Graduate Thesis Exhibition - OSTKREUZSCHULE für Fotografie, Berlin
Twenty-five unique photographic series have evolved under the faculty committee of Prof. Ute Mahler, Sibylle Fendt and Thomas Sandberg—all within the long-standing tradition of the OSTKREUZSCHULE, with its emphasis on the interplay between documentary and fine art photography.
I would like to invite you to this year’s thesis exhibition, SIEBEN at Uferhallen Wedding where I will show my last work Tide. The opening is on 25th October at 7pm and the exhibition is going to be open from 26 October – 08 November and the opening hours are Mo-Fr 2-9pm and Sa+Su 12am-9pm.
During the exhibition there will be a full program of guided tours, talks (including guests Michael Biedowicz, Nico Krebs and Tayio Onorato, amongst others), and various other special events.
“If photographs help build collective outrage about violence, war, colonialism and genocide, they may also be helping to dismantle international norms. The one consistent fact about the horrifying images that have come out of Syria over the past 21 / 2 years is that in many cases, we don’t know who made them and what they depict. All we see are decontextualized cruelty and misery. Cynicism creeps in, and there is a natural tendency to push the images away as a kind of insoluble puzzle.”—Why Syria’s images of suffering haven’t moved us - The Washington Post (via photographsonthebrain)
“Kafka, Kerouac, and Wozniak had one advantage over us: they worked on machines that did not readily do more than one thing at a time, easily yielding to our conflicting desires. And, while distraction was surely available—say, by reading the newspaper, or chatting with friends—there was a crucial difference. Today’s machines don’t just allow distraction; they promote it. The Web calls us constantly, like a carnival barker, and the machines, instead of keeping us on task, make it easy to get drawn in—and even add their own distractions to the mix. In short: we have built a generation of “distraction machines” that make great feats of concentrated effort harder instead of easier.”—
Didn’t Jonathan Franzen write his latest novel on a computer that didn’t allow internet access? Not that I want to compare myself to those great writers, but my own productivity is usually largest when I do just one thing (without checking email or Twitter etc.).
“We’re forever on a quest to take a moment and record it forever in time,” Systrom said. “It’s our collective belief that the world is better off captured and shared more permanently. That’s what Instagram is.”
She connects our desires for capturing moments with our desire to constantly produce and work, something that has engulfed us over the past few decades.
By now, these desires have engulfed us so fully that it is often impossible imagine an alternative way of being. The old debate about phones and cameras at concerts barely makes sense today because some can’t even enjoy the show if they can’t get a quick video from the crowd.
The idea of being in the moment has been transformed into something different. It’s not something we can simply undo, but understanding why this all happened can help us break out, at least for a moment.
“For Foster, a print’s history is far less important than its visual beauty and the response it inspires. “It doesn’t really mean anything to me, who shot the image,” says Foster. “But when I do find an image that’s one of the best, I just flip out about it. I like thinking that it could be a Lee Friedlander or a Diane Arbus or a Henri Cartier-Bresson.” Years of photo-hunting have helped Foster train his eyes to recognize an interesting composition among the thousands of snapshots at flea markets and antique shops. “I’ll pick up a handful of a hundred, and I flip them like a deck of cards, because I can tell that quickly whether they have any intrinsic visual power at all or not,” says Foster. “Out of a hundred, I might find a single one that’s even a maybe. That goes to show you how many average, boring, mundane, same height, same scene, same everything is repeated in these old images.”—Take That, Instagram: The Enduring Allure of Vintage Snapshots (via photographsonthebrain)
“That the past zigzagged along - just like the present does - with nobody knowing what’s coming next.
Only we do it more complicatedly, and it’s because our lives are that much more complex than theirs were that it’s worth bothering about the past.
Because if you don’t know how you got somewhere, you don’t know where you are. And we are at the end of a journey - the journey from the past.”—James Burke in Connections 10 - Yesterday, Tomorrow and You (via fabianmu)