Svenja Gerster ◊ EVERYDAY PEOPLE ◊


◊ Romy Schneider ◊ L’enfer.

In 1964 koos Henri-Georges Clouzot Romy Schneider, toen 26 jaar, en Serge Reggiani, 42, als de sterren van L’enfer. Het raadselachtige en oorspronkelijke project, een onbegrensd budget, een film als een “gebeurtenis” film. Maar na drie weken van het filmen van de drama werd het project onderbroken en de beelden die zeiden: “ongelooflijk” zullen nooit openbaar worden gemaakt.

Deze beelden, vergeten gedurende een halve eeuw, zijn gevonden en zijn meer adembenemend dan de legende voorspelde. Ze vertellen een enkele film, waanzin en jaloezie gefilmd in een subjectieve camera, het verhaal van een vervloekte film en die van Henri-Georges Clouzot had de vrije loop te zijn genie als filmmaker.

Romy nog nooit zo mooi en hypnotiserend geweest. Nooit is een auteur zo dichtbij een fusie met de held geweest.

Serge Bromberg en Ruxandra Medrea slagen hier “herschikking” van het ontbrekende werk, het creëren van een nieuwe film die het verhaal van deze mooie schipbreuk vertelt en zo kan het project uiteindelijk bestaan.

◊ Ana Coto.

Ana Coto is a 22 year old Cuban-American artist based in Los Angeles. Working under the premise that energy is corresponded to color psychology and that, colors are associated with feelings and some are said to influence our mood. Her latest photographic project ‘Spilt Milk’ meant simply to create a visual representation of the above, during which each splash is different than the one before. Maybe Ana was trying to find something special among every-day environments. In any way, what we do know is that her photos have brought color to the ordinary and her work was captured flawlessly with the skill of someone who truly understands her craft.


◊ Link

◊ Pierre Debusschere ‘Holy Flowers’

“The inspiration starting point [for the shoot] was Raf Simons’ last Jil Sander show and the amazing flower installation that Mark Colle designed for it, so it was really important for Robbie and I to have Mark with us on this project. We also took the inspiration further by developing the idea of the femininity in flowers. For sure there is some romantic aspect, but flowers can also be sensual, seductive, empowering, heady, but poisonous too…

I was very happy with Zuzanna as she was the perfect model to give us a wide range of poses and expressions in relation to the styling and the flowers. I wanted the music to reflective too of the variety of character a flower can have, you have the lyrics that show you the softer side (voice Oriane Leclercq) and the music which for me is as seductive as a dark orchid.

I want to thank also the whole team as they all did an amazing job! And for staying positive throughout this very intense shoot!” – Pierre Debusschere

Bekijk de film! 

Link ◊

◊ Broomberg Chanarin III ◊ Ghetto

This is a journey through 12 modern ghettos starting in a refugee camp in Tanzania and ending in a forest in Patagonia. In each of these places, Adam Broomberg and Oliver Chanarin, as editors and photographers of COLORS magazine, methodically documented their inhabitants, and asked them the same questions: How did you get here? Who is in power? Where do you go to be alone? To make love? To get your teeth fixed? For many of those photographed it was their first time in front of a camera. Some looked into it with a hard, penetrating gaze. Others obeyed the ritual of photography with smiles. And Mario, on the cover, turned his back on the camera and waited for the shutter to click.

Ghetto is published by Trolley Ltd.

Rene Vallejo Psychiatric Hospital, Cuba, C-type print, 16 x 12 inches, 2003

Rene Vallejo Psychiatric Hospital, Cuba, C-type print, 16 x 12 inches, 2003

Rene Vallejo Psychiatric Hospital, Cuba, C-type print, 16 x 12 inches, 2003

Rene Vallejo Psychiatric Hospital, Cuba, C-type print, 16 x 12 inches, 2003

Rene Vallejo Psychiatric Hospital, Cuba, C-type print, 16 x 12 inches, 2003

Rene Vallejo Psychiatric Hospital, Cuba, C-type print, 16 x 12 inches, 2003

◊ Link ◊

◊ Broomberg Chanarin ◊ II

The Afterlife series offers a re-reading of a controversial photograph taken in Iran on 6 August 1979. This remarkable image, taken just months after the revolution, records the execution of 11 blindfolded Kurdish prisoners by firing squad. The image, which captures the decisive moment the guns were fired, was immediately reproduced in newspapers and magazines across the world. The following year it was awarded a Pulitzer Prize and for the next 30 years its author was simply known as “Anonymous.” Only recently has the photographer’s identity been revealed as Jahangir Razmi, a commercial studio photographer working in the suburbs of Tehran. He was located and interviewed by Joshua Prager of the Wall Street Journal.

Broomberg and Chanarin sought out Razmi, and based on their discussions and along with an examination of the neglected images on the roll of film Razmi produced that day, they present a series of collages–an iconoclastic breakdown or dissection of the original image – that interrupts our relationship as spectators to images of distant suffering.
Afterlife 1 installation shot, 20" x 16"
◊ Link ◊

◊ Broomberg – Chanarin ◊

Culture3/Sheet72/Frame3, People in Trouble, C-type print, 150 x 190 cm, 2011

The Belfast Exposed Archive occupies a small room on the first floor at 23 Donegal Street and contains over 14,000 black-and-white contact sheets, documenting the Troubles in Northern Ireland. These are photographs taken by professional photo-journalists and ‘civilian’ photographers, chronicling protests, funerals and acts of terrorism as well as the more ordinary stuff of life: drinking tea; kissing girls; watching trains.

The marks on the surface of the contact strips – across the image itself – allude to the presence of many visitors. These include successive archivists, who have ordered, catalogued and re-catalogued this jumble of images. For many years the archive was also made available to members of the public, and sometimes they would deface their own image with a marker pen, ink or scissors. So, in addition to the marks made by generations of archivists, photo editors, legal aides and activists, the traces of these very personal obliterations are also visible. They are the gestures of those who wished to remain anonymous.

We would like to acknowledge and thank the original photographers Mervyn Smyth, Sean Mc Kernan, Gerry Casey, Seamus Loughran and all other contributing photographers to Belfast Exposed’s archive.

◊ Link ◊