untitled from "Tsukuba-Narita 2011/03/13" by Jens Liebchen

(Copyright by Jens Liebchen)

"I left Japan two days after the quake. The situation was unclear. Information from Japanese and Western media differed to a great extent. The bus to Narita left on time, as usual." J. L...

"Liebchen's recent work is a direct reaction on the incidents in Japan in March 2011. It brings together 80 photographic images. Tsukuba–Narita 2011/03/13, the title says. A date is given and two Japanese locations are named that supposedly mark the beginning and end of the precipitous bus ride that took place early one Sunday morning in the spring of 2011.It is here that the images originated, the words tell us. The sun had been shining and the bus is said to have left on time. ”On time, as usual.“ The destination – Narita International Airport outside of Tokyo – was reached. No reason to be alarmed. Though the media – if you recall – issued one unsettling report after another. ”Brutal images“, as they themselves called them."How are we read today?—the images ask in a hushed tone. How will you perceive us tomorrow? And what will be recognized in us?" (Christoph Schaden)"

Exhibited at Raum für Zweckfreiheit, Berlin.

"Lights" from the series "Once, still and forever" by Jessica Backhaus

(Copyight - Jessica Backhaus)

"As in former series such as "Jesus and the Cherries" (2005) or "What still remains" (2008), Jessica Backhaus' new work in the series "I wanted to see the World" (2010) and "Once, still and forever" (2011) develops a strong sense for the melancholic in the every-day and the power of color and light as emotional means of expression. "I wanted to see the World", published in 2010 by Kehrer, is a series of large scale water reflections as abstracted studies in color and light. The brand new series "Once, still and forever" marks a return to the classical still life. This new series as not yet been published and is exhibited for the first time."

Exhibited at the Robert Morat Galerie.

from 'Evidence' 1977/2005 by Mike Mandel / Larry Sultan



(Copyright - Larry Sultan/ Mike Mandel)

"Today the Evidence project is considered a milestone of both conceptual and appropriation art. It is an early example of artistically subverting the notion of the original and of authorship. Moreover, by omitting all textual explanation, the project directs attention to the structure and poetry of the images."

Exhibited at Fotomuseum, Winterhur

from 'Dream Villa' 2010 by Dayanita Singh



(Copyright - Dayanita Singh)

"The absence of people is manifest in empty rooms and spaces and in remarkable still lifes of everyday objects. People are also emphatically absent from her most recent series, Blue Book (2009) and Dream Villa (2010), yet they do remain omnipresent in details and even in the color and light. The urban scene full of movement and vigor has turned into a desolate, surreal world that offers an endless range of interpretations and meanings."

Exhibited at Huis Marseille, Museum for Photography, Amsterdam.

Vidauban, France, 2007 by Ad van Denderen

(Copyright - Ad van Denderen)

"At the same time, So Blue, So Blue breaks the conventional mould of photojournalism. Ad van Denderen's documentary photographs are a far cry from the lurid and judgemental images of catastrophe that feed the news tickers through the internet. Using a medium format camera, he takes pictures that demand lengthy preparation and research. His photographs are the result of intense and sensitive observation conducted over a period of five years, yet they are never patronising."

Exhibited at Fotomuseum Winterhur, Switzerland.

Truck stop by Mark Kimber

(copyright by Mark Kimber)

"Kimber is compelled to find "situations where the play of light, form and landscape converge in time and space to create an elusive and ephemeral piece of theatre." To produce EDGELAND he changed cameras, this time using a high definition model and shooting at dusk, the edge of the day. The intense colour of the twilight sky mixes with the artificial lights of the night. The car parks, containers and buildings become poetic summaries of themselves. The street and building lights that proliferate in his scenes are like beacons, calling our attention to details, which we would, in the bright light of day, disregard. Despite the lack of human actors, the lights suggest a stage waiting for the performers to return, with the sun."

Exhibited at the Stills Gallery, Sydney.