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Tag Archives | itinerant issues

PRIVATE 52 | Contemporary Photography SOUTH KOREA

Even though it has been only about 10 years since photography was included in art in Korea, photography is becoming the very basics and center of the whole art field as it goes through amazing changes.

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PRIVATE 50 | True or Real? CHINA

In contemporary China, uncertainty about what is “true” and what is “false”, “reality” and “appearance”, extends from the realm of photography to that of existence itself. We often feel that we are confronted with such an illusory, ambiguous, unexpected “reality” as to lead us to doubt not just our perceptions, but our very capacity for […]

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PRIVATE 49 | FRANCE PRÉSENCES

Such photographs are there not to gratify a curiosity, but are made in response to a feeling: it is not only the landscape we see, even if it takes solid form, and darkens or brightens in certain frames, or is transformed by the space under changing skies…

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PRIVATE 47 | ISRAEL

A living environment is a defined terrain where actual and imaginative perceptions are mutually experienced. The current flow of global information intensifies the simultaneous sense of personal space, and images serve as its geographic and emotional expansions. This kind of amalgamation narrows the distances between the self and the other to a point where remote […]

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PRIVATE 43 | Other side India

Whenever people talk about ‘Indian photography’ it obviously leads to a debate and discussion about how appropriate it is to term it as ‘Indian photography’ rather than ‘photography in India’. The question is: to what extent has photography in India been Indianized?

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PRIVATE 41 | From Poland

What is the state of Polish photography after 2000 then? This is a difficult question: today there seems to be a lack of meaningful currents and trends, and lots of authors borrow from other countries.

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PRIVATE 39 | I am PAKISTANI

In Pakistan we have reached a state of alchemy that typifies the post-post modern life. Life drudges through its multifarious activities of simple poverty until it climaxes into a bustle of hot abrasion in the struggle to churn out the most out of the given condition of existence. As the world turns its gaze on […]

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PRIVATE 38, stories from the USA

PRIVATE 38 | Stories from the USA

In this issue of PRIVATE , they are not images to be quickly rushed through like channel surfing on a television set. They are meant to be slowly appreciated for what they show us about America that we have not seen in the press or in images made by photographers who briefly visited the United […]

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PRIVATE 36 | AFRIKA

Mastering this split image is the role which photographers of African origin have assigned themselves, sometimes against their better judgement, in order to avoid misunderstandings.

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PRIVATE 33 | EASTEUROPE

Images used in photojournalism today look, to me, like fragments of reality snatched from a complex world which is essentially indescribable. […] Photojournalism today is a heroic thing. It is an old song, a last raised voice.

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PRIVATE 30 | IRAN. I Awake in Your Eyes

The collection of photographs before you is the stuff of nostalgia. Almost every work affects a spatio-temporal distance. To find the reasons, recall the events of the past two decades, beginning with the Iranian Revolution of 1979, which was a definitive rupture from a if not the past.

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PRIVATE 29 | EARTH. The infinite China of the countryside

The objective of this issue of PRIVATE is China outside the cities, the infinite China of the countryside, and it has the declared intention to give justice to about 900 millions people who live in a huge territory at the borders of the economic miracle. The artists are all Chinese, and among the best contemporary […]

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PRIVATE 27 | GermanViews

Most photographers think their camera is an extension of their body, an organ and not simply a mechanical tool, to them the tool is a sight enhancer, a third eye. This issue focuses on these photographers…

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PRIVATE 25 | SAINT PETERSBURG – The Inner City

St. Petersburg is a utopia constructed… It’s strange living in this city, but only for guests. St. Petersburg residents are used to strange things and take no notice. Amongst them, only those for whom strange things are a must take notice: painters and photographers for example.

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