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Download Festival Magazin (A4 PDF, 96 Pages 8 Euro 2,- BERLIN FOTOFESTIVAL 2013 THE BROWSE PROFESSIONAL WEEK & INTERNATIONAL EXHIBITION 13. Juni - 13. Juli 2013 LOCATIONS BERLIN FOTOFESTIVAL ’13 BERLIN FOTOFESTIVAL ’13 LOCATIONS IMPRESSUM INHALT / CONTENT Herausgeber: Community Impulse Initiative e.V. Fidicinstr. 12, D-10965 Berlin 4 - 5 Willkommensgruss / Greeting Vereinsregister: VR 30146 B, Steuernr.: 27/662/56118 V.i.S.d.P.: Sabine Drwenzki 6 - 9 Veranstaltungsorte / Map E-Mail: [email protected] 10-11 Veranstaltungsprogramm / Event Programme Internet: www.berlin-fotofestival.de www.facebook.com/thebrowsefotofestival 12-13 Professional Week Texte: © Alle Fotograf/innen o.a. Genannte Quellen 14-15 Workshops Übersetzung: Hanna Nickel, Lisa Kirchner, Mischa Karth Fotos: © Alle Fotograf/innen/Agenturen, diverse Location-Betreiberinnen 16-27 CONVERGE - CONVERSE Titel-Foto: „Himalaya“ by Frederic Lemalet 28-29 Book Release Michael A. Russ Festival-Realisation: Künstlerische Leitung, Projektleitung: John Colton 30 Robert King (The Democratic Desert) Kuration und Gesamtkoordination: Sabine Drwenzki Programm-Konzept & Presse-Kommunikation: Duscha Rosen 31 Robert King & Rocco Castoro (KKKrips) Projekt- und Eventmanagement: Lisa Kirchner Gesamtredaktion, Textarbeit Festivalmagazin, Presse-Kommunikation: Mischa Karth 32 Christopher Norris (From War & Politics to Fashion Mitarbeit Redaktion Webseite: Hanna Nickel Technische Leitung: Memet Sak 33 Michael A. Russ (TinTones) Graphic Design, Festival CD: Agnes Chung Satz-Layout Print-Magazine: Alvaro Calderón de Ayala Fernández 34 Best Sabel Layout A4-Magazin: Sonja Steppan Layout A5-Magazin: Anna Daniszewski 35 Rob Hornstra & Arnold van Bruggen (The Sochi Project) Social Media, Gestaltung/Layout: Anne Kautz, Anna Daniszewski Website-Entwicklung und -Design: Tino Kressner 36 Geert van Kesteren (10 Years Of War In Iraq) Aufbau-Leiter: Drazen Vukajlovic 37 Zab Baillies Galerie-Leitung: Martina Bittner Galerie-Grafiker und -Designer: Steffen Hilbig 38-65 TIME IN TURKEY Recherche und Konsultation: Stefan Raum, Transport: Marek Magierski 66-71 OPEN THE SHUTTERS Video-Produktion: Aristide Chypre Mitarbeit Festivalorganisation: Lena Seifert, Joscha Ebert 72-75 CHILD SOLDIERS 76-77 GROZNY: 9 CITIES Danke an: 79 Jewgeny Chaldej Franz Schulz, Norbert Tillmann, Stephan Jochemczyk, Dieter Kramer, Michael Raedler, Hannelore Mühlenhaupt, Bernd von Jutrczenka, Rüdiger Huch, Andreas Kesberger, Andreas Freundberger, Bettina Dessaules, 80 AFP - Best Of 2012 Isabelle Wirth, Bruno de Cock, Max Rosen, Lucia Rosen, Antonio Drwenzki, Ralph und Anna Steadman, Ernst Volland, Jennifer Mahneke, STATION Berlin, Andreas Foidl, Ralph Alkenbrecher, Thomas Malz, 81 DPA - Bilder des Jahres 2012 Frederic Lemalet, Elser Maxwell, AndiKunze, Holger Groß, Edith Siepmann, Daniel Wetzel, Maria Kiczka-Halit, Robert King, VICE Magazin USA, Rocco Castoro, dpa, FHXB, Jorinde Ger 82-83 WORLD PRESS PHOTO 2012 sina, Gabi Klahr, Martin Volk, Fred Kutzner, Rainer Sanner, Thomas Tyllack, Arno Fischer, Oliver Diebel, BioBuffet, Kunstraum Bethanien, das Marheineke Team, sowie alle Fotograf/innen, Zeichner/innen, Speaker u.a. Projektbeteiligte 84-85 EXPLORE NEW MEDIA - MULTIMEDIA ROOM 86-88 BERLIN SPOTLIGHT 89-92 DISCOVER UNCOVERED 93 Sponsoren / Sponsors 2 3 TEXT BERLIN FOTOFESTIVAL ’13 BERLIN FOTOFESTIVAL ’13 TEXT Willkommen! Welcome! Willkommen, liebe Besucher, Telling. Dieses macht individuelle Hand- uns die Realitäten dieser Welt durch ihre Welcome, so well known documentary and press Journalism” with Hunter Thompson over schriften und besondere Werte und Qua- Augen sehen zu lassen und Geschichten photographers we are showing a broad 40 years ago, we wish to strengthen and zu 5000m² exzellenter Fotografie zwi- litäten für fotojournalistische Exzellenz zu erzählen, die erzählt werden müssen, dear visitors, to 5000m² of excellent spectrum of contemporary practice of support all those who are venturing out schen Armani und Afghanistan. Mehr sichtbar und gibt Anhaltspunkte für die wenn wir es ernst meinen mit Demokratie photography from Armani to Afghani- visual story telling and photo reportage. to help us see the world through their Afghanistan als Armani allerdings, denn Beantwortung der Frage, worin denn auch und Pressefreiheit. stan. More of Afghanistan though than Individual authorship as well as tradi- eyes and who are telling stories that der Schwerpunkt des Berlin Fotofestival in Zukunft der besondere Beitrag profes- of Armani, as the focus of Berlin Fotofes- tional values and qualities of excellence need to be told if we are serious about THE BROWSE liegt auch 2013 wieder auf sioneller fotojournalistischer Arbeit zur Die Medien- und Kreativ- Stadt Berlin bie- tival – THE BROWSE2013 lies with again in photojournalism become recogniz- democracy and freedom of the press. fotojournalistischen Ausstellungen und Erkennung und Gestaltung unserer Welt tet einen hervorragenden Standort für ein with documentary photography and pho- able. It serves to give hints to answer the Dokumentarfotografie. bestehen kann. internationales Fotografie-Festival , das tojournalistic exhibitions. question what the unique contributions The creative media city of Berlin is prone eine Plattform für all jene bietet, die sich of professional photojournalism can be in to host an international photo festival Warum aber ein neues Festival auf die Mit den Schwerpunkten Multimedia und mit der Weiterentwicklung von Presse- Why bother to establish a new photo fes- the future that helps us to realize and act that can serve as a platform for all those Beine stellen, zu einem Zeitpunkt, da viele mobiler Fotografie in den hier gezeig- und Dokumentarfotografie beschäftigen. tival at a point in time when many have upon the realities of the world around us. interested and involved in the further den Fotojournalismus totsagen, Foto- ten Arbeiten und dem Veranstaltungs- Sehen Sie selbst und helfen Sie uns, es called an end to photojournalism, photog- artistic and economic development of graf/innen ihr Handwerk mehr schlecht programm der Professional Week sagen weiter auszubauen. Viel Vergnügen dabei! raphers can’t do their work properly any- However, with bringing in a focus on mul- documentary photography and photo- als recht ausüben können, weil ihre tra- wir aber auch,“ yes the times, they are more because their traditional financiers, timedia and mobile photography in the journalism of the highest order. See for ditionellen Finanziers, die Printmagazine, changing and yes, we have to move on“. Team Berlin Fotofestival 2013 THE print magazines, publishers and news works on display at this year’s festival yourself and help us to build it up to its Verlage und Nachrichtenagenturen immer Veränderungen von Mediennutzung, Bild- BROWSE agencies spend less and less money on as well as in the discussions and talks of full potential. Enjoy! weniger Geld ausgeben für Hintergrund- wahrnehmung und Interessen einer jun- thoroughly researched reportages, travel the Professional Week we are also clearly reportagen, Auslandsreisen, Sicherheit in gen, mit dem Internet aufgewachsenen budgets , security for journalists in con- saying, “yes, the times they are changing Team Berlin Fotofestival 2013 THE Konfliktgebieten – weil Abonnenten davon Generation, machen erforderlich, dass flict areas – because subscription rates and yes, we have to move on” . Changes BROWSE laufen, Werbeinnahmen ausbleiben, sich sich Fotograf/innen und Publisher neue are dropping, advertisement budgets are in media consumption patterns, image ins Internet verlagern und weil Bilder aus Formen der visuellen Kommunikation und shrinking, moving to the internet and perception and interests of a young gen- Krisengebieten billiger und schneller von Interaktion mit ihrem Publikum einfallen Fotografen vor Ort oder als Handybilder lassen. because it’s much cheaper and faster to eration of “digital natives” are pushing von Laien, als Youtube Video oder Twitter get pictures of unfolding crises through photographers and publishers to come Nachricht sofort verfügbar sind? Vorhaben wie das Sochi Projekt von Rob local photographers or even handy pic- up with new forms of visual communica- Hornstra, die Kooperation von VICE Media tures from ordinary people, through You- tion and interaction with their audiences. Gejammert wurde darüber schon viel, das und Robert King, das Black.Light Project tube or twitter news. bringt uns kaum weiter, auch wenn Sorge u.a. sind Good Practice Beispiele für inno- The Sochi Project by Rob Hornstr, the und Kritik ernsthaft berechtigt sind, denn vative zeitgenössische Dokumentarfo- This has been much lamented about and cooperation between VICE Media and es steht - das wird manchmal übersehen - tografie, die uns inspirieren und zeigen, that lamentation doesn’t move us greatly Robert King, the Black.Light Project and nicht nur die Existenz einzelner Fotograf/ dass die Chancen für den Fotojournalis- ahead. The concern and criticism are other works on display serve as exam- innen und eines ganzen Berufsstandes mus der Zukunft v.a. auch im Dialog mit justified, no doubt. At stake is not only ples of good practice of innovative con- auf dem Spiel, sondern ein unabhängiger angrenzenden Disziplinen wie Illustra- the economic existence of an individual temporary documentary photography. Qualitätsjournalismus, der bislang auch tion, Design und Video liegen. Inwieweit photographer or a whole profession, we They inspire us in making clear that new als Garant von Demokratie galt. Den Medienumbruch und Medienkonvergenz are jeopardizing the future
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