Showing posts with label photo. Show all posts
Showing posts with label photo. Show all posts

I NEED THE SEA


I need the sea because it teaches me.  
– Pablo Neruda

Spending this rainy afternoon preparing for the coming summer by reflecting on the last.

These photos where taken sitting in the dunes, staring out into the pacific ocean. If I had swum out in a straight line, the first piece of land I would have set foot on would be South America. The slight swell landing on the shore had travelled thousands of kilometers without interruption; without human recognition.

The weather was moving in from behind me, so as each line of cloud dropped it was as if by surprise. Slowly the horizon swallowed the evening light.

Watching the elements intertwine like that is one of those ever-lasting activities. The kind that remind you you are but a speck in the history of time. The kind that make you wonder about all the other beings who have marvelled at the edge of the world before you.

The repeating patterns of the world pulse through you. That horizon, whether it is distinct, as in these images, or seeping into itself, is eternally calming. I am so looking forward to spending some time swimming in it this Summer.


SECONDS

Yes, it's Bill Henson. We've all seen it before, but sometimes it's worth taking a second look.

STONE ON STONE

Patrick Lindell for Sveriges Stenindustriförbund
(Swedish Stone Industries)

BRANDTED



Bill Brandt, Self Portrait with Mirror, East Sussex Coast 1966
Nude, Baie des Anges, France, 1959
Nudo, 1978
Nude, Seaford, East Sussex Coast, 1957

Portrait of Young Girl, Eaton Place, London, 1955

STRANGE RESEMBLANCES

 
Gaddafi and Dali.
The epoch of simultaneity, the epoch of juxtaposition, the epoch of the near and far, of the side-by-side, of the dispersed, Heterotopic indeed, Foucault.
In line with strange resemblances, I'm treading the line between student, architect and teacher at present, and have returned to Lebbeus Woods' post 'Architecture School 101' for a well needed bringing-down-to-earth.

ARCHITECT'S BROTHER





Just one of many stunning dreamscapes created in collaboration with his partner Shana. Over at Ethel-Baranoa she has beautifully paired the images with some text from Borges:
“Another, that while we sleep here, we are awake somewhere else, so that every man is in fact two men.” 
 More after the break. 

ARCHITECTURE FROM WITHOUT

Thinking about theoretical framings, summers, and Diana Agrest.

"The refoules [repressed] of architecture, the public, the negation all become the material of my fictional configuration. The (project) marks I make are organised through a contradiction - a negation through an affirmation. [...] It is the affirmation of the erasure of the city in order to reinstate its trace."
-Architecture from Without: Theoretical Framings for a Critical Practice 1991.

Agrest moves within the discipline of Architecture, to be sure; her 'without' is internal, but silenced by the 'official' tales of Architecture. Her position is forced by these official erasures, a process which allows the erasure to become the recuperation of the erased, never entirely dismissed, completed only in and of the architectural project itself.

SKIN

Wish I could figure out who this artist is; all I can tell from this article about the Transmediale in Berlin is that they are German. Stunning though, rather similar scratch back techniques to Zidlicky. 

CLOUD LAKES

Hiroshi Sugimoto, Ligurian Sea, Savoire, 1993.
Mark Rothko, Blue and Grey, 1962.
Diller Scofidio + Renfro, Blur Building, 2002, rendering. 
Images from A Cloud on a Lake, essay by David Heymann.




MURMURATIONS

Murmuration presents a Photoworks commission by acclaimed Japanese photographer Rinko Kawauchi (b 1972, Shiga, Japan), made for the Brighton Photo Biennial 2010: New Documents, curated by Martin Parr. 


In other murmurations of the day, a fascinating talk by Iain Sinclair at the AA entitled Ghost Milk (Calling Time on the Age of the Grand Project).

BODYLIGHTS

Sally Mann
via aperture

IRE



Beyond Reality
Ludovico Pratesi


In a passage of La Camera Lucida, his famous essay entirely centered on photography, Roland Barthes talks about the subversive character of this expressive technique which reaches its climax, “not when it frightens, repels or even stigmatizes, but when it is pensive, when it thinks”.
It is an expressive language which not only corroborates reality through images, but it is also able to evoke other possibilities of perception of the photographed subject through different paths of interpretation, transcending the visible to suggest terrains, which are different and of a conceptual, poetic or philosophical nature.

DAZE



ZONDER TITEL

Haunting. ageless european city scapes by the incredible Mirjam Hagoort.
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