Sonntag, 27. Januar 2013

KALHEX - LA FINE LIGNE (SIRLENSALOT REMIX)

Little remix I made lately ... If you want to know more about the original record's release from earlier in 2012 head over to this link to find a blogpost with links... If you want to see some photos I made in Paris in 2012 aswell, head over to "Chez Kalhex" and my website. A lot to come by my friends from Paris this year; its even too much to mention, haha; watch out for Akromegalie Records and Hydeout Productions Japan. Enjoy!
 

Freitag, 18. Januar 2013

INDUSTRIE: OPENING 23.1.2012

feat. Anatoli BABIYCHUK, Carla BOBADILLA, Edward BURTYNSKY, Elisabeth CZIHAK, Michael GOLDGRUBER, Birgit GRASCHOPF, Katharina GRUZEI, Cornelia HAUER, Ernst LOGAR, Walter NIEDERMAYR, Markus OBERNDORFER, Sascha REICHSTEIN, Thomas RUFF, Margherita SPILUTTINI, Max WEGSCHEIDLER


openingreception: january 24th, 2013
exhibition: january 25th - march 30th, 2013
opening hours: wed-sat 12h - 18h

OSTLICHT. GALERIE FÜR FOTOGRAFIE 
Absberggasse 27, 1100 Vienna
T: +43 (0)1 996 20 66
www.ostlicht.at

THE LAST REALA 120 SOON TO BE "EXPOSED"??

Just another sad day in many for the analog world of photography over the last years. Fujifilm Austria has now confirmed in an email that my most beloved film "Fuji Reala 120" has been discontinued - among other films and products - and that NO follow-up is planned. Seems like it is time to buy a fridge for my stock that should get me through until the end of 2014, but still: Soon the last one of this brilliant films will probably be exposed or expire somewhere in the world.

With the (since years of course) rising popularity of (in the first place) cheaper and for some purposes definitely more convenient digital photo"graphy" it became much more difficult and expensive to keep the handcraft of photography and the dying art of the photographic darkroom alive because you are constantly confronted with changes, delivery problems, discontinuations ...

Still: Digital photo"graphy" is just not the same even though filters can do the job for you to make it nearly "look a like". In regards to media philosophical and -theoretical aspects, its brilliance of color transitions in print, and in regards to archival purposes for the future, they communicate a different thing though - the period that will probably be known as a "dark hole of digital data information loss". But why? Because either noone will be able to read the harddisks, or noone will have the time or be interested to digg through folders of digital trash in search for a holy digital grale. At least platforms like facebook will have a big archive of photos they can sell, haha; its as ironical as that.

Anyways, being constantly confronted with the question of which ingredient to the most delicious version of a cake you can cook will be discontinued next, I will try to keep working in the photographic darkroom up as long as I can. I know this will not change Fujis decision or the market that orients itself after what can be sold and makes the biggest profit, but still I feel better with these words written. "Gut Licht!".

DOCU: PHILIPPE KOUDJINA

"Philippe Koudjina's illuminating photographs of the early days of independence in Niger contrast starkly with its impoverished reality 50 years on. The film explores ideas of the value of art and the legacy of colonialism; a rare glimpse at one of Niger's great forgotten talents." (Aljazeera)

 

Freitag, 4. Januar 2013

DOCU: BEIRUT PHOTOGRAPHER

In 1981, George Azar, a Lebanese-American, crossed the Syrian border into Lebanon. He carried an inexpensive camera, less than $100 and a desire to change the way the Arab world was portrayed by the US media. He began taking photographs. But within a few months Israel attacked Lebanon and war broke out [...] Now, 30 years on, he returns to Beirut, retraces his steps and unpicks the stories and people behind some of his most iconic photographs - those that were published and many of which were unseen at the time.