Thursday, 7 April 2022
'Wenn wir bereit dafür sind, greifen uns die
Fotografien von Katrin Koenning mit einer
Wucht von Gefühlen an. Sie sagt von sich
selbst, dass sie nicht still sein kann.
Sie hat so recht: ihre Fotos sprechen, flüstern,
schreien, entführen, wühlen tief und
umfassen die ganze Palette erzählerischer
Momente einer geschichte. Es sind
Wahrheiten über Menschen, die Liebe
und sie selbst. Ein Protokoll.' - Anja Prinz
Tuesday, 5 April 2022
Wednesday, 30 March 2022
Monday, 21 March 2022
Thursday, 13 January 2022
by Daniel Palmer and Martin Jolly, Perimeter Editions
INSTALLATION VIEW: Photography Exhibitions in Australia (1848-2020) offers a significant new account of photography in Australia, told through its most important exhibitions and modes of collection and display. From colonial records to contemporary art, the book presents a chronology of rarely seen installation views from both well-known and forgotten exhibitions, along with a series of essays that tell the story of the individuals and institutions that have proved intrinsic to the public circulation of photographs. At once specific and widely contextual in its scope, this longterm research project from two of Australia’s leading academics and educators in the field enriches our understanding of the diversity of Australian photography by looking at what lies beyond the frame. Installation View speaks not only to pictures, but to the people and the places that nurture them.
Curatorial note by Arko Datto, Boaz Levin, Kerstin Meincke and Bhooma Padmanabhan
Titled Maps of Disquiet, the 3rd edition of the Chennai Photo Biennale, reflects on the exigencies of our times: resisting majoritarian impositions, ecological collapse, and technological dystopias by reclaiming pluralities of thought, voices, and art, and building new networks of solidarity and care. In today’s world of highly specialized fields of operation, rigid chains of command and niche disciplinary focus, a space such as a biennale offers the possibility of rethinking our futures through broader parameters that address the complexity of the disquiet that we are experiencing.
The site of the 'Great Trigonometrical Survey' of 1802, the first colonial attempt to measure and map the subcontinent, Chennai today is an arena for the creation of resistant cartographies. The biennale illuminates the invisible realms of power and knowledge that shape our global present while simultaneously navigating contested visions of our global future. It asks, whose resources? Whose rivers? Whose interests? Whose voices? Whose images?
Sunday, 2 January 2022
Thursday, 30 December 2021
Wednesday, 22 December 2021
Tuesday, 30 November 2021
Tuesday, 14 September 2021
Keke Looking Sad, Serious, or Gloomy All The Time
Keke and I met toward the end of my photography degree, fourteen years ago. Like all the people whom I love and spend a lot of time with, he began appearing in my photographs right from the beginning: here he is sleeping, here he is running, here he is floating. At some point, however, I picked up the idea that for a portrait to be "proper" and worthy of consideration, the person in it needed to look serious. Surely if they weren't joyous, laughing or smiling, the picture couldn't be "decent". As a result, Keke would often look sad, serious, or gloomy in the photographs, even if he wasn't feeling that way at all. How silly, I knew absolutely nothing then. Fourteen years later, it still makes us laugh.
Tuesday, 31 August 2021
Friday, 9 July 2021
Saturday, 1 May 2021
Friday, 12 February 2021
Friday, 18 December 2020
Tuesday, 1 December 2020
Saturday, 12 September 2020
'But upon consideration, what Koenning
offers to us in the kids is attunement,
and a deep intimacy. Her attention to
light and dark, shadow and depth draws
your attention to our shared experiences
of happiness, joy, fear and loss. Where
many of her contemporaries all too often
contrive themselves, exuding a forced
intimacy, Koenning’s is eloquent and
sincere. The photographs that comprise
the kids aren’t being presented to you,
nor exhibited - they’re being shared. The
viewer becomes the amorphous ‘you’
addressed in the accompanying text.'