PRIVATE

Sorry, but for economic reasons we had to suspend publication of PRIVATE magazine paper version.

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PRIVATE 58 | IRAN today

The collection of photos published in this magazine is a photo-story of personal concerns, documentations and reports made by 14 photographers who live and work in Iran.

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PRIVATE 57 | INQUIRY – special VII photo agency

It’s common to hear photojournalists described as the eyes of the world, acting as witnesses to events that we would otherwise not see. To some extent this is true, but it’s a simplified description that suggests passive observation and it denies the greater function of active investigation that defines great photojournalism…

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PRIVATE 56 | School

Good news, it infuses this issue with a sense of joy, and with an aspect of carefree childhood seized in flight. There is a feeling of solemnity, but a tender solemnity. An innocence that confronts the world, its difficulties and the trials of study, but it is amusing, happy, and touching.

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PRIVATE 55 | Rurality Now

The last global farmers shelter in rifts and unreachable ravines enveloped in loneliness huddle on the margins and scraps of earth still damp from warm, organic contact and human touch. Precarious land that is alive because of extreme poverty.

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PRIVATE 54 | LOST

You are only dust amidst dust. You are only just visible even if you gesticulate, even if you make a commotion, even if you speak loud and clearly: you act in a silent film. Or rather: one hears nothing that you would like because…

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PRIVATE 53 | HOPE

The photos in this volume are personal records of events that have taken place in the physical world. They are about discovery, not creation; about finding out, not inventing – for other people to see how the photographer has framed what he has witnessed. These photos are meant to educate us. And they will, provided we are willing.

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PRIVATE 51 | Global Report 2

As unique and special the scenes are that the photographers for this issue have chosen to focus on, the similarities (what we have in common, what we share) that can be found around the globe are striking.

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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 interpretation.

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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 48 | Economic inequalities

The pictures of this issue show economic inequalities as they are today in a way which breaks the stupor of indifference generated by watching antiseptic clean TV programmes of the main news channels.

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PRIVATE 45 | DEVELOPMENT. An Ecological Question

Our planet is in crisis; a crisis captured through this collection of photo essays taken by world-class photographers. It tells a story of environmental degradation and gives a voice to some of the forgotten peoples who are paying the price. This issue of PRIVATE takes us on a journey across the world, highlighting the human and environmental costs of “development” from our rivers and land to the skies above us.

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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 42 | Social Issues

The photographers of this volume report the world as they have researched, investigated, explored, experienced and discovered it, and decided to tell us about.

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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.

Photo cover: Boza Ivanovic
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PRIVATE 40 | Crossing Boundaries

Through subjects which are hard, frequently morbid and often far from our everyday concerns, these photographers are taking on the primary role of the artist. They are revealing our deepest contradictions and expressing their dreams and the nightmares which we prefer to forget.

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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 us, we struggle to mould a new fathomable identity- one that can be left on business tables after striking a deal or negotiation, a firm shake of the hand and a name and a number. I am Pakistani.

PRIVATE 38, stories from the USA
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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 States.

PRIVATE 37, an Ecological Question
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PRIVATE 37 | an Ecological Question

The destruction of our environment – albeit caused by natural disasters – involves parties (communities, governments or industrial players) and is often the result of a multiplicity of factors: human negligence, inadequate planning, criminal abuse of our resources, natural causes. This issue of PRIVATE offers its readers a selection of photographs that touches onto the many facets of the environment.

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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 35 | METROPOLIS

When I look at the twenty photographers which make up this Metropolis edition of PRIVATE, it’s not what makes the cities different from each other that strikes me, in fact I’d say that these big cities are very similar to each other, not in their detail, faces, bodies and scenes, but in the variety of emotions which they arouse and which we all experience.

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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.

PRIVATE 30, IRAN I Awake in Your Eyes
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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 photographers.