Search results for ""european photography""

In 2018, and thanks to the support of the European programme Creative Europe, three European institutions jointly promoted the TransEurope programme, which culminated in the publication of this contemporary photography magazine, displaying the work of 31 young photographers. The Fundación Contemporánea (Spain), the Finnish Museum of Photography (Finland) and Euromare (Greece) launched this initiative with the idea of supporting the visual arts and photography by young people through workshops, reviews of portfolios, professional activities, exhibitions in the three collaborating countries and, lastly, the publication of this magazine in order to display the 31 final works, which were selected in viewings held throughout 2018 and 2019 in fourteen European countries. The result thus offers a very broad and complete panorama of young contemporary European photography, an accurate depiction of the concerns, passions and phobias of the continent’s young artists.

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Anders Petersen (b. 1944) lives and works in Stockholm, Sweden. He is noted for his intimate and personal documentary-style black-and-white photographs. In 1967, he started to photograph the late-night regulars (prostitutes, transvestites, drunks, lovers, drug addicts) in a bar in Hamburg, Germany, named Café Lehmitz, and continued that project for three years. His photobook of the same name was published eight years later, in 1978, and has since become regarded as a seminal book in the history of European photography. In 1970, he co-founded SAFTRA, the Stockholm group of photographers, with Kenneth Gustavsson, and simultaneously taught at Christer In 2007, he was one of four finalists for the £30,000 Deutsche Börse Photography Prize.

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The Swiss collects the work of Swedish photographer Christian Nilson, who has lived in Switzerland for more than ten years. During that time, he has travelled hundreds of miles throughout the country, camera in hand, capturing countless people and places through his inimitable self-taught technique, which involves using a flash to ensure every detail is perfectly visible. Nilson brings his perspective as an immigrant in Switzerland to a wide variety of subjects, which show his love of his adopted country in all its conflicted complexity - the traditional and the innovative, the spectacular and the mundane. By turns pensive and humorous, Nilson's photographic journey through Switzerland will be of interest to anyone who has called a new place home, while also introducing new audiences to one of the most exciting young voices in European photography. With sixty-seven full colour images, the book also includes an essay by Jon Bollmann.

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"Do Not Refreeze" charts a 'lost' chapter in the history of European photography. These photographers developed their practice in the former East Germany negotiating its omnipresent secret police to create imagery, increasingly compared to that of luminaries such as Henri Cartier-Bresson, Diane Arbus and Robert Frank. The stunning images convey a glimpse of day-to-day life and evoke the claustrophobia, rage, envy and ideological pomp of the Communist era as well as its unexpected personal warmth, tenderness and exoticism. Had they been painters, sculptors, authors or playwrights, these photographers would have been arrested or imprisoned. Because photography was not considered to be 'art' however, they were able to circumnavigate a rigid system of censorship to produce the most insightful and openly critical visual arts output in East Germany's 40-year history. This book is published by Cornerhouse in association with the University of Hertfordshire.

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Christer Stromholm is recognised as one of the major figures of 20th century European photography. Stromholm captured his surroundings in black and white images that display his integrity, understated humour and a highly personal aesthetic. With an unmistakable sensitivity to human suffering, based on his personal experience, he took photography in a new direction. Sean O''Hagan, writing in The Guardian, has described him ''as the father of Swedish photography both for his abiding influence and for his role as a teacher.'' Born in Stockholm, Stromholm discovered photography via graphic art in the late 1940s. During the 1950s and 60s he lived much of the time in Paris, where he developed his particular style of street photography. It was here that he produced his most famous work, Les Amies de Place Blanche, a tribute to a group of young transsexuals with whom he became friends and whose lives he shared over many months. They were very much outsiders, struggling to survive, with their m

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Fotobus Society is a network of photographers founded by Christoph Bangert. Its more than 800 members are studying at universities and photography schools across Germany and Europe and benefit from the association’s broad cultural and social programs. At the heart of this community is a 30-year-old bus that acts as a mobile photography school and regularly takes members to photography festivals, symposia, and professional events. This book is the third volume in a series that introduces selected works of the association’s members and offers a fascinating glimpse into the contemporary scene of young European photography. Telling stories about everyday life and the boundless excesses of our time, it features pictures that are marked by violence: directed against oneself, against others, and against the planet. There are poignant snapshots that reveal personal stories of individuals, groups, or communities who are grappling with ever-new challenges. The photos show freedom, hope, and love – as well as their absence. They do what photography does best: opening people's eyes to a world that would otherwise remain hidden from them.

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Ouarzazate is a small city in the Moroccan desert famous for its movie studios and filming locations, an industry which began with David Lean and Lawrence of Arabia. Invited by the American Friends of the Marrakech Museum for Photography and the Visual Arts to propose a project for his artist residency there, Ruwedel photographed the movie sets in 2014 and 2016. Much of the filming activity in Ouarzazate has been for costume and Biblical epics. Cleopatra, The Garden of Eden, The Mummy, The Last Temptation of Christ; but also The Sheltering Sky and The Hills Have Eyes. Many of the sets appear to have been abandoned while others are constantly repurposed. An Egyptian portal leads to a medieval village. An authentic Kasbah in ruins is actually a ruined replica of a “real” Kasbah elsewhere. Shepherds drive their flocks past “ancient” siege machines and Roman columns. “I was reminded of certain passages in Nathaniel West’s Day of the Locust.” Far from the American deserts where he has produced much of his work of the past thirty years, in Morocco Ruwedel continues his long term interest in contemporary ruins and the histories of both landscape and landscape photography. The photographs are eerily reminiscent of 19th century European photography of ancient Egypt and the Middle East.

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