Arrivi E Partenze Jacob Aue Sobol
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University of Copenhagen1
Blasting the Language of Colonialism Three Contemporary Photo-Books on Greenland Sandbye, Mette Published in: KULT. Postkolonial Temaserie Publication date: 2016 Citation for published version (APA): Sandbye, M. (2016). Blasting the Language of Colonialism: Three Contemporary Photo-Books on Greenland. KULT. Postkolonial Temaserie, 14, 66-89. http://postkolonial.dk/files/KULT%2014/6%20Mette%20Sandbye%20final.pdf Download date: 02. okt.. 2021 Blasting the Language of Colonialism: Three Contemporary Photo-Books on Greenland Mette Sandbye, University of Copenhagen1 ABSTRACT: Throughout the nineteenth and most of the twentieth centuries, photography was among the main tools for communicating knowledge about Greenland to the rest of the world, not least to the Danish public. Photography was originally used by Arctic explorers as well as by the colonial system. With few exceptions, such as the documentary photographs and films of Jette Bang, the visual image transmitted through photography was highly stereotypical: ice and wild nature, peopled by tough sealers and hunters. Documentary photography and art in general, from Greenland as well as Denmark, usually confirmed this image. Recently, however, new narratives have begun emerging among contemporary artists, many of whom use photography in radically new ways to construct an alternative ‘ethno-aesthetics’, to use Pia Arke’s term. This article discusses three photography books, published almost simultaneously: Pia Arke’s Scoresbysundhistorier (2003)/Stories from Scoresbysund (2010), Jacob Aue Sobol’s Sabine (2004), and Julie Edel Hardenberg’s Den stille mangfoldighed/The Quiet Diversity (2005). It brings them together to show how they simultaneously follow recent developments in contemporary global art as well as step into the tradition of that most referential of media, photography, and manage to ‘blast’ this tradition from within, thereby representing an important renewal of the discourse of photography. -
Arrivals and Departures Jacob Aue Sobol
Data sheet of the exhibition Arrivals and Departures Jacob Aue Sobol Cultural Association ONTHEMOVE Data sheet Arrivals and Departures, Jacob Aue Sobol 2 Arrivals and Departures Curated by Jacob Aue Sobol Arianna Rinaldo Exhibition produced by Printed by Cultural Association ONTHEMOVE Bottega Antonio Manta for the international festival Digigraphie By Epson of photography Cortona On The Move 2014 Cultural Association ONTHEMOVE | Località Vallone, 39/A/4 - Cortona, 52044 (AR) Data sheet Arrivals and Departures, Jacob Aue Sobol 3 It was a trip I had always wanted to take: the legendary journey along the Trans Siberian Railway. The whole idea of the project had been to meet people on the train and make intimate stories from the train compartments. But riding this ghost- train, I had to change the concept. The intimate work had to come from my encounters with people in the cities and the train became the red thread connecting Moscow, Ulaanbaatar and Beijing. I had the greatest experience in Mongolia, when I ran into a group of Mongolian hunters who invited me to join them on a trip through the mountains that surround Ulaanbaatar. I immediately felt like putting the camera on a shelf and picking up the rifle. Every time I start a new project, I start shooting in color. If I can't emotionally connect with my images, they mean nothing to me, and so I always return to black&white. I feel my images are able to create their own universe. I admire all the people I take pictures of because they put themselves in a very vulnerable position. -
University of Copenhagen1
Blasting the Language of Colonialism Three Contemporary Photo-Books on Greenland Sandbye, Mette Published in: KULT. Postkolonial Temaserie Publication date: 2016 Citation for published version (APA): Sandbye, M. (2016). Blasting the Language of Colonialism: Three Contemporary Photo-Books on Greenland. KULT. Postkolonial Temaserie, 14, 66-89. http://postkolonial.dk/files/KULT%2014/6%20Mette%20Sandbye%20final.pdf Download date: 27. sep.. 2021 Blasting the Language of Colonialism: Three Contemporary Photo-Books on Greenland Mette Sandbye, University of Copenhagen1 ABSTRACT: Throughout the nineteenth and most of the twentieth centuries, photography was among the main tools for communicating knowledge about Greenland to the rest of the world, not least to the Danish public. Photography was originally used by Arctic explorers as well as by the colonial system. With few exceptions, such as the documentary photographs and films of Jette Bang, the visual image transmitted through photography was highly stereotypical: ice and wild nature, peopled by tough sealers and hunters. Documentary photography and art in general, from Greenland as well as Denmark, usually confirmed this image. Recently, however, new narratives have begun emerging among contemporary artists, many of whom use photography in radically new ways to construct an alternative ‘ethno-aesthetics’, to use Pia Arke’s term. This article discusses three photography books, published almost simultaneously: Pia Arke’s Scoresbysundhistorier (2003)/Stories from Scoresbysund (2010), Jacob Aue Sobol’s Sabine (2004), and Julie Edel Hardenberg’s Den stille mangfoldighed/The Quiet Diversity (2005). It brings them together to show how they simultaneously follow recent developments in contemporary global art as well as step into the tradition of that most referential of media, photography, and manage to ‘blast’ this tradition from within, thereby representing an important renewal of the discourse of photography. -
Content Portfolios Tech Talk Sections
CONTENT PORTFOLIOS BRUCE GILDEN 8 “I always was and will always remain a black & white photographer,” Bruce Gilden has declared. The Magnum photographer caused a sensation when he returned from Haiti with colour pictures! MARTIN HERRERA SOLER 60 In Peñarol, the ‘railway’ district of Montevideo, every- thing takes longer. With nostalgic images, Martin Herrera Soler documented the quiet that has descended over the once lively neighbourhood. TECH TALK NEW: LEICA V-LUX 3 28 Thanks to a new sensor, the compact camera with the gigantic 24 x Vario lens promises more picture quality – above all in the higher ISO levels. DEPTH OF FIELD – AN ALTERNATIVE PERSPECTIVE 38 Evaluating and controlling the resolution of picture details, made easy with Harold M. Merklinger’s circle of resolution concept. IMAGE CREATION 48 Part 12 in our workshop series with Torsten Andreas Hoffmann: Composition with various picture layers. SPECIAL: LEICA AND BLACKSTONE 54 Locust or honey bee? What does US financial investor Blackstone stand for, and what are the possible consequences of his involvement in Leica? SECTIONS Bruce Gilden: Makeshift shelter in Haiti, 2010 (p. 8) New: Super zoom camera Leica V-Lux 3 (p. 28) EDITORIAL / PHOTO NEWS 4 Martin Herrera Soler: Employee of the National Railway BOOKS 6 Company AFE in Peñarol, Montevideo, Uruguay (p. 60) EXHIBITIONS 26 LFI READERS’ GALLERY 72 PREVIEW / IMPRINT 74 Bruce Gilden: Haiti, 2010 1/2012 LFI 3 31994_003_LFI0112_E_Inhalt_RZ.indd 3 28.11.11 14:10 CONTENT PORTFOLIOS ALEX WEBB 8 “I like Chicago because it is not New York,” Alex Webb explains. The Magnum photographer speaks about street photography, his work tools and his intuition. -
Book XII Photographers
V VV VV V VVVVon.com VVVV Basic Photography in 180 Days Book XII - Photographers Editor: Ramon F. aeroramon.com Contents 1 Day 1 1 1.1 Photographer ............................................. 1 1.1.1 Duties and functions ..................................... 1 1.1.2 Selling photographs ..................................... 3 1.1.3 Photo sharing ......................................... 5 1.1.4 References .......................................... 5 1.1.5 External links ......................................... 5 1.2 Truth claim (photography) ....................................... 5 1.2.1 Indexicality .......................................... 5 1.2.2 Visual accuracy ........................................ 5 1.2.3 Consequences of the “truth claim” .............................. 6 1.2.4 Digital photography ...................................... 6 1.2.5 Criticism of the “truth claim” ................................. 7 1.2.6 References .......................................... 7 2 Day 2 9 2.1 List of photographers ......................................... 9 2.1.1 Albania ............................................ 10 2.1.2 Argentina ........................................... 10 2.1.3 Australia ........................................... 10 2.1.4 Austria ............................................ 11 2.1.5 Azerbaijan .......................................... 11 2.1.6 Bangladesh .......................................... 12 2.1.7 Belgium ............................................ 12 2.1.8 Benin ............................................