donderdag 25 april 2019

Ein Ghetto im Osten Wilna by Moshe Vorobeichic & S. Chnéour Photography


moshe vorobeichic, s. chnéour:
ein ghetto im osten – wilna

orell füssli verlag, zürich/leipzig (schaubücher 27), 1931
size: 19 x 13 cm
photographer: moi ver designer : (unknown)

M. Vorobeichic, who also used the artist name Moi Ver, and whose real name was Moses Vorobeichic (1904), in Israel renamed Moshe Raviv. This painter/photographer is known for his picture-books on the Ghetto of Wilna and Paris (end of the twenties), early examples of the Bauhaus photographic style. (German) From the Preface The Jewish Lane in Light and Shadow by S. Chneour
About Paris : 'The book that introduced Moi Ver to the world is exhilaratingly eccentric, definitely avant-garde.... Moi Ver's Paris is a city in motion, hurtling almost out of control. Cobblestone streets, bustling crowds, facades, railway tracks, bridges. the glittering river, and countless monuments shift and shatter here.... Moi Ver's version of Paris was eclipsed two years later by the publication of Brassai's more conventionally seductive Paris de Nuit, but no one has yet matched Moi Ver's vision of the brutal, chaotic, irresistible modern city.'-Vince Aletti, from the Book of 101 Books

In Paris, his quintessential avant-garde book, Moi Ver succeeded in blending dynamic photographic montage with elaborate graphic layouts. Utilizing the double-spread as one unified place, each turn of the page not only surprised but accentuated the charged rhythm built into the book itself. The bulk of information in these pictures documents mundane street activities in the cobblestone-covered Paris of the late 20s. But the method in which Moi Ver chose to present his material, in its kaliedoscopic layering and frenzied repetitiveness, emphasized an experiential approach to picture construction-as if we, the viewers, were walking about, bombarded by noise and reflected light. Originally published in 1931 by Editions Jeanne Walter with an introduction by Futurist Fernand Leger, now long out of print and exceptionally rare, this facsimile reproduction of Paris brings back into circulation one of the seminal photographic books of the century. See for the slideshow ...

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another example of orell füssli's "schaubücher" (sb), a series of photo books with laminated board covers in a standardised new typography design, see also books 95, 173 or 96.

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sb edition number 27 is a standout and the most sought after: it is a photo documentation of the jewish ghetto of vilnius, the lithuanian city which is called "wilna" in german.

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the introduction was written by zalman shneour (1887-1959), a jewish (yiddish) writer who lived in vilnius and later in paris.

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the book is famous for its photos by moshe raviv-vorobeichic (1904-1995), better known as moi ver.

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moi ver had studied at the bauhaus in dessau, and later worked in paris before finally settling in palestine.

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the experimental photos and photomontages reveal a bauhaus influence.

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a unique feauture of this "schaubuch": ...

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... the whole book is bilingual, ...

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... german and hebrew!

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the hebrew version starts at the "back".

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a stunning book about a fascinating world which was wiped out by the nazis in ww2.

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See for more book design stories ...

Hans Aarsman Nederlands Fotomuseum Aarsman's Amsterdam Hollandse taferelen


Hans Aarsman - Hollandse Taferelen - Amsterdam, Fragment Uitgeverij, 1989 - eerste druk - ongepag. (98pp.) - gebonden in linnen band met stofomslag - 20,3 x 26cm - conditie: fraai, zeer, zeer minimale gebruikssporen, die zich beperken tot de stofomslag - oplage 2000 exemplaren.

Referentie:
Parr & Badger - The Photobook: A History Volume II - Pag. 69
Frits Gierstberg; Rik Suermondt - Het Nederlandse fotoboek - pag. 28 - "Betekenis en impact van 'Hollandse Taferelen' voor de Nederlandse fotografie van de jaren 90 kunnen nauwelijks worden overschat"

Van maart 88 tot februari 89 trok de fotograaf-auteur met een kampeerbus en een grote technische camera. Hij maakte foto's van landschappen, dorpen, soms treffende gebeurtenissen zoals de tewaterlating van een schip, een kleine kettingbotsing, een folkloristische optocht. Hij streeft naar het vastleggen van het alledaagse en juist daarin iets bijzonders (schoonheid, verwachting, rust, verwondering) te laten zien. In het boek zijn 36 kleur en 3 zwart-wit foto's opgenomen op paginavullend formaat. Bij elke foto staat vermeld de plaats van opname. Tijdens de reis schreef de fotograaf een column in Trouw en maandelijks een stukje in Foto. Hiervan is ook een aantal opgenomen (25 blz. tekst, kleine letter). Thema's hierin zijn: het nut van de fotografie, het lot van de alleenstaande, notities over kijken/beschouwen en over voorvallen en (sporadische) ontmoetingen...

(NBD|Biblion recensie, Piet Huson.)






















woensdag 24 april 2019

Views & Reviews FURNISHING THE SACRED Boglárka Éva Zellei Photography


BOGLÁRKA ÉVA ZELLEI: FURNISHING THE SACRED
By Aline SmithsonDecember 22, 2018
With Christmas on the horizon, it’s a time to consider Christian rituals or religion in general, especially when shopping for Santa. Boglárka Éva Zellei‘s photographs came to our attention when she garnered 1st Place (along with Mike Whiteley) in our 2018 Seeing is Believing Exhibition, jurored by Drew Nikonowicz. Her series, Furnishing the Sacred, is a fascinating look at religious spaces and the sacred act of baptism. The juxtaposition between this solemn ablution and the quirky containers of purification make for a unique typology.

Boglárka Éva Zellei (1993) is a photographer based in Budapest. She studied Photography at the University of Kaposvár and received her MSc at Moholy-Nagy University of Art and Design, Budapest. She was represented in several exhibitions in Budapest, London, Vienna, Ljubljana and Bratislava. Her works were published in several magazines, for example on the cover of HANT Magazine für Fotografie. In 2018 she was a New East Photo Prize finalist, and earned the Pécsi József Photography Grant. In her works she examines the presence of spirituality and religion in contemporary society and her personal life.
Furnishing the Sacred

In this series I’m dealing with the visual language of contemporary Christian communities through the environments used for immersion baptism. Although this ceremony has been a two-thousand-year old form of christening, every place shows a different religious attitude. The intimacy of the event meets excitingly with the profane needs and possibilities, the tradition with the contemporary taste and unique approaches. How can a sacred event happen in a well designed church and in a inflatable pool with the same spiritual intensity? Everyday objects are arranged in new connections and get new meanings. Their intention to feel at home but also being close to the transcendent world appears in these places. The project is focusing on this human scale and shows the side of religion which is continuously formed and built by humans. I constructed the images in a similar way to emphasize the viewer’s own cultural habits and and reflections. As the environment changes around the figures we can observe how it shapes our visual concepts of religion and the sacred.

Het oude leven afspoelen
Marjoleine de Vos
19 april 2019

Dopen, wassen, baden, reinigen – in allerlei religies hoort iets dergelijks erbij. Veel christenen laten hun kinderen dopen als ze nog piepklein zijn, om ze als het ware meteen ‘in Christus’ te brengen, anderen menen dat iemand eerst moet geloven en dán pas gedoopt kan worden.

Daar kun je flink ruzie over maken.

Ook over het dopen zelf verschillen de meningen: zijn een paar druppels water genoeg of dient de gelovige helemaal onder gedompeld te worden om het oude grondig af te spoelen en als nieuw weer boven te komen?

Ook daar wordt over geruzied.

En altijd met de Bijbel in de hand uiteraard. Marcus 1:5: „Alle inwoners van Judea en Jeruzalem stroomden toe en lieten zich door hem [Johannes de Doper] dopen in de rivier de Jordaan, terwijl ze hun zonden beleden.”

De mensen die hier, op de foto’s van de Hongaarse fotografe Boglárka Éva Zellei in allerhande curieuze badjes gedoopt worden, lijken helemaal geen behoefte te hebben aan zulke disputen. Ze zien er vredig uit. Ze laten zich onderdompelen door een plaatsvervanger van Johannes die zelf ook te water is gegaan, soms plechtig gekleed. Er zijn spatmatjes, doeken, kruizen. Er is veel licht. De houding van de mensen is innig, zorgzaam enerzijds, vol overgave anderzijds. Een enkeling lacht.

Het is allemaal erg lelijk, en erg mooi tegelijk.














vrijdag 19 april 2019

Views & Reviews Bilder Barbara Klemm Photojournalism Photography


Barbara Klemm Bilder
S. Fischer Verlag, Berlin. 1986.
First edition, first printing.
First, very early and important photobook by Barbara Klemm.
After many publications still the favourite book by the german photographer.
Beside a lot of other wonderful photos also photos of Joseph Beuys, Wolf Biermann and Andy Warhol.
Paperback (as issued). 250 x 280 mm. 153 pages. Forword: Ellen Auerbach. Text in german.

Barbara Klemm is one of the most prominent German photojournalists. Through her camera’s lens, she has captured many years of turbulent historical happenings and current affairs. Last year, against the backdrop of the 25th anniversary of the fall of the Berlin Wall, she put together a comprehensive retrospective of her work at the Martin-Gropius-Bau in Berlin. IC Collector Werner Driller is a great admirer and collector of Klemm’s works. Next to sharing pieces from his collection, he also shares his thoughts on her photographs:

‘Since the 1970s I am interested in photojournalism. I guess it all started with the images of the assassination at the Olympic Games in Munich (I could actually buy an original print later on the Internet). In the 1980s and 90s my attention was drawn to images taken by Barbara Klemm that were published in the German newspaper FAZ. I have always been deeply impressed by her work because the people and motives she captured always looked somewhat staged. In 2003, I acquired my first print by Klemm and two years later I met her personally. Since then, I often meet her and we had long conversations about photography. The stories she told me about the creation of her images were as exciting as the works themselves. Such a free and unrestrained photojournalism will probably never exist again. That’s what makes the works of Barbara Klemm so precious to me.’

Dramatics of the Moment
How does the past become lodged in our memories? In the form of stories and pictures. Since time memorial, writers have tried to stop us forgetting. Be it Homer praising the bravery of the Greeks besieging Troy or Shakespeare admiring the beauty of his lover: The written word expresses permanence. The visual memory of the applied arts, namely sculpture and painting, renders the past visible. Auguste Rodin turns the stooped gait of the “Citizens of Calais” into oppressive reality, Max Slevogt intimates to us the triumphant gesture of Francisco d’Andrade in his famed role as Don Giovanni. Yet without doubt no visual medium is more suited to preserve an occurrence captured for a moment than is photography.

Barbara Klemm is one the most prominent chroniclers of recent German history. Since the 1960s she has been covering politics and society in both Germanies as a staff photographer attached to the main editorial desk of the “Frankfurter Allgemeine Zeitung”. Entitled “Our Years – Pictures from Germany 1968-1998” these works went on show first in the Berlin Museum of History in 1999 and then, a year later, among others in the Schirn gallery in Frankfurt.

Were Barbara Klemm only to preserve the moment from transience, she could be regarded as one of many good photographers. The status and unmistakable character of her pictures (and they are often shot in a matter of moments) stems from the fact that they obey the specific dramatics of that one moment, never to be repeated. Be they portraits of politicians in the various constellations of power or somewhat more unspectacular snapshots of everyday life on both sides of what used to be the border separating the two Germanies: Barbara Klemm’s photographs show us intensive life, the meaning of which flares up for a moment and then by dint of the photographs continues to be visible.