John Cohen on Passing Sep 16, 2019 Noam Chomsky Independence of Journalism Julian Assange + Telling Truth Fixing Reality Xu Yong

SPECIAL EDITION PARIS PHOTO | WEDNESDAY, NOVEMBER 6, 2019 BY GALERIE JULIAN SANDER, COLOGNE, GERMANY

BY JULIAN SANDER

The more we know, the more we know what we do not know. There is a profound wisdom in this con- tradictory sounding truth.

Our desire to know things is the insatiable urge that has and conti- nues to drive our kind to its greatest heights and its darkest depths. As our knowledge of each other has grown we have also gained a larger understanding of just how large the world is in which we all live.

The news, a natural product of our need to prioritize the granular aspects of our existence, has become a common base line of knowledge. As all things that develop out of a necessity, the news has become a tool kit for the movement of mass information be it true or false. Although chances are that it will be somewhere in between more often than at either extre- me, at least for most of us who’s access to information is limited to that which has passed through the filters of national security and political correctness.

These well formulated truths serve to help us make sense of a world so much larger than the numbers any of us can actually digest.

7.7738.603.459 people populate the world as of 23:09 CET on Octo- ber 21,2019. By comparison an 80 Reaper Drone in Temporary Hangar, Holloman AFB, NM, 2012, by Sean Hemmerle year life consists of 2.524.608.000 seconds. born with. We forget the horrors of ant enough for you to see. The Oliver Abraham’s portraits with Our ability to know the world is a our youth and render that period reasons for why the work is shown their austerity confronted us with Imprint fallacy that we tell ourselves in or- of our lives in a warm nostalgic here will fade, what will remain the still physiognomy of the indi- Galerie Julian Sander GmbH der to make the sheer scale of this glow regardless of our understan- is the impact the image leaves on vidual sitters. Abraham has con- Cäcilienstraße 48 life we live in seem somehow con- ding that children are monsters, you. This is where the curation of densed a conversation with each 50667 Cologne | Germany tainable. and that we were all children. our personal experience begins, in of these individuals into the one Tel. +49 (0) 221 1705070 the selection of what we remem- resonating moment. It is a group [email protected] In an 80 year life a person could The truth is by nature, never ful- ber. of conversations that monument www.galeriejuliansander.de meet a maximum of 4.891.428 ly true. The parts we remember the profound impact of the people people if he/she/they start at 18 are particular to the meaning they The works I have chosen to show rendered. Circulation and did nothing but sleep and have for us. you here and now satiate a desire 500 copies meet, spending 5 minutes per soul. in me. This is a tribute to the news. Xu Yong shows us what an idea I could also have a 10-minute con- That is how memories becomes im- can become, even when the larger versation with every person living portant. We remember the things The reaper drone by Sean Hemm- news narrative tried to remove the Texts by Anna Budde, Lea Bussenius, in Paris if I spent 62 years doing through experience and repetition. erle is an image of mechanical per- events from the history books. “Ne- Noam Chomsky, Sean Hemmerle, nothing else. The more often we are reminded fection. A machine capable of pre- gatives” show people who are stan- Julian Sander This is all absurd of course. The of any given event or construct the servation or destruction of life as in ding for what they believe in. fact is that we do not want to meet deeper it will be engraved in our a computer game. Echoing the vi- every person. In fact, we prefer to memory. sion of Dan O’Bannon and Ronald What you take with you depends Editorial Coordination keep our world controllable. We Shusett as they wrote the ground on what you bring to the experien- Anna Budde, Tamara Könen trust the well formulated truths None the less it is important to breaking script for “Alien” in the ce. News is as little true as it is fal- Kristina Gell, Julian Sander that we consume based on our con- understand that what we see is late 1970’s, the physicality of this se. In the end we decide what the viction, like those presented by Fox brought to our attention in part by image reminds me of the Aliens truth is, both individually and as a Design und Layout News and/or CNN. It makes the the conviction of others. Indeed, head and the precision of their society. Marcus Cormann scale feel human. This is a funda- this whole fair is filled with images purpose. This is a personal associa- www.mwk-koeln.de mental survival tool that we are all that someone thought was import- tion of course as all art must be.

JOHN COHEN NOAM CHOMSKY JULIAN ASSANGE + XU YONG ON PASSING INDEPENDENCE OF TELLING TRUTH NEGATIVES ACT AS SEP 16, 2019 JOURNALISM FIXING REALITY WITNESS PAGE 5 PAGE 6 PAGE 7 PAGE 9 2 | WEDNESDAY, NOVEMBER 6, 2019 GALERIE JULIAN SANDER, COLOGNE, GERMANY “…as it was and as it was changing” Media Nodes by Sean Hemmerle

BY SEAN HEMMERLE The Media Nodes series, which I began in 2002, was born from my desire to photograph the news media as it was and as it was changing. I wanted to photograph the nodes of production in order to visually articulate the activities and environments of “the media”. At that time, it was apparent to me that the news media was in transition. The few bloggers in operation were largely independent and not taken seriously. Magazines with previously stellar reputations for investigative news were sliding toward jingoism, celebrity, and financial instabili- ty. Fox News was overtaking CNN in the Nielsen ratings, and Ted Coppel’s numbers were slipping on Nightline. At that moment, it seemed that hard-core, investigative journalism as we had known it was in peril.

My grandfather was a newspaper man in the Bible Belt. My father worked as a cameraman at a Phoenix TV station. My first job was working as a paperboy for the Arizona Republic. I am ob- sessed with news coverage, what we call the media, the products of the airwaves, those who make the news, and how we decide what is been unprecedented turnover and worthy of reporting. evolution of the “Fourth Estate”. Journalism has been retooled and Artist Profile I considered each newsroom as a remains vital, but in new forums node of production, choosing to like Al Jazeera, Politico, propubli- photograph them architecturally, ca, Democracy Now, and a myri- industrially, and using long expo- ad of independent bloggers. This Sean Hemmerle sures. This approach illustrated leaner, more agile media is repor- the proxemics of each location ting on events happening every shows depictions of the citizens national Center for Photography, SEAN HEMMERLE via traffic flow and spatial arran- moment of every day. of the two war-torn countries in and the Martin Margulies Ware- gements. Without a caption or 1966 born in Tempe, Arizona, the Middle East. Each subject is house. Hemmerle's images have explanation, viewers can glean While the monolithic Tiffany Net- USA, now residing in Poughkeep- portrayed frontally with no direc- been featured in numerous pu- the functionality of these spaces work of Edward R. Murrow’s day sie, NY. tion from the artist, allowing the blications, including Metropolis, through elements such as the pla- has yielded to a multi-channel Sean Hemmerle is a New York-ba- individual photographed to (re-) Time, and the New York Times cement and type of furniture, le- chorus of decentralized contribu- sed photographer whose work present themselves. Magazine. vels of lighting, and the divisions tors, the decisions through which ranges from international conflict His conflict images span a tumul- of volumes. Each person working stories are prioritized and distri- zones to contemporary architectu- tuous decade, from the World SELECTED PROJECTS in these offices has his or her own buted is still a process practiced re. After serving in the U.S. Army Trade Center to Kabul, Baghdad, INCLUDE function, however, the organiza- regularly in newsrooms across the (1984-1988), he attended the Gaza, Juárez, and Beirut. Closer tion portrayed (whether indepen- nation. The character of the re- University of Miami and earned to home, Hemmerle has created THEM: Iraq and Afghanistan dent paper or media conglome- sulting news product varies from an MFA from the School of Visu- award-winning photographs that (2002-2003); Brutal Legacy: Paul rate) also has a unique mission, node to node, evolving into pat- al Arts in New York in 1997. He reflect the pathos and poetry of Rudolph’s Orange County Go- which becomes more discernible terns of bias unique to each insti- quickly established his reputation the American Rust Belt, including vernment Center, The Graham after studying its interior spaces. tution. Each newsroom’s physical as a sought-after architectural works from Detroit, Pittsburgh, Foundation (2013); Media No- space and its materials of cons- and urban landscape photogra- Toledo, Gary and Albany. des, Columbia Journalism Review In 2002, I approached the Colum- truction indicate that organizati- pher, and since 9/11 has turned He has collaborated with the Co- (2002-2011); The Remains of De- bia Journalism Review, asking if on’s personality. The project that his eye toward documenting the lumbia Journalism Review on the troit, Time Magazine (2008); The they would collaborate on this is Media Nodes, consequently, be- effects of war in New York, Afgha- Media Nodes project, a photogra- American Rust Belt, Time Magazi- project and they agreed. The first comes a view behind the curtain, nistan and Iraq. Having witnessed phic survey of more than sixty ne (2009); Walls, Photographer’s organization to say "yes" to our beyond the front page, to the in- the World Trade Center attacks, American newsrooms, exposing Companion, China (2006); Iraq: requests was the New York Post. terior landscape of an industry in Hemmerle felt that another re- their functionality and proxemics. The Secret Collaborators, Time Next, having shot for Time, I con- transition. The exact placement of sponse to these events was ne- Hemmerle has exhibited natio- Magazine (2003); Afghanistan: tacted colleagues there inquiring each chair is evidence of this evo- cessary. The resulting images are nally and internationally. His Postwar Correspondent, Metro- about whether I could photo- lution. compassionate studies of people work can be found in public and polis magazine (2002); The Twin graph their location and process. under attack by his own govern- private collections, including the Towers, Metropolis (December In the past fifteen years, there has September 2017 ment. The project called “THEM” Museum of Modern Art, the Inter- 2001). CNN Headquarters | Atlanta, Georgia | 2005/2015 | Digital Chromogenic Print | Ed. of 5 | 62 x 74 cm | Sean Hemmerle 4 | WEDNESDAY, NOVEMBER 6, 2019 GALERIE JULIAN SANDER, COLOGNE, GERMANY GALERIE JULIAN SANDER, COLOGNE, GERMANY WEDNESDAY, NOVEMBER 6, 2019 | 5 Reality, Roscoe Holcomb in NCY | 1964 | Gelatin silver print | 27.8 x 35.3 cm | by John Cohen in all its consequences: THEM. Ralph Rinzler, Bob Dylan, John Herald at the Gaslight Cafe | N.Y. | 1961 | Gelatin silver print | 27.8 x 35.3 cm | by John Cohen

Vicco E. Kentucky | 1959 | Gelatin silver print | 27.5 x 35.5 cm by John Cohen

Larry Rivers, Jack Kerouac, Gregory Corso, David Amram, Allen Ginsberg | 1959/1995 | Gelatin silver print | 27.8 x 35.4 cm | by John Cohen,

Pictures from left to right, from top to bottom: Sean Hemmerle, Airport Manager, Kabul, Afghanistan, 2002/2018, Gelatin silver print, Ed. of 5, 40 x 40 cm / Sean Hemmerle, Administrator, Kabul, Afghanistan, 2002/2018, Gelatin silver print, Ed. of 5, 40 x 40 cm / Sean Hemmerle, Student, Kabul, Afghanistan, 2002/2018, Gelatin silver print, Ed. of 5, 40 x 40 cm / Sean Hemmerle, Road Workers, Konduz, Afghanistan, 2002/2018, Gelatin silver print, Ed. of 5, 40 x 40 cm / Sean Hemmerle, Student, Baghdad, Iraq, 2003/2018, Gelatin silver print, Ed. of 5, 40 x 40 cm / Sean Hemmerle, Plumber, Baghdad, Iraq, 2003/2018, Gelatin silver print, Ed. of 5, 40 x 40 cm / Sean Hemmerle, Fixer, Tarbil, Iraq, 2003/2018, Gelatin silver print, Ed. of 5, 40 x 40 cm / Sean Hemmerle, Squatter Housewife, Baghdad, Iraq, 2003/2018, Gelatin silver print, Ed. of 5, 40 x 40 cm On passing.

In 1927, August Sander writes "THEM" is a body of 50 portraits tually he started taking black- I did not know John Cohen but through recording what happened around him about photography. In speaking of Iraqis and Afghans, all shot in a and-white portraits of the peop- ”…I awoke this the photographic images he created. His and looked into the way the events, the about the special nature of pho- similar fashion. It is a compelling le he encountered. THEM shows work was first introduced to me as a gift characters and even the nature of the tography he explains: “Photogra- work of contemporary portraitu- depictions of the citizens of the- morning to a pigeon from my father in the form of a portrait people were connected, if only through phy can show things in grandiose re and an intelligent visual mani- se two war-torn countries in the of Woodie Guthrie playing in a triangle a language he understood both visually beauty but also in horrifying ho- festation of reality. Each subject Middle East. These sensitive por- formed by two men who’s face were not as well auraly. nesty, while at the same time de- is portrayed frontally with no di- traits of individuals stand in stark nesting on my window visible. It is an image that resounds with ceiving you in the most cunning rection from the artist, allowing contrast to the concept of a uni- the compositional skill of an old master Maybe none of this is true. Maybe I am of fashions. We must be prepared the individual photographed to versally identifiable enemy -for sill. The ancient city showing the lead figure centered and making it all up like so much of what to endure seeing reality; but more (re-)present themselves. The por- med by the people in the United surrounded by a very strong triangle. the world we live in is made of. Does it importantly, we must pass it on traits depict average people in States. The resulting images are behind her stretched matter? I doubt it. to our fellow people and to future dire circumstances, a person in compassionate studies of people John was an artist. His music lived as generations, regardless of whet- a hostile landscape. Echoing the under attack by Hemmerles own across hilltops beneath strongly in his photographs as vise ver- Life is less than the life we have lived her it speaks well of us or not." display modalities of August San- government. sa. His work has resonated with me, after we die. Our history is relegated der's iconic portrait series People a cool, cloudless sky. I maybe because of the eye for music to the echo of our actions on the world “If I, as a man in good health, am of the 20th Century, Sean Hem- “These pictures were originally and rhythm that is seen in the images and the way the world reacts to them. so arrogant as to see things the merle's corpus of black-and-white intended as a sort of ‘Fuck you’ shared boiled eggs and he captured. I have photographed many Of all the people who died in any gi- way they are and not as they could portraits possesses visual power. to the Bush administration, I ne musicians in my own lifetime and un- ven situation it is the heroes, or those or should be, then I ask that the ver thought after he was gone we coffee with a traveler derstand the delicacy with which the we name who are immortalized in the world forgives me, but I must.” Sean Hemmerle travelled to would eventually end up with so eye, the ear and the hand must be con- ledger of our time. Is John one of them? both Afghanistan and Iraq fol- meone that made him look good. from Japan. He was nected in order to capture the magical I am not sure. I hope so. This body of work shows us reali- lowing the events of Septem- They’re a ‘Fuck you’ to someone moments. ty, with all its consequences. ber 11, 2001. Having witnessed What will continue is John’s voice in else now.” John Cohen, Leatherwood. Kentucky, 1959, Gelatin silver print, printed later, 27.5 x 35.5 cm ______the World Trade Center attacks, ______headed to Petra, and I But Johns work moved beyond just the the long narrative of our time. His work Julian Sander, 2017 Hemmerle felt that another res- Sean Hemmerle, March 2018 surface of the music, or the culture. As captured a specific time and a group ter the stories of those he rendered. connection, my ideal of what John did ponse to these events was neces- was off to wander the one who experienced some of the most of groups of people that stand as a re- It is how I will remember John Cohen, is enough for me to remember him for sary. Hemmerle felt compelled It is important to note that Hemm- profound shifts in our current visual cord to the resonance of human beings because I did not know him. I knew his my lifetime. ______to depict something of value and erle himself was once a sergeant hills of Amman.” and philosophical understanding may- as they show themselves to each other. work, and as with all artists whom we decided to photograph the mine- in the US Army. His travels to be he went beyond the simple act of It shows a starting point for us to en- are attached because of our heartfelt Julian Sander, 2019 fields, battlefields and surroun- these lands and his photographic ding architecture in Afghanistan practice should be understood as Sean Hemmerle, Amman, September 27, 2003 and Iraq in 2002 and 2003. Even- an alternative type of "shooting". 6 | WEDNESDAY, NOVEMBER 6, 2019 GALERIE JULIAN SANDER, COLOGNE, GERMANY GALERIE JULIAN SANDER, COLOGNE, GERMANY WEDNESDAY, NOVEMBER 6, 2019 | 7 Freedom of Speech Julian Assange

In times of questionable govern- expresses their political attitude nion, press freedom and activism. events and their reception through should allow an unfiltered and clo is an Australian computer programmer, a Eighth Command at the age of seventeen was mental action concerning freedom artistically. Due to the political “My concern is to unite connections media attention. In the context of se representation of these personal grantee of political asylum, a fugitive from a liberating experience. But our group, which of press (one of many examples is events, the work has documentary and influences among each other activism and in front of the (lite- ities and thus act as an antidote to a British arrest warrant for breaching bail centered on the underground magazine I foun the recent announcement by the elements, whereas the selection of on the basis of an ongoing series ral) background, Chomsky's ref- ______the digital flood of images.” conditions, and the editor of WikiLeaks. As- ded, was raided by the Federal Police. It was Trump administration to put a the people as well as the presen- of photos "protagonists" from dif lections will leave the individuals sange founded WikiLeaks in 2006 and came a big operation. But I thought that I needed permanent stop to the daily press tation are subjective. The photo- ferent disciplines (philosophy, jour their singular meaning, but at the Oliver Abraham, 2019 to international attention in 2010 when Wi- to share this wealth that I had discovered ab briefings), it becomes more and graphs are accompanied by a text nalism, activism, art and politics) same time transpose them into an kiLeaks published a series of leaks provided out the world with people, to give knowledge more important to raise awaren- by Noam Chomsky about indepen- and different generations (pre- and overarching network, pursuing a Over years, the series has grown by Chelsea Manning. These leaks included to people, and so following that I set up the ess t these topics. dent journalism and how it should post-internet, digital natives, 68 ge common goal: the preservation through more and more people the Collateral Murder video (April 2010), the first part of the internet industry in Australia. “Freedom of Speech” is a series be shaped. The text is hidden be- ______neration) demonstrate.” of human rights – foremost the engaged in the subject, which the Afghanistan war logs (July 2010), the Iraq I spent a number of years bringing the internet of portraits of extraordinary con- hind the individual portraits, so struggle for freedom of speech, Artist would like to portray as an war logs (October 2010), and Cable Gate to the people through my free speech ISP and temporary personalities by Oliver that the visitor can, should or even Oliver Abraham, 2019 freedom of the press and the cri- international network. Meeting (November 2010). Following these events, then began to look for something with a new Abraham. Among them are jour- must "look behind the picture" in- tical examination of state surveil- the personalities and the related the federal government of the United States ______intellectual challenge.” nalists, musicians, philosophers, teractively and investigatively. The portrayed are all contempo- lance. exchange, it helps him to better launched a criminal investigation into Wiki- representatives of the "New Left" as Following the example of Noam raries who, through their work, understand the events of the past Leaks and asked allied nations for assistance. Julian Assange in an interview with Hans well as artists and writers. Every- Chomsky’s ideas, the works explo- draw attention to various topics “My analog approach and the deli years and also see things that ap- He sought political asylum in the Ecuadorian Ulrich Obrist in e-flux magazine, 25.5.2011 one deals with the topic of sur- re questions about the impact of and social problems, thereby ena- berate reduction in black and whi ply beyond the daily official repor- Embassy in London in the summer of 2012. veillance and press freedom and mainstream media on public opi- bling the understanding of current te and a limited number of films ting. 2019 he was arrested and is currently facing trial.

“I was very curious as a child, always asking why, and always wanting to overcome barriers to knowing, which meant that by the time I was around fifteen I was breaking encryption Independence of systems that were used to stop people sharing software, and then, later on, breaking systems that were used to hide information in govern Journalism ment computers. Australia was a very provinci al place before the internet, and it was a great delight to be able to get out, intellectually, into BY NOAM CHOMSKY, JANUARY 7, 2017 the wider world, to tunnel through it and un derstand it. For someone who was young and definition just and right according prominent TV channel in the US historic day. On that day Donald relatively removed from the rest of the world, Julian Assange | journalist, editor-in-chief for WikiLeaks | 21.12.2014/2019 | Baryt Warmtone | Oliver Abraham to prevailing orthodoxy even if had supported a military coup as Trump won two victories. The to be able to enter the depths of the Pentagon’s they are in reality “wicked wars,” RCTV did, then it wouldn’t be re- less important one received ex- major crimes. Illustrations are too pressed a few years later, because traordinary media coverage: his numerous to mention. In some ca- it would not exist: the executives electoral victory, with almost 3 ses, like the crime of the century, would be in jail, if they were still million fewer votes than his op- the practice is virtually without alive. ponent, thanks to regressive fea- exception in respectable circles. tures of the US electoral system. 10. But orthodoxy easily overco- The far important victory passed 7. Another familiar aspect of sub- mes mere fact. in virtual silence: Trump’s victo- ordination to prevailing orthodo- ry in Marrakech, Morocco, where xy is the casual appropriation of 11. Failure to provide pertinent some 200 nations were meeting orthodox demonization of official information also has consequen- to put some serious content into enemies. To take an almost ran- ces. Perhaps Americans should the Paris agreement on climate dom example, from the issue of know that polls run by the leading change a year earlier. the New York Times that happens US polling agency found that a to be in front of me right now, a decade after the crime of the cen- 15. On November 8, the procee- highly competent economic jour- tury, world opinion regarded the dings halted. The remainder of nalist warns of the populism of United States as the greatest thre- the conference was largely de- the official demon Hugo Chavez, at to world peace, no competitor voted to trying to salvage some

Oliver Abraham, Noam Chomsky, linguist, 8.6.2011/2019, Baryt Warmton, Ed. of 6, 80 x 60 cm who, once elected in the late ‘90s, even close; surely not Iran, which hope with the US not only with- “proceeded to battle any demo- wins that prize in US commenta- drawing from the enterprise but 1. Mark Twain famously said It is legitimate to say that it was cratic institution that stood in his ry. dedicated to sabotaging it by that “it is by the goodness of God a “dumb war,” a “strategic blun- way.” sharply increasing the use of fos- that in our country we have tho- der,” even “the greatest strategic 12. Perhaps instead of concealing sil fuels, dismantling regulations, se three unspeakably precious blunder in the recent history of 8. Turning to the real world, it the fact, the press might have per- and rejecting the pledge to assist things: freedom of speech, free- American foreign policy” in Presi- was the US government, with the formed its duty of bringing it to developing countries shift to re- dom of conscience, and the pru- dent Obama’s words, highly prai- enthusiastic support of the New public attention, along with some newables. All that was at stake dence never to practice either of sed by liberal opinion. York Times, that (at the very least) consideration of what it means, in Trump’s most important victo- them.” fully supported the military coup what lessons it yields for policy. ry was the prospects for organi- 4. But “it wouldn’t do” to say what that overthrew the Chavez go- Again, dereliction of duty has zed human life in any form that Stéphane Hessel | diplomat, peace activist | 16.3.2012/2019 | Miao Zhang | journalist | 23.8.2015/2019 | Baryt Warmtone | Ed. of 6 | Angela Davis | civil rights movement activist | philosopher | 4.6.2018/2019 | Baryt Warmtone | Ed. of 6 80 x 60 cm | by Oliver Abraham 80 x 60 cm | by Oliver Abraham Baryt Warmtone | 80 x 60 cm | Ed. of 6 | by Oliver Abraham 2. In his unpublished introduction it was, the crime of the century, vernment – briefly, before it was consequences. we know. Accordingly, coverage to Animal Farm, devoted to “lite- though there would be no such reversed by a popular uprising. As was virtually zero, keeping to the rary censorship” in free England, hesitancy if some official enemy for Chavez, whatever one thinks 13. Examples such as the- same concept of “objectivity” as George Orwell added a reason for had carried out even a much les- of him, he won repeated elections se, which abound, are serious determined by the practices and this prudence: there is, he wrote, ser crime. certified as free and fair by inter- enough, but there are others that doctrines of power. Stéphane Miao Zhang Angela Davis a “general tacit agreement that ‘it national observers, including the are far more momentous. Take wouldn’t do’ to mention that par- 5. The prevailing orthodoxy does Carter Foundation, whose foun- the electoral campaign of 2016 16. A truly independent press re- ticular fact.” The tacit agreement not easily accommodate such a fi- der, ex-President Jimmy Carter, in the most powerful country in jects the role of subordination to Miao Zhang was a journalist for Die Zeit together with An- Angela Davis is an American political activist, academic imposes a “veiled censorship” ba- gure as General/President Ulysses said that “of the 92 elections that world history. Coverage was mas- power and authority. It casts the Hessel gela Köckritz reporting from China. She was imprisoned in and author. She emerged as a prominent counterculture sed on “an orthodoxy, a body of S. Grant, who thought there never we’ve monitored, I would say the sive, and instructive. Issues were orthodoxy to the winds, questions Beijing in 2015 for 9 months after she got arrested on her activist in the 1960s working with the Communist Party ideas which it is assumed that all was “a more wicked war than that election process in Venezuela is almost entirely avoided by the what “right-thinking people will way to a poetry reading. She now lives in Berlin. USA of which she was a member until 1991 and was briefly right-thinking people will accept waged by the United States on the best in the world.” And Ve- candidates, and virtually ignored accept without question,” tears Stéphane Hessel was a diplomat, ambassador, writer, con- involved in the Black Panther Party during the Civil Rights without question,” and “anyone Mexico,” taking over what is now nezuela under Chavez regularly in commentary, in accord with aside the veil of tacit censorship, centration camp survivor, French Resistance member and „One day three months ago, on October 1, 2014, I saw Movement. Davis is a professor emerita at the University who challenges the prevailing the US Southwest and California, ranked very high in international the journalistic principle that “ob- makes available to the general BCRA agent. He became an observer of the editing of the my friend and assistant Zhang Miao for the last time. of California, Santa Cruz in the Department of History of orthodoxy finds himself silenced and who expressed his shame for polls on public support for the jectivity” means reporting accu- public the information and range Universal Declaration of Human Rights. His short book It was 9 a.m. when she knocked on the door of my hotel Consciousness. with surprising effectiveness” lacking “the moral courage to re- government, and for democracy rately what the powerful do and of opinions and ideas that are a ”Time for Outrage!" (Empêchez vous!) from 2010 sold 4,5 room in Hong Kong. I was still in my pajamas. We had even without “any official ban.” sign” instead of taking part in the (Chile-based Latinobarómetro). say, not what they ignore. The prerequisite for meaningful par- million copies. been out until late at night reporting on the Occupy Cen crime. principle holds even if the fate of ticipation in social and political tral protests. Miao was on her way back to Beijing, but I 3. We witness the exercise of this 9. There were doubtless demo- the species is at stake – as it is: life, and beyond that, offers a “I think it is important that man in his mind can use not only wanted to stay longer. We hugged. "Take good care of “I am no longer accepting she assured me with a smile. prudence constantly in free socie- 6. Subordination to the prevai- cratic deficits during the Chavez both the rising danger of nuclear platform for people to enter into the material, but also the imagination. The desire to memo yourself," I said. "I will," rize something has always impressed me. I learned that from "And you, too. We’ll see each other again soon, anyway." the things I cannot change. ties. Take the US-UK invasion of ling orthodoxy has consequences. years, such as the repression of war and the dire threat of envi- debate and discussion about the my mother, and it helped a lot in different times of my life, Since then, Miao has disappeared. She’s being held in cus- Iraq, a textbook case of aggres- The not-so-tacit message is that the RCTV channel, which elicited ronmental catastrophe. issues that concern them. By do- tody.” I am changing the things when I was either bored or, worse, when I felt sick, like in the ______sion without credible pretext, the we should only fight smart wars enormous condemnation. I joi- ing so it serves its function as a concentration camps.“ I cannot accept.” “supreme international crime” de- that are not blunders, wars that ned, also agreeing that it couldn’t 14. The neglect reached a dram- foundation for a truly free and de- ______Beijing Journal on a Personal Matter by Angela Köckritz, fined in the Nuremberg judgment. succeed in their objectives – by happen in our free society. If a tic peak on November 8, a truly mocratic society. Süddeutsche Zeitung 6.3.2011 Die Zeit, 13.1.2015 8 | WEDNESDAY, NOVEMBER 6, 2019 GALERIE JULIAN SANDER, COLOGNE, GERMANY GALERIE JULIAN SANDER, COLOGNE, GERMANY WEDNESDAY, NOVEMBER 6, 2019 | 9 ‘Negatives act as witness’

Xu Negatives 14: The picture shows one of the student leaders, his banner calls for the support of the strike: Negatives 07: The picture shows banners with the inscriptions ”FREEDOM“, ”DEMOCRACY“ and ”EDUCATION“. ”SUPPORT THE STRIKE, SIGN YOUR NAME HERE!“ Yong 1989/2016 | Digital Pigment Print on Dibond | Edition of 10 | 80 x 60 cm | by Xu Yong 1989/2015 | Digital Pigment Print on Dibond | AP 1/2 | 150 x 110 cm | by Xu Yong Artist Profile

“To me, the most important point of this series is to highlight the relation ship between the physical film and its digital scan. It calls upon the viewer to think about the material, temporal and evidential qualities of film, and the relationship between the era of film photography and the digital age.” Xu Yong

Xu Yong ( ) was born in Shang- a scene district with many studios, in his works, such as the Chine- In 1989, Xu Yong photographed scenes with his Konica. All photo- in China. In 2014, Xu Yong final- SELECTED PUBLICATIONS hai in 1954 and is an autodidact galleries, design companies, bars, se sex industry or the Tianmen the Tiananmen Square protests graphs of the events were strictly ly published his photographs in a HUTONG 101: photographer. He graduated from and restaurants and is, therefore, Square Protests in 1989. In his in Beijing, China. For 25 years censored by the government later book. However, sales and distri- 1989 published by Zhejiang Photo Publishing House; Henan University of Science and becoming more and more popu- photo book ”This Face“, he shows the negatives have been hidden on. The images were therefore bution has been inhibited by the 1996 republished by Taiwan Shuqing Publishing Company; Technology in Luoyang in 1978. lar with visitors. In the meantime, 512 portraits, all of them of the in his archives in order to prevent hidden in his archives for 25 ye- government ever since. 1994 by Japanese Xinchao Agency; In the following years, he wor- the number of visitors has risen to same woman named Zi U - a sex censorship by the Chinese govern- ars. In 2016 however, for the first 2002 by Japanese Pingfan Agency. ked in an advertising agency in over 75 million. worker who lives in Beijing. Yong ment. time in Germany, a selection of Since 2015, the book published Beijing specializing in film, video, photographed her for one day in his works has been exhibited at by Verlag Kettler, is available in HUTONG 99: photography and production. Fi- Many of Xu Yong's photo series 2011. He took close-ups of her Photographer Xu Yong was 35 the Darmstädter Tage der Foto- Germany. In 2019 there will be a 1996 published by Beijing Fine Arts Publishing House nally, he began his photographic are dedicated to documenting his- face at different times of the day years old when the student pro- grafie. Yong decided against pro- new edition. Galerie Julian San- career and founded his own com- torical events, cultural products and in different situations. By ad- tests started in the spring of cessing the images and instead re- der is proud to show a selection XIAO FANGJIA HUTONG: pany in 1989. or urban structures. In 1993, ding excerpts from Zi Us's diary to 1989, triggered by the death of produced inverted color negatives of works from the series “Negati- 2002, published by China Photo Publication Agency for example, he began to work the portraits, he was able to do- Hú Yàobang, the general secre- which may only be decoded with ves“. Yong has played a key role in the to protect the Hutongs by foun- cument her life and mood. Yong tary of Chinas Communist Party. a smartphone or tablet camera, BUJING & BUJING: contemporary photography scene ding Hutong Go-Around. This had already shown a prostitute As the regime held on to its rigid via the function of inverting color 2006, published by Timezone 8 Hong Kong for twenty years: for example, he tourism company offers cultural named Yu Na as a central figure policy amidst the drastic change effect to negative, providing us was one of the initiators of the tours through Beijing's traditio- in his work ”Solution Scheme“ in coming about in the Soviet Uni- with a surreal, yet unbiased glan- 18 DEGREE GREY: 798 Art Zone in Northeast Beijing, nal Hutong lanes and backyards, 2007. Both projects enable the on and Eastern Europe, Tianan- ce at these historic events. 2010 by Timezone 8 Hong Kong which is now one of the capital's which are gradually disappearing viewer to gain insights into real men Square became the center THE FACES: largest art zones. Formerly, the through urban transformation situations in which sex workers of the protests. People took it to Yong’s main objective was to pu- 2011, published by Hong Kong Culture China Publication Company area served as a military-indust- and modernization processes. His find themselves in China. the streets, demonstrating for de- blish his photographs one day as rial cooperation between the So- 101 Portraits of Hutong, publis- mocracy and the freedom of the testimony of the events and to NEGATIVES: viet Union and the newly founded hed in black and white in 1889, is Xu Yong lives and works in press as much as against corrup- artistically transform its historic 2014 published by Hong Kong New Century Publication Company; People's Republic of China. Since a testimony to China's architectu- Beijing, China. tion and censorship. In the dawn significant and political content. 2015 published by KETTLER Verlag, Germany. 2002, a community of artists has ral heritage. of June 4, the Chinese military Through his negatives we see been settling in the middle of the ended the protests forcefully. more than what his photographs YU NA. buildings of the old factory premi- Besides, Yong is popular for ad- Among the protesters was Xu show at first sight as they mirror Xu Yong + Yu Na, 2017 published by Éditions Bessard ses. The 798 Art Zone has become dressing controversial themes Yong who intuitively captured the the difficult times of censorship 10 | WEDNESDAY, NOVEMBER 6, 2019 GALERIE JULIAN SANDER, COLOGNE, GERMANY

WINDOW TO THE WORLD Photography of the 19. Century

DECEMBER 14, 2019 JANUARY 25, 2020 Opening Reception: Fr. December 13, 6 - 9pm

In the 2nd half of the 19th century, Photography was not only used to convey information & knowledge. It turned out also to be a shaper of viewing habits and innuenced perception aesthetics. The works shown in this exhibition show up as systematic documentation, which is going beyond the familiar monuments and landmarks and therefore establish an extensive photographic archive, which brings the distance – temporal as well as geographical – to the private.

Cäcilienstr. 48 // 50667 Cologne www.galeriejuliansander.de Opening Hours: Tue - Fri 12am - 6pm, Sat 12am - 4pm

Pascal Sebah, Karnak Porte Ptolomuique avec les Iphium, c. 1880

Pascal Sebah | Karnak | Porte Ptolomuique avec les Iphium | c. 1880

ARTISTS IN INVENTORY

James Abbe, Berenice Abbott, Russian Anonymous, Tolstoi Circle, Gerd Arntz, Eugène Atget, Charles Aubry, Ringl + Pit, Richard Avedon, Marc Erwin Babej, Theo Ballmer, Hans Bellmer, Sibylle Bergemann, Ladislav Berka, Karel Bizek, Karl Blossfeldt, Erwin Blumenfeld, Aubrey Bodine, Margaret Bourke-White, Adolphe Braun, Gottfried Brockmann, Marcel Broodthaers, Paolo Buggiani, Chargesheimer (Karl-Heinz Hargesheimer), Vaclav Chochola, William Christenberry, Paul Citroen, Hermann Claasen, Lucien Clergue, John Cohen, Tommaso Cuccioni, Louise Dahl-Wolfe, Ho- nore Daumier, Gabriel de Rumine, Howard Dearstyne, Studio DeBarron, Robert Diament, Rudolf Dodenhoff, Frantisek Drtikol, Eugène Druet, Harold Edgerton, Josef Ehm, Alfred Ehrhardt, Hugo Erfurth, Jimmy Ernst, Walker Evans, J. Henry Fair, Constant Famin, Louis Faurer, Gene Fenn, Gerard Fieret, Larry Fink, Louis Fleckenstein, Franco Fontana, Otto Freundlich, Simon Fridland, Jaromir Funke, Vincento Galdi, Andre Gelpke, Lotte Gerson, Alexander Grinberg, George Grosz, John Gruen, Fred Gurner, Alexander Hackenschmied, Heinz Hajek-Halke, Geoff Hargadon, Raoul Hausmann, Heinrich Heidersberger, Sean Hemmerle, Jacob Hilsdorf, Heinrich Hoerle, Tibor Honty, Georges Hugnet, Irina Ionesco, Lotte Jacobi, Franz Jansen, Jian Jiang, Peter Keetman, Fritz Kempe, Clarence Kennedy, Gyorgy Kepes, Andre Kertesz, Edmund Kesting, Y. Krivonosov, Germaine Krull, Clarence Laughlin, Alexander Lavrentiev, Nicolai Lavrentiev, Ekaterina Lavrentieva, Adolf Lazi, Robert Lebeck, Nathan Lerner, Leon Levinstein, Edwin Lincoln, Georgi Lipskerov, Herbert List, Jan Lukas, Loretta Lux, Werner Mantz, Marcel Marïen, Charles Marville, Hiro Matsuoka, Henri Maull, Paul McCarthy, Lisette Model, Alphonse Mucha, Musinow Musinow, Moisej Nappelbaum, Paul Nash, Carlo Naya, Dr. Richard Neuhauss, Gabriele Nothhelfer, Helmut Nothhelfer, Dennis Oppenheim, Prof. Opperman, Walter Peterhans, Andrew Phelps, Harold Piffard, Carlo Ponti, Irina Presnetsova, Achille Quinet, Irene Rein, Albert Renger-Patzsch, Alexander Rodchenko, Varvara Rodchenko, Aaron Rose, Jaroslav Rossler, August Rumbucher, Dr. Erich Salomon, Lise Sarfati, Jan Saudek, Henri Sauvaire, Ernst Schieron, Adolf Schneeberger, Wilhelm Schurmann, José Sert, Charles Sheeler, Stephen Shore, Aaron Siskind, Herb Snitzer, Rosalind Solomon, Ben Somoroff, Michael Somoroff, Michael Spano, Varvara Stepanova, Grete Stern, Othmar Streichert, Franz von Stuck, Josef Sudek, Maurice Tabard, Alphonse Taupin, Waldemar Titzenthaler, Herbert Tobias, Tokman Tokman, Claude Tolmer, Sim Tomer, Trojanowski, A Tschernow, W. Tschertkova, Jakob Tuggener, H. v. Perkhammer, Ed van der Elsken, Enrico Verzaschi, André Villers, Frantisek Vobecky, Aria Watson, Weegee (Arthur Fellig), Bertha Wehnert-Beckmann, Adalbert Wiemers, Eugen Wiskovsky, Wols (Alfred Otto, Wolfgang Schulze), Clark & Joan Worswick, Ylla (Camilla Koffler), Xu Yong, Rene Zuber, Piet Zwart