As seen in TCD news Oct 10-2007, Nov 28-2007, Dec 19-2007, May 02-2008, and May 01-2008.

As seen in GradCAM

La catedral studios

Just for the record, mine mainly, these are some cameras I had the pleasure of using at some point.

Got this brochure on the snail-mail recently. I cant help but wonder “why? why now?”, do they know something I dont? Most likely. I, in any case, feel now very well prepared, thanks to this piece of reading. Its a pity it is just an introduction…
Incidentally, www.emergencyplanning.ie

NEO2
www.neo2.es

FOAM
www.foammagazine.nl

ETAPES
www.etapes.com/international/
www.ggili.com/etapes/

VISUAL
www.visual.gi

OJO DE PEZ
www.ojodepez.org

Very interesting work, high production values. More at www.julianwolkenstein.com.

Caio Reisewitz is known for his studies about the São Paulo architecture as well as landscapes that seemingly were shot in the heart of the jungle but that, in fact, come from the vicinity of the city of São Paulo. In a way, his photographs evoke dreams that have materialized in the Brazilian territory, a land frequently cited for its prodigality and natural beauty.

Virgin forest, desert land, vegetation growing in man-made spaces and the humanized landscape are themes addressed at the exhibition. Thanks to the artist’s careful attention to details, viewers perceive the human influence in each of his photographs. Even though there is no person to be seen, the consequences of human actions are present through buildings or other interventions. Caio Reisewitz points out a before and an after in terms of nature: “whereas the ‘before’ challenges us with its virginity, the ‘after’ startles us by showing the mistakes we have made, which are also sublime and rather terrifying.”

At the show, five large-format photographs will embrace the spectator with their bulk, their texture and their rich details. In addition, 13 small- and medium- format works will be on display.

Caio Reisewitz was born in São Paulo and trained in Visual Communications at Fundação Armando Álvares Penteado. In the early 1990s he attended the Fachoberschule für Gestaltung, of Darmstadt, and attained a degree from Kunstakademie Mainz. He worked directly with Andreas Gursky and Thomas Struth, two of the most important artists of the contemporary photography that had the Dusseldorf Academy as birthplace. He was awarded acquisition prizes at the 4th and 6th editions of the Museu de Arte Moderna da Bahia Salon in 1997 and 1999, respectively, and the Sérgio Motta Prize, in 2001. Reisewitz showed his work at biennial exhibitions such as at Biennial of the End of the World, in Argentina, and Biennial of Sport In Modern Art (BIDA), in Spain, in 2007. In 2006, he attended the 5th International Biennial of Photography in Liège, Belgium. In 2005, he integrated the Brazilian delegation to the Venice Biennale and he also showed, in 2004 and 2002 respectively, in the international biennials of São Paulo and Buenos Aires. His photographs have been shown in such museums and cultural centers as Centro Galego de Arte Contemporánea (Santiago de Compostela, Spain, 2002), Museu de Arte Contemporânea de Goiás (solo exhibition, in 2003), Cisneros Fontanals Art Foundation (Beyond Delirious, Miami, USA, 2005), Neuer Berliner Kunstverein (Fotografia Brasileira Contemporânea, Berlin, Germany, 2006), Museu de Arte Contemporáneo (Alegoria Barroca en el Arte Contemporáneo, Santiago, Chile, 2006), in addition to showing solo during PhotoEspaña 2006 at Casa de América, in Madrid, Spain, and in the exhibition Portraits de Villes: Brasília, Chandigarh, Le Havre at Musée Malraux in Le Havre, France, in 2007.

With Camel and Camera - Historical Orient Photography 1864 - 1970
20th April - appr. 7th September 2008
opening: Sunday, 20th April 2008, 11 am

With catchwords like “clash of civilizations” and “Islamist terror” a rather undifferentiated picture of the Islam is currently conveyed in western public. However, about 18,000 historical photographs of the Museum für Völkerkunde Hamburg from the Near and Middle East and North Africa draw a different picture. For the first time, a selection of these aesthetically outstanding and scientifically important documents is offered to the public. The exhibition of these photographs, taken between 1870 and 1970, shows the regional and social complexity as well as the historic dynamism of the region. The displayed images are characteristic examples of the European view on foreign parts at that time. In continuing orient painting they shaped the western perception of the East, as it influenced them in reverse.
The broad scope of represented photographers, regions, and images of our collection is exceptional. There are aesthetically highly appealing photographs from professional studios in North Africa, Egypt, and the Holy Land of the 19th century which reflect the prevalent Eastern stereotypes. Pictures of North African Berbers, who were presented to audiences as living objects, for example at Hagenbeck, reflect the fascination for the wild and the exotic. Historical touristic souvenir pictures are as well part of the exhibition as very early photographs of scientific expeditions which led to regions hardly or not at all accessible for Europeans until then.
Thanks to the intensive support of the ZEIT-Foundation Ebelin and Gerd Bucerius, their photographic stock from the Near and Middle East and North Africa could be digitized, remastered, and scientifically reconstructed within the framework of a three-year lasting project.

via voelkerkundemuseum.com.

Mansard Roof

I see a mansard roof through the trees

I see a salty message written in the eaves

The ground beneath my feet

The hot garbage and concrete

And now the tops of buildings, I can see them too

The Argentines collapse in defeat

The admiralty surveys the remnants of the fleet

The ground beneath their feet

Is a nautically-mapped sheet

As thin as paper

While it slips away from view

via vampireweekend.com