Wie die Unberechenbarkeit der Arktis dem Ausbau von wirtschaftlicher Nutzung arktischer Regionen gegenu¿bersteht Temperaturen bis zu 55 Grad Celsius unter null, militärische Sperrzonen, aufwändige Recherche und die Unberechenbarkeit der Arktis machten dieses Projekt mit der analogen Fachkamera zu einer enormen Herausforderung. The Polar Silk Road setzt sich mit der wirtschaftlichen Nutzung der arktischen Regionen und den territorialen Anspru¿chen der jeweiligen Anrainerstaaten auseinander. Die damit einhergehenden Konsequenzen sind geopolitische Spannungen sowie der Ausbau der militärischen Strukturen und Forschungsstationen, die Sailer in seinem Projekt beleuchtet. Die Arbeit des österreichischen Fotografen wurde bereits in nationalen und internationalen Museen und bei Festivals ausgestellt und gewann renommierte Preise, wie den DAM Architectural Book Award. Nach "The Potemkin Village" und "Closed Cities" ist "The Polar Silk Road" die dritte Publikation Gregor Sailers im Kehrer Verlag.

Filled with meticulously constructed photographs that blur the boundaries between reality and imagination, this sumptuously produced retrospective features more than thirty years of work by one of America's most influential photographers. For more than three decades, Gregory Crewdson has been luring viewers into the worlds of his cinematic, highly detailed, and assiduously crafted photographs. This retrospective catalog features images from nine series that represent a broad chronological spectrum of Crewdson's oeuvre. Included are selections from Twilight, the eerie and often darkly humorous photographs inspired by Stephen Spielberg's Close Encounters of the Third Kind; Beneath the Roses, which illuminates townscapes, forest clearings and broad, desolate streets with unsettling clarity; the black and white images of Sanctuary, shot on location at the legendary Cinecittà studios on the outskirts of Rome; Cathedral of the Pines, a paean to the beauty and tragedy of a gritty western Massachusetts town; and Eveningside, in which moments of alienation and wonder occur within the confines of quotidian life. With highest quality reproductions, paper changes, and incisive essays by photography expert Walter Moser and other esteemed art historians, this exhibition catalog reveals why Crewdson's powerful, elegiac and painterly photos draw comparisons to old master painting, staged photography and auteur cinema.

Gregor Sailer's new project presents actual architectural manifestations driven by political, military, and economic motives: combat training centres in the USA and Europe, faithful replicas of European cities in China, and vehicle test cities in Sweden. And finally, a classical Potemkin village in Russia, where, on the occasion of a visit by Vladimir Putin to Suzdal on the Golden Ring and a triple summit in the city of Ufa, whole streets were masked with adhesive foil, wallpaper, and tarpaulins in an effort to provide the abandoned buildings with a feigned sense of activity.

Major retrospective of one the foremost exponents of American street photography

Any photographic representation of distant lifeworlds also entails a visual formulation of what the Other might be. Each photograph taken creates countless photographic images of the Self and of the Other, rigidifying the boundaries separating oneself from the Others and validating one's own prejudices. Within this field of tension created by the identification of the Other and of the Self through photography, Vera Brandner's photographic work is to be seen both as a reflexive exploration0and as a visual response. In her portraits of people living in countries such as Angola, Pakistan, Afghanistan, Israel and Palestine she pursues an image strategy built on dialogue and communication.

De nos jours, artistes et créateurs de toutes orientations, et dans différents champs de production culturelle, ont de plus en plus recours à des procédés impliquant le traitement de matériaux qui sont déjà disponibles dans l’espace culturel : ils créent en recyclant. Grâce aux nouvelles technologies de reproduction des œuvres et de traitement de données, cette modalité de production s’affirme comme une dominante de la culture contemporaine. Comment en rendre compte esthétiquement ? Quel est son impact sur notre expérience esthétique ? En quoi nous oblige-t-elle à repenser concepts et compréhension dans le domaine de l’esthétique. Dans ce livre, un groupe international de dix-huit chercheurs se penche sur cette interface entre esthétique et recyclage culturel et propose des éléments de réponse à ces questions. Ce livre est issu d’un colloque international qui eut lieu en 2001 à Montréal.