“There’s something unnatural and coercive about the idea of ‘making memories’. Surely memories can’t simply be fabricated at will? Forming a memory is something more organic, more random, and it’s all the more precious for this unpredictability.”
Christopher Anderson: COP Interview
"The subversive gesture to record and document, even if in cinematic discourse, the political and social status that a police officer represents in post-911 New York cannot be taken for granted".
Christopher Anderson’s work in essential terms is cinematic and tightly compressed. His images, when collated in book form become...
Maja Daniels: The Elf Dalia Interview
"My initial desire to make this work was my connection and fascination with the language. A language that has existed in my family for hundreds of years but that I do not speak".
Pino Musi: Border Soundscapes and Concrete Symphonies
"Photography and its compositions play with the end result, which is the still and static frame. We can consider its pre-supposition to modernity and the way in which modernism, technology and industry precipitated our current fascination with destroying their intentions ..."
A principal feature that photography and music share is...
Stephanie Kiwitt’s Máj/My Consumer Sublime
"The object and its indentured life under the magnifying glass from the future yield an uncanny disquiet".
American Revelations: Archival Photographic Notes of Woe
"The general sense of doom and the proclivity towards nightmarish consequences of feast or famine natural disasters ushered in a new era in which spiritualism, cults, and Catholicism all formed an ungovernable supernatural belief state".
Martino Marangoni: Rebuilding - My Days in New York
"Photography is bound to the world, and to time and circumstance, in a way that no other medium is. The technology is constantly evolving, as is the world, and the inevitability of these changes is part of the photographer’s relationship with her or his medium. Arguably, the most interesting...
Anush Hamzehian & Vittorio Mortarotti: Most Were Silent
"It is to accept that an image, though agreed as unable to achieve absolute status has many interpretive layers and one of these is the age of the viewer and his or her relation to the subject matter within the frame(s) conditioned by history, time and nostalgia..."
Hannah Darabi Interview: Engehelab Street, A Revolution Through Books
"...What is also interesting is that the book allows us to comprehend the ideological point of view of its author, something that is not detectable in the image itself".
Andrew Waits: Interview Aporia
"...the decision to juxtapose the old with the new relates directly to the aporetic nature of the location. Much of what I was feeling about the development of the surrounding urban environment was a sense of dislocation and confusion."