bouvet Ladubay, xm:lab – Experimental Media Lab, Hochschule der Bildenden Künste Saar
Media partners inforadio, Tagesspiegel, zitty, Exberliner, Berline Poche, Cicero, fotoforum, G / Geschichte, Business & Diplomacy
Information: 1 August to 2 November 2014

Opening hours
WED to MON 10:00 to 19:00
TUE closed
Information about the book: http://www.hatjecantz.de/1914-welt-in-farbe-5673-0.html

oesterreich__wien__judengasse__fotograf_unbekannt__23._april_1913 10454458_841313645899527_4381001926848386966_n 1901316_841313632566195_6654192495312873559_n irland__galway__marguerite_mespoulet__26._mai_1913 indien__uttar_pradesh__agra._mausoleum_taj_mahal_von_shah_jahan_fuer_mumtaz_mahal__stephane_passet__19.-21._januar_1914 indien__amritsar._marmorne_strasse_zum_goldenden_tempel__neben_den_rituellen_reinigungsbecken__dem_darbar_sahib_und_dem_hari_mandir__stephane_passet__15._januar_1914

 

 


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Mr DIYNN EADEL AMAR like FITZCARRALDO PART II: don’t allow your dream to give up! Shoot for the moon, for even if you miss you’ll land among the stars.”

SAD News: OUTDOOR CINEMA in THE SINAI DESERT was destroyed. But why not re-launch the challenge? then don’t allow your dream to give up!

Nothing is impossible. Risk Everything”

“By striving to do the impossible, man has always achieved what is possible. Those who have cautiously done no more than they believed possible have never taken a single step forward.” BAKUNIN.

sinai desert cinema outdoor

   cinema before destruction – kaupo kikkas

All the media and web-world talked about the discovery of a wonderful outdoor cinema abandoned in the Sinai desert; an incredible, magical and fascinating place where behind there is the story the realization of a dream by Mr. Diynn Eadel.

For several days newspapers have talked about this topic. I love the desert and I am a dreamer and this story touched me. I immediately likened Mr. Diynn Eadel to Fitzcarralo: the same dauntless foolishness and desire to achieve their dreams.

We all face obstacles in pursuing our goals, whether they’re professional or personal. If you don’t keep going, you’ll never know how far you could have gone and you’ll miss out on being the person you’d become through the effort itself. If you do keep going, well, it’s like this quote: “Shoot for the moon, for even if you miss you’ll land among the stars.”

This History has arousedmuch fuss, really too fuss because the sad news is: in these days the cinema in the desert the film was destroyed. I think it was a gesture really miserable, and it is too obvious that caused envy and wickedness of those who have not moral depth.

Mr. Diynn Eadel in the last days wrote:

“ I DID MY JOB and I DID MY DREAM. Dear Friends around the world :

I had dream .. And did everything to realize this dream..With dogs barking, wolves howling and with passion .. Fighting for my dream for years !

I did my work. You dreamed as well when you discovered and experienced the The Cinema At The End Of The World.. A most amazing dream…We Dared to dream and dared to stand out. Get off the beaten path.

I thank you all from the bottom of my heart.Diynn Eadel A.

Owner, Creator and Proud of the so called : “The Cinema At The End Of The World”.

noha_zayed 

Then in my head I think:” why don’t dream to rebuild this outdoor cinema in the Sinai desert (eventually not in the same place) but this time to make it operational?. Imagine you an evening with a projection of Dune’ movie, David Lynch invited along with spectators, Bedouins and camels.

I believe that in the era of new technology and mass communication a challenge like this could become true and demonstrate the quote: “Those who dream can move mountains.” Fitzcarraldo

What do you think?

Someone accepts the challenge?

How a famous ADV (Nike) says : “Nothing is impossible. Risk Everything”

Write me in the case, if you’re dreamer and we could get in touch with Mr. Diynn Eadel.

manganelli.monica@alice.it

DREAMERS COME OUT!


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Mr DIYNN EADEL AMAR like FITZCARRALDO: AN ABANDONED CINEMA IN THE SINAI DESERT inspired by DAVID LYNCH movie, DUNE. “THOSE WHO DREAM CAN MOVE MOUNTAINS” (Fitzcarraldo)

Those who dream can move mountains.

But the question that everyone wanted answered was whether I would have the nerve and the strength to start the whole process from scratch. I said yes; otherwise I would be someone who had no dream left, and without dreams I would not want to live.”

(B. S. Fitzgerald – FITZCARRALDO)BkD2_PBCAAA_2vb.jpg large

Do you remember the mythic movie by Herzog Fitzcarraldo with Klaus Kinsky in the role of an intense businessman and adventurer?, full of dreams, whose spirit is perfectly expressed by an epic sentence of the film: “Those who dream can move mountains”. Fitzcarraldo acts as an icon of the last true dreamers, artists, at the beginning of the 1900s that have put primary emphasis on the realization of their dreams.

In the beginning of this century another adventurer wanted to make his crazy dream!

How you can find a movie theatre into an incredible place: Estonian photographer, Kaupo Kikkas, discovered an abandoned outdoor cinema movie theatre deep in the Sinai desert, apparently, built it in the early 2000s.

KK

An eccentric french berber artist, sometimes actor, when he was traveling in the desert and decided he needed to watch David Lynch’s Dune.

Then the Frenchman Diynn Eadel, who thought it was a brilliant location for a cinema. In Cairo, Eadel bought 150 wooden chairs and a projector from an old theatre. He hauled in a generator for electricity and a tractor to pull up a giant screen.

Who knows why he decided to abandon it and if he ever accomplished the screening.

Unfortunately, the local authority weren’t to thrilled about Eadel’s idea. On the night of the premiere, everything went wrong. The generator mysteriously failed to work. To this day, not a single film has been screened at this “End of the World Cinema.”

Photos and information about this place, other than Kaupo’s, is strangely hard to find. It basically doesn’t exist on the internet. After Kikkas’s discover this year, Mr Eadel preferred the silence.

How does a place like that remain such a well-kept secret? Is someone trying to keep it a secret? Is it even real?! Fortunately it is, and here is the original flyer for the Frenchman’s cinema which was called “La Tête dans Les Etoies”, (head in the stars) and other vintage pictures on twitter.

789x960xetoiles.jpg.pagespeed.ic.07lKSKGDKa

kaupo_kikkas

Senza titolo-1

Google maps location

 


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ARCHITECTURE and CINEMA: I’M LOVE and VILLA NECCHI in MILAN

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Entrance – Villa Necchi – Milan

This time I want to talk you about a hidden treasure that is located in Milan: Villa Necchi by Milanese architect Piero Portaluppi in 1935, Necchi Campiglio Villa brims with decorative arts and furnishings collected by the Lombard industrial family, a unique and important piece of architecture that perfectly captures the Milanese style.

I’ve already told you how much I love the architecture of this period and this villa is a gem nestled in a small green oasis near the Corso Magenta in Milan.

This place has been the main set of the Guadagnino’s film I’M LOVE with Tilda Swinton and great italian theater actor Pippo Delbono.
A precious movie where the aesthetic component is very important in the characters’ description (scenography and costume design are simply perfect).
Especially the clothing speaks something about the character’s identity, situation, dreams or whatever!! Just as we wake up daily and decide how to present ourselves to the world, I want to see the characters in films do likewise and embrace their own personal style. I recommend you to see it.

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I’M LOVE by Luca Guadagnino

VILLA NECCHI constructed between 1932 and 1935, Necchi Campiglio Villa has survived completely intact, both outside with its ample yard, tennis court and pool, and inside with its rich succession of rooms. Architecture, decorative arts, furnishings and collections express as a harmonious whole the high standard of living of the owners, who belonged to the upper middle class of Lombard industrial families. At the same time, the fervor of daily activity is adequately witnessed by the service areas of the house, the pantry, the kitchens and bathrooms, all still graced with their original facilities.

villan

In addition, two important donations enrich the visit: Claudia Gian Ferrari’s collection of early 20th century art and Alighiero de’ Micheli’s collection of 18th century paintings and decorative arts. Then you can have also the opportunity to see Morandi, DeChirico, Sironi and Canaletto masterpieces.

VILLA NECCHI CAMPIGLIO, via Mozart, 14 – 20122 Milano, Italia
From Wednesday to Sunday,10 A.M. to 6 P.M. Last entrance: 5:30 P.M. phone: +39 02 76340121 – f +39 02 76395526 email: fainecchi@fondoambiente.it

VILLA NECCHI / FAI

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Jimmy Nelson: BEFORE THEY PASS AWAY and Mongolian Inspiration.

“Fine horses and fierce eagles are the wings of the Kazakh”.

JNelson (6) I decided to realize one of my dreams in life this year: a travel in Mongolia. It’s a land that always fascinated me, maybe because I know, I have the memories of the past: in one of my previous lives I was a warrior Mongol leader.

I know it is strange to tell about that, not the last (where I was a Thai monk), but one of many my previous lives, I have clear memories and scenes in front of me regarding this life. So I always wanted to travel one day in Mongolia! I love all the Mongolian culture: clothing, jewelry, traditions, landscapes etc.

All this talk about to say and show you a great photographer that I Love so much: JIMMY NELSON. In Berlin today Camera Work and CWC Gallery has inaugurated his wonderful exhibition:  BEFORE THEY PASS AWAY.

In many respects, the term »unique« describes the people portrayed by Jimmy Nelson best: Representatives of the world’s last indigenous peoples are the protagonists in Nelson’s photographs. His works go far beyond serving solely as a neutral visual document, serving the public’s vague idea about the existence of those tribesmen and peoples.

With his epochal series, Jimmy Nelson establishes an awareness for the fascinating variety of the culture- and history charged symbols of the people, reflecting their rites, customs and traditions, that hitherto has not existed to this extend. Among several other countries his journeys led Nelson to Ethiopia, Tanzania and Kenya, to China and Nepal or Siberia and Mongolia.

JNelson (5)  The cultural prosperity of the indigenous populations of those countries differentiates itself even further within each single tribe in a new and different way.

The spectator is confronted with the unknown and foreign in a genuine sense through the unfamiliar exoticism of the luxuriant fur robes of the Kazakhs in Mongolia, the colorful cloths of the Maasai in Tanzania, the pearl jewelry and feather decorations of the nhabitants of Goroka in Papua New Guinea, or the unembarrassed bare skin, if not tattooed or painted, of the Karo in Ethiopia.

His pictures oscillate between being a visual testament of authenticity and being the expression of a calculus of composition committed to the ideas of beauty, pride and dignity.

JNelson (10) Pride and dignity lie in the looks of the portrayed persons’ eyes that are vigorous enough to transcend the photograph’s restriction by frame even in front of a totally diminished background. They tell exactly those stories that are of vital importance to Jimmy Nelson and that he is keen to find on his journeys.

Different perspectives and layers of meaning thus seem to overlap and intermingle in the photographs. Their contents’ authenticity poses the question as to which extent, or in which cultural frame, such attributes can be attested by the spectator. For the tribesmen their bodies are jewelry just as the ones they decorate them with. JNelson (8)

This game with signs, repeated by Nelson in his visual language, encodes his works with ambiguity, is eventually a game of appearances. To generally bring appearances into question is one of the central messages Nelson took with him on his journeys.

Exhibition from March 8, 2014
CAMERA WORK ⋅ Kantstrasse 149 ⋅ 10623 Berlin · Germany · Tue–Sat 11a.m. – 6 p.m.
CWC GALLERY · Auguststrasse 11–13 · 10117 Berlin · Tue–Sat · 11a.m. – 7p.m.

 

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