Pablos Holman: «What Hackers Can Do To Save The World»

Pablos Holman illustrates the tricky aspects of RFID-technology.

Let’s face it: usually, a hacker’s reputation isn’t the best – seen from the perspective of someone who isn’t really familiar with such topics. And so aren’t we. That’s why we will give you some basic impression of how brightly minded a brilliant hacker has got to be; and how he uses his brain capacities to do good on mankind’s problems.

Thanks to Berlin School of Creative Leadership we very much enjoyed the luxurious advantage of being taught by one of the best hackers: by Mr Pablos Holman himself.

For all those of us who still suffer from an uncertain vision about that what hackers real abilities are, Pablos Holman first explained to us, that hackers never accept a certain status quo and that they always try to look and go beyond any border. For that reason – like any other – even hackers use to enter airplanes and call ordinary passports their own. But what they can do with such an ordinary passport as well, is what it separates them from us, to so-called common people, who always obey rules in precisely that manner as they firstly appear.

Pablos Holman indicates that «Samy is my hero».

Alright, let’s start the fire: «Samy» is the guy who made it straight into «The Book of Internet History». It was him who created the legendary make-myspace-friends-script. Simply by visiting a profile both sides automatically became friends. Within weeks some myspace users gathered from 100k up to 1m of magic friends that came out of nowhere. However, out of a clearly structured hic et nunc «Samy» was not allowed to touch any computer for a period of ……. years/months?

By the way: What does such a verdict mean in reality? That you aren’t even allowed to use a cash dispenser in order to make an ordinary cash withdraw? That you aren’t even allowed to buy a train ticket from a ticket machine, which – of course – runs with a computer inside? May be it’s just meant to be a ritual, a procedure that separates the best from the good? May be it is designed as a special recruiting (Maßnahme) to get in touch with «The best, of the best of the best, sir!». Who knows…

Another important starter was that Pablos Holman showed us screenshots from TV-sets in hotel rooms, showing what the specific users was actually doing in their guessed but not existing privacy: making a money transfer of about $30m quit, for example. Certainly, all the bank details were on display as well.

How to snap secret credit card details wirelessly?
Pablos Holman demonstrates it.

«Can I have anyone’s credit card, please?» No wonder that all participants instantly forgot theirs at home… So he took his, certainly an expired one, and caught his secret card details with a blimp of an eye.

How to snap secret credit card details wirelessly?
Pablos Holman demonstrates it.

How to snap secret credit card details wirelessly?
Pablos Holman demonstrates it.

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Helmut Kohls letzte Extrawurst: «Ruhestätte auf Speyerer Domkapitelfriedhof»

Den Beerdigungsfeierlichkeiten wohnten vier Weihbischöfe sowie – höchstpersönlich und etwas versteckt – das Lamm Gottes bei. Von hier aus wird er weiterhin die politischen Geschehnisse aufmerksam verfolgen; und gegebenenfalls auch steuern.

Fotografiert 1991 für den «stern» über «Die wahre Mitte
Deutschlands» von unserem Redaktionsfotografen Andreas Baier.
Click to enlarge saumagendly.

After Germany’s reunification, a new geographical center had to be defined. Various mathematical procedures led to different geographical results. Germany was suffering a serious problem; and it was ruled by an almost edible double supermoon. So, it was our pleasure to help. After examining the true cultural centers of Germany we put into places both our former chancellor Helmut Kohl and some German visual specialities. Now, this is the place where he was recently buried for good as well; witnessed by some four bishops and the lamb of god himself. Without doubt, Helmut Kohl was truely a very special master of his own.

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Gérard Rancinan: «Paul McCarthy»

Click to enlarge mccarthiedly

Website Gérard Rancinan.

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Andreas Baier: «Seaside Rendez-Vous»

«Seaside Rendez-Vous» by Andreas Baier
Digital Painting sized 120cm x 180cm
Click to enlarge seasidedly

The brilliant art recommendation service «Citi.Art» on Twitter has featured one of our staff-chief-creative’s (SCC) digital paintings entitled: «Seaside Rendez-Vous». You can also watch it on SaatchiArt.

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Art|Basel|2017: «An Experimental Interview With Larry Gagosian»

Larry Gagosian’s Experimental Interview
Portrait created by Andreas Baier
Click to enlarge gogogagosianedly

Larry Gagosian, one of the most influential art dealers in the world, very rarely gives interviews. Nevertheless, he agreed to do an experimental one with us on this year’s Art|Basel|2017, which means that we were preferably communicating with each other on a spritual level only; a mental area where spoken words should be recognised as an exotic exception.

Meerschweinchenreport:
When looking at Jean Pigozzi’s photograph which was taken in 1991 and that shows Charles Saatchi, Leo Castelli and you all dressed to the nines in swimming trunks, we are asking ourselves what all of you might have had for breakfast that very same day?

Larry Gagosian:
That’s an interesting question, indeed. As far as I can remember, we first tore one of Lucio Fontana’s «Concetto spaziale»-paintings apart in order to make its taste a bit more sophisticated. We then had a plate of the usual course: ham, eggs, sausages, baked beans, French toast with strawberries, black pudding and coffee. Lots of coffee. Sure, there was orange juice too. At that moment we thought that this was pretty cool but after all these years, honestly, we’re still busy digesting Fontana properly. The only thing that helps starting collectors to not underestimate Fontana’s work is the price they’ve got to pay for it. If you want to make the people obeying work of art the perfect way, then make the objects as expensive as even possible.

Meerschweinchenreport:
Tom Wolfe wrote in his book «The Painted Word» that abstract expressionism is, at least, about celebrating «nothingness». And he reported that one day Jackson Pollock appeared on one of Peggy Guggenheim’s soirées uninvitedly and completely drunk, managed to get himself undressed and urinated to her guests’ greater surprise stante pede into the living room’s fireplace. Are those days over?

Larry Gagosian:
These are two good questions proving impressively how much the so-called «nothingness» and a strong performance transporting the unbeatable taste of abstract expressionism rely on each other significantly. Irritation is the basis of seduction. I remember a conversation I had decades ago with a professor teaching English literature that led us from literature over aesthetics to contemporary art. For some reason he ended up saying that abstract art were not worthy of serious consideration—that they were superficial and overrated, which was a funny comment to hear in an English class at UCLA. To illustrate the point, he said, «If you look at this da Vinci or this Raphael, you can go from the eyes to the woman’s navel and there is a perfect triangle. But now we have artists who paint a triangle and they call that art.» So I stuck my hand up, which I didn’t do very often, and said, «Maybe sometimes you just want to look at a triangle.» But that sticks out in my memory as something that got me thinking about aesthetics. And to answer your third question: yes but no.

Meerschweinchenreport:
Let’s talk about Leo Castelli and Susan Sontag. While Mr. Castelli was dealing with Gabriele and Alexander Baier about an article in «Magazin KUNST», Susan Sontag grabbed the chance to introduce our staff-photographer with the real essence of life: «Sleep, sleep, sleep!». At that time he was a baby and enjoyed it very much being instructed quite gently this way. Is there anything Leo Castelli taught you in particular, so you feel that you learned from him?

Larry Gagosian:
That’s another very good question. I can’t answer it simply, but he showed me how a gallery could really make the art feel important. Of course, it helps to have work by artists like Roy Lichtenstein, Ed Ruscha, and Jasper Johns. But the way you present the work has a lot to do with how people receive and regard it. Leo always had great style in the way he presented the work—and without making it too fussy. Leo also showed me that you could have a lot of fun being a dealer. He liked to have a good time. But the fact that you could have a business as serious as Leo Castelli’s and still have a wonderful life—that was a life lesson as well as a business lesson. The other thing he taught me was not to give too many interviews. In the later years of Leo’s life, we were partners. We had a gallery together, we shared artists, and we had a fairly formalized business relationship. But I’d call him up because I wanted to talk about a painting or a show or a deal, and I’d be told, «Mr. Castelli is being interviewed.» [Larry Gagosian laughs]

Meerschweinchenreport:
Sounds like a «Wink mit dem Zaunpfahl» – as we say in Germany. Mr. Gagosian, thank you very much for this highly experimental interview.

Larry Gagosian:
You’re mostly welcome.

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Interviews that helped us very much to be spiritually experimental: Interview Magazine, Bidoun Magazine, WSJ. Magazine and The Guardian.
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Art|Basel|2017: «Lucio Fontana»

Lucio Fontana at Tornabuoni
Art Booth – Art Basel 2017
Photograph by Andreas Baier
Click to enlarge fontanaedly

Tornabuoni Art gallery has pulled off an art historical coup with its presentation at Art|Basel|2017 of four rare and fragile works from Lucio Fontana’s «Fine di Dio» series (1963-64). The last exhibition devoted to these works, comprising 38 pieces in total, was held in June 1963 at the Galleria dell’Ariete in Milan, when five of the large, oval-shaped perforated works painted in different monochrome hues were displayed; as The Arts Newspaper reports.

A selection of preparatory studies, photographs, letters and documents linked to the works are also on show at the Tornabuoni Art stand as part of the catalogue research project led by the Italian art historian Enrico Crispolti and Luca Massimo Barbero, the director of the art institute at the Fondazione Cini in Venice.

From 1949, Lucio Fontana started his «Spatial Concept or slash» series, a collection of works comprised of holes and slashes on the surface of monochrome paintings. He titled these works «Concetto spaziale» and he used this name for almost all of his later works. These paintings can be split into categories such as the «Buchi» or holes, beginning in 1949, and the «Tagli», or slashes, beginning 1950. Lucio Fontana often lined the back of his canvases with black gauze in order to make the darkness shimmer behind the cuts in his works and thus create the illusion of depth. Fontana’s works have been exhibited numerous times internationally, and his first solo exhibition was at Galleria del Milione in Milan, back in 1931. His works have inspired and influenced a great number of artists around the world.

An insight of Lucio Fontana’s most expensive works is delivered by Whitewalls.

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National Geographic: «Capture The Unexpected Beauty of The Daily Commute»

Photograph by Andreas Baier
Click to enlarge carefulliedly

Once again, our staff-photographer Andreas Baier has been featured by National Geographic. This time his photograph illustrates the topic «Urban Transit». Read the full story here.

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Sir Peter Ustinov: «Sprechen Sie lauter, hören Sie mehr zu und sagen Sie, was Sie denken.»

Sir Peter Ustinov quite entertainingly about «Englishness». Almost 60 minutes you should watch, consume or worship indefinitely! The show is entitled to be named «An Audience with Peter Ustinov», which was produced in 1988.

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Neil Young: «… with a supermoon in my eye …»

«Supermoon» by Andreas Baier
Click to enlarge supermoonedly

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I was lyin’ in a burnt out basement

With a supermoon in my eye

I was hopin’ for a replacement

When the sun burst through the sky

There was a band playin’ in my head

And I felt like getting high

Thinkin’ about what a friend had said, I was hopin’ it was a lie

Thinkin’ about what a friend had said, I was hopin’ it was a lie

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Read more: After The Gold Rush
Glas eye manufactured by: Achim Hellbach

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National Geographic: Andreas Baier’s «Living Room Lion» published in «Strange Terrains» Story

«Living Room Lion» by Andreas Baier
Click to enlarge

Once again National Geographic published a photograph taken by our staff-photographer Andreas Baier. The image is entitled «Living Room Lion»; and is in use for the «Strange Terrains» story. The National Geographic Photographer Renan Ozturk, as a picture editor in charge for this assignment, wrote about this shot: «This is one of the most wildly bizarre and creative interpretations of the strange terrains assignment. Horrifying, fascinating and pink. Great depth and framing with beautiful angles of the walls as well a clear subject with the lion.» From a submission pool of 7.000+ images 23 photographs have been chosen for the final story which has been freshly pressed.

Previously published photographs by Andreas Baier on National Geographic’s online plattform:
1.) «Mother & Child» Story: A Child Will Be Born.
2.) «Undiscovered» Story: Bathtub Breakfast.

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Sustainability: «Urban Gardening»

Photograph by our staff-photographer Andreas Baier
Click to enlarge gardeningedly

There is nothing more important than urban gardening these days. The colder it gets outside the warmer we have to make it inside ourselves. Here, we see a group of masters practicing urban gardening; producing even their own croissants only by the power of good will and imagination. It is fantastic to become a witness of how sustainability does its magic work in the brains of mankind. Without doubt: the grand transformation is under way.

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Neil Armstrong: «Chop With Boot Print»

Photo by our staff-photographer Andreas Baier
Click to enlarge bootchopedly

No matter if we feed ourselves with or without meat; no matter if we eat bread or not; whatever we eat and no matter if it’s organic or not – we are all supposed to pay our food the amount of respect it deserves. However, we live in a time where day by day millions of tons of food will be thrown away all over the world. And this mainly for profit reasons only. We simply have to stop this: «That’s just one small step for each indivudual, but one giant leap for mankind».

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Art|Basel|2016: «Dan Holdsworth’s ‹Continuous Topography› series presented in Audemars Piguet’s ‹Ice Cycle Lounge› created by Sebastian Errazuriz»

All photographs by Andreas Baier
Click to enlarge all images icecycledly

When visiting one of Art|Basel’s most adorable places, the «Collectors Lounge» on 2nd Floor, it is very hard to ignore Audemars Piguet’s shiny and gleamy «Ice Cycle Lounge», the homebase of Switzerland’s oldest watchmaking company on world’s best art fair. The object in the spot of this photograph is the «ice tank», composed of illuminated acrylic rods which will flash to mimic the regular rhythm of a heartbeat – and has been designed by Sebastian Errazuriz who is, by the way, responsible for the booth’s complete design.

Short before the press conference is about to start the journalists celebrate a relaxed form of open queueing in a professional manner – ça veut dire that they pretend being interested in something else.

In the background there is one piece from Dan Holdsworth’s ‹Continuous Topography› series to be seen. Later, during the press conference, we will learn that Holdsworth’s pictures are the result of a mixture between analogously manufactured photographs and digital imaging. The artist says that everything is a matter of precision.

And that fits perfectly to skill #1 when it comes to watchmaking: precision. As a visitor of Audemars Piguet’s booth you can also gain a deep insight into the richness of detailed work that needs to be done when creating or repairing watches with mechanical clockworks:

It’s a bit of a surprise but all journalists made it to their seats unfrozen.

Audemas Piguet’s CEO, François-Henry Bennahmias, introduces the design of the «Ice Cycle Lounge» and it’s creator, Sebastian Errazuriz, to the audience.

The artist and designer Sebastian Errazuriz explains the way he works. He calls himself «a prodigious and obsessive workaholic». Or, according to Henry Ford’s most famous quote: «Before everything else, getting ready is the secret to success.» About his creation for Audemars Piguet specifically he announces: «I was humbled by the craftsmanship and ingenuity of the Audemars Piguet watchmakers in Le Brassus. the work they have been doing for almost two centuries is so incredible that any creative person who visits their installations will feel inspired to hold themselves to a higher standard of gravitas, beauty, and precision. the new lounge will hopefully become an experience for its visitors, managing to steal their attention and offering them a space to take a moment to think about time.»

According to his website: «Sebastian’s work has been featured in multiple magazine covers and portrayed in thousands press articles by the specialized art and design media. He has also received critical acclaim from The New York Times, The Financial Times and The Wall Street Journal, Art+Auction. In addition, his work has been featured in mainstream TV in BBC, CNN, ABC, and NY1. Multiple books and catalogues feature his projects and his first monograph The Journey of Sebastian Errazuriz was published and distributed internationally by Gestalten in 2012.»

The artist Dan Holdsworth’s explains that his photographs deal with the phenomenology of technology, place, and consciousness, and are reflective of his profound engagement with photographic history. Holdsworth’s scenes are shot on site at exotic locations around the world, chosen for their pre-historic, futuristic, or metaphysical resonance. According to Patricia Low’s website «it takes up to one year to produce, the otherworldly effects of his landscapes are achieved through both analogue and digital processes; his images never falsify information, but rather enhance the invisible ‹truths› that are normally imperceptible to the human eye but can be visually evidenced on film. Holdsworth’s work has been featured at museums such as Tate, Photomuseum Winterthur, and the Pompidou Centre.»

Monsieur François-Henry Bennahmias cannot help but stating that «the awe-inspiring detail with which Holdsworth’s images are created echoes the precision and accuracy at the heart of Audemars Piguet’s watchmaking.»

Jasmine Audemars, the VR-President of Audemars Piguet, states that «Dan’s work portrays the Vallée de Joux in the Jura Mountains, the watchmaking company’s home, in all its glory and perfectly embodies Audemars Piguet’s philosophy: ‹to break the rules, you must first master them›» She continues that «each of Holdsworth’s works reveals millions of minutely calibrated measurements, showing the surfaces of the Vallée de Joux.».

She also says that «bridging the worlds of science and art, each image is created with the latest photogrammetry and geomapping technologies. It is the result of weeks of meticulous fieldwork in conjunction with a research geologist, amassing hundreds of photographic images. Through a specially configured computer programme correlating these images to GPS coordinates, Holdsworth has created astonishing three-dimensional models of the landscape, which offer us a new form of what he calls ‹future archeology›».

François-Henry Bennahmias and Sebastian Errazuriz.

A soundproof room serving as a private vault is enveloped with custom-designed panels illustrating icicles, stalactites, and stalagmites and feature a series of timepieces on display. At this place you can hear the mechanically ticking clockworks as if they were directly implanted into you ears. This will definitively help to make plastic surgeons jobless. More about this amazing «Ice Cycle Lounge» on designboom.

More about Dan Holdsworth’s work on Audemars Piguet’s website.

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Art|Basel|2016: «An Incredible Evening With Douglas Gordon And Hans Ulrich Obrist At Fondation Beyeler»

All photographs by our staff photographer Andreas Baier
Click to enlarge fondationedly

Please note:
In order to honour this great event at its utmost deserved way and to give our readers a referable idea what it was all about; and how this amazing happening took place; the following description has been originally written in German and was sent through translation row afterwards: Step 1 – French; step 2 – Italian; step 3 – Swedish; step 4 – Chinese (Traditional); step 5 – English. Should you wish to find out the real meaning of the lines below you might like to decode by re-translating them backwards. We used this translation pool. We are pretty far from sure if this will work but we are more than happy to wish you good luck!

View out of the window at Fondation Beyeler

What a beautiful «Art dialogue» of the Foundation Beyeler. Hans Ulrich Obrist directly from London, due to the associated traffic problems, too late, which is why the artist Douglas Gordon invited replace public bath on the podium and make their short-term social seemingly absurd dialogue.

Selbstgeimkerten he took a cup of honey, let it go through the audience, is aufdaß all its costs time. When the challenge audience – originally scheduled for the end of the evening was not observed in all cases – beginning of the problem, rather than as usual, at the end of the event. The basic feeling dadaeske seems even now, by the public, because the first question is that you can easily have a response from Douglas Gordon ironic, but came back. «I’m the best political bees?» «No, bees can not pull so easily.» And before the audience has been able to explain what this sentence misunderstanding we finally managed to find a way to overcome hatred. Violence then laughed, not to mention the name, word and gesture of bad habits – like some other artists – turning Nazi greeting into absurdity good movie!

And now, simulation based on the social networking pioneer: tattoos. Old «show who you are – and wear» memory shirt. In this context, long no longer apply. This is quite uncomfortable to use and a «slap in the face» registry is now completed by a qualified tatto studios: personal conviction, a special word of perseverance or sometimes just a shopping list will be clearly visible and indelible stripes. When the surface of the skin, Douglas Gordon, which means «do so forever.»

Hans Ulrich Obrist is now entering the building; and the stadium. Soon after, he threw himself in a variety of content including: white – Hongjian control. In line with the rest of the event. Eventually, Douglas Gordon, turn the bottle choose to invite the audience on the stage, talk to them and ask them to sing their favorite button. The rest of the crowd joined in, which is a more spontaneous and whistling chord Summkonzert. Reward knowledge: Flaschendrehen seem to international practice.

Last, but not all of the participants in the photo, said the custom client. Great cinema!

Sam Keller, the director of Fondation Beyeler, introduces the audience right in the center of a quite bloody projection by the artist Douglas Gordon.

Douglas Gordon gets his mike right.

Since Hans Ulrich Obrist still sticks in a traffic jam at the airport Douglas Gordon invites Sam Keller to share some absurd thoughts with the public.

Douglas Gordon’s credo: «do so forever»

Hans Ulrich Obrist arrives.

Our staff-photographer loves photographs from people standing right in the projection light of a beamer.

Our staff-artist loves to create artistic portraits based on real photographs.

With the help of this little bottle friend Douglas Gordon convinces selected members of the audience to enter the stage.

A perfect performance by «The Mothers’ Whistlers».

Also the sound of a popping bottle cork is part of the sound collage, which is caught by Douglas Gordon and Jonas Mekas.

Hans Ulrich Obrist is documenting the performance.

A group shot of all members of the audience …

… conducted by the artist Douglas Gordon.

Real happiness has many faces.

The Fondation Beyeler also offers perfect conditions as a daylight studio for photography as well. Here: Sam Keller, director of Fondation Beyeler, and Jonas Mekas, the «godfather of American avant-garde cinema».

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«Café de Flore» vu par Andreas Baière

A made to measure paper blanket by the famous French artist
Sempé that he created exclusively for the Café de Flore à Paris

Photography by Andreas Baière
Click on photographs to enlarge coffeedly

According to Wikipedia the «Café de Flore» was opened in the 1880s, during the French Third Republic. The name is taken from a sculpture of Flora, the goddess of flowers and the season of spring in Roman mythology, located on the opposite side of the boulevard.

In the late 19th century, Charles Maurras wrote his book «Au signe de Flore» on the café’s first floor, where in 1899 the «Revue d’Action Française» was also founded. «Café de Flore» became a popular hub of famous writers and philosophers: Georges Bataille, Robert Desnos, Léon-Paul Fargue, Raymond Queneau, Albert Camus were all regulars, and so were Pablo Picasso, Alberto Giacometti, Boris Vian, Guillaume Apollinaire and Jean Cocteau.. Chinese Premier Zhou Enlai was known to be a frequent patron of «Café de Flore» during his years in France in the 1920s. The classic Art Deco interior of all red seating, mahogany and mirrors has changed little since World War II.

Like its main rival, «Les Deux Magots», it has hosted most of the French intellectuals during the post-war years. In his essay «A Tale of Two Cafes» and his book Paris to the Moon, American writer Adam Gopnik mused over the possible explanations of why the Flore had become, by the late 1990s, much more fashionable and popular than «Les Deux Magots», despite the fact that the latter café was associated with Jean-Paul Sartre et Simone de Beauvoir who both held their press conference in 1964 in order to announce their rejection of the «Nobel Prize in Literature».

The «Prix de Flore», a literary prize inaugurated by Frédéric Beigbeder in 1994, is awarded annually at the «Café de Flore».

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Art or Visitors

Visitors on Art|2015|Basel
click to enlarge boteroedly
Photo by our staff photographer Andreas Baier

It happens more often than you might think: harmless visitors of art fairs were recognised to be expensive art works; here in this case supposedly created by Fernando Botero. The unpleasant consequences: the victims will spent their time as long in custody until they will have paid their duty. For these three fellows an unsolvable problem; and it seems that the Swiss authorities are not willing to discuss this delicate matter any further until the responsible art dealer’s identity to whom ownership can be declared has been brought to the authorities’ attention.

Contrarily to this, the new German «Kulturschutzgesetz» that allows the German government to confiscate almost any kind of artwork – without a proper compensation – that might be interpreted as «an important piece of the national cultural identity», shall be seen as a second-rate joke. Therefore, in Germany no one really cares – except artists, art dealers, art collectors, directors of museums, art critics, at least almost everybody who does not call himself a bloody socialist.

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Genesis-Talk: «Sebastião Salgado and Benedikt Taschen»

Two men, one mission: One of the most stunning photographers Sebastião Salgado talks with with one of – if not the – most exciting publisher Benedikt Taschen about the photographic project that changed their lifes: Genesis.

Well, there was another photographer who once created an œvre entitles «Genesis»: Ernst Haas.

So, we’ve been now enriched by two geniuses’ work dealing with the fundamental sprit of mankind. Nothing less. May we suggest that you might like to go for it?

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Magnum Photography: «Commemoration – In Memory of René Burri»

ODEON – Théâtre de l’Europe:
Commemoration – In memory of René Burri

All photographs by Andreas Baier
Click on photographs to enlarge

Leica Camera AG writes: «Many of his photographs are part of our collective visual memory – without a doubt, René Burri was one of the greatest photographers of our times.» The camera company continues: «A full member of ‹Magnum Photos› since 1959, René Burri impacted 20th century photography like few others. Never satisfied with a simple form of visual documentation, the photographer was always looking for unique perspectives and aesthetically demanding solutions, resulting in multi-layered images with a spontaneous yet precise composition.»

As a happy subscriber of L’Oeil de la Photograpie’s newsletter we received an invitation we spontaneously decided to take full advantage of it: «Commemoration : In memory of René Burri» – «In memory of René Burri who passed away on October  20th, 2014, the Burri-Bischof family and Magnum Photos Agency would like to invite you to a commemoration in his honour. This tribute takes place on Monday, February 16th, 2015 at 8pm at Odéon-Théatre de l’Europe, Paris.»

Our report about this happening is based on photography, so we will now end the written part of it. Only one more thing: the evening was great, it came along with some intellectual surprises and was purposefully positioned in a quite comfortable laid-back-zone. In other words, it was Paris to best our knowledge: filled with culture and art.

Well, one more last thing: at the moment our staff-photographer seems to be on a strange visual trip as he mixes visual large-grain-habits from the 1960s with photoshop blurs in the same images. We pray to god that this period might end soon but right now we feel helpless … anyway: enjoy.

If you have eaten just one piece of these gently gleeming and very well tasting chocolate cakes and do not feel hungry for the next three days, or so, then you know that you must be in France.

We already had him here, together with Franco Fontana, 1988 in Arles.

View from the balcony to the right side.

While having done some research on the internet, seriously driven by the initial intention of infringing René Burri’s copyright through the unauthorised usage of some of his amazing photographs in this very same article, we came across some interesting links you will find in the following: Steidl | Diogenes – «Mouvement» – not published yet, PHAIDON – «Impossible Reminiscences», Moser Verlag – «Blackout New York», Das Magazin – Burris T-Shirt, Achtung Photography – René Burri: Die Deutschen, Le blog photo – «Impossibles Réminiscences» René Burri à la Galerie Esther Woerdehoff, René Burri on artnet, Edition Dino Simonett – «RENÉ BURRI, BERNER BLITZ», Edition Dino Simonett – «RENÉ BURRI, NOUS SOMMES TREIZE À TABLE», Edition Dino Simonett – «RENÉ BURRI, 77 STRANGE SENSATIONS», Leica Rumours – «Leica Hall of Fame 2013: René Burri», Visible – «René Burri: Posted In Inspiration», Real Life Is Elsewhere – «René Burri», Art & Photography – «René Burri, 1933 – 2014», The Branders – «René Burri – “I’m Not a Purist”», Delirium Magazine – «RIP. René Burri», Entre Linha – «Morre o fotógrafo René Burri», Photographers Without Borders – «Speaking through photography with René Burri», Filmsnotdead – «Remembering Magnum photographer René Burri», Photo This & That – «René Burri», Le Monde – «Portfolio: René Burri», The National – «The UAE through his lens: René Burri, 1933-2014», Michele Roohani – «René Burri, one degree of separation between me and Che Guevara», Eric Kim Street Photography Blog – «10 Things Street Photographers Can Learn From Magnum Contact Sheets», Foto Post – «René Burri: Havana, 1963»

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«What counts is putting the intensity that you yourself have experienced into the picture. Otherwise it’s just a document.» – René Burri
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Andreas Baier’s brand new «Curriculum Vitae» presenting his outstanding flashlight paintings out now!

Cover «Curriculum Vitae» with an essay by Klaus Honnef
about Andreas Baier’s amazing flashlight paintings

To our most favourite delight, our staff-photographer’s amazing flashlight paintings are pretty much known on the international art market. In the 1990s he caused one stirr after the other; his cibachrome-based vintage prints had been published and exhibited thoughout the world, even as far as «people»-magazine in China and went additionally under the hammer at Sotheby’s – only two years after they were introduced to the market for the very first time.

Art collectors who made the decision adding them to their collections must have felt a bit hard about the idea of reselling them because for the first decade of the new millennium there was a larger break in the public awareness history of Andreas’ flashlight paintings; a gap mostly welcomed by the artist to use this marvellous opportunity to celebrating extended teatime proceedings:

flashlight painting (Blitzlichtgemälde) «Teatime»;
Cibachrome Vintageprint by Andreas Baier

Or realising other projects. Now, however, they are back on stage; are to be seen on art fairs such as the Art|Basel in Switzerland. Honouring this development and since the artist does not exhibit his work anymore, a gorgeously looking and nicely designed booklet has been freshly squeezed and pressed and published and brought to life, which is meant to provide art collectors with a proper insight into Andreas Baier‘s work and informs about the world he mentally still lives in. This catalogue also contains an essay by Prof. Klaus Honnef about Andreas Baier’s flashlight painting technique.

flashlight painting (Blitzlichtgemälde) «Cube Base» –
created on the Outer Hebrides; Cibachrome Vintageprint by Andreas Baier

In total: 72 nicely designed pages, covered in a luxurious hardcover outfit which makes not only the content worth owning it but also its price explicable: € 45,-.

ISBN 978-3-7347-5365-7

Amazon: click.
Sneak preview: here.

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Ralph Gibson: «Newest body of work MONO»

Ralph Gibson: «LampNude»
Click to enlarge enlightednudedly

The Leica Gallery Los Angeles presents for the first time in the United States photographer Ralph Gibson’s newest body of work MONO shot exclusively with the M Monochrom Camera. This new exhibition of 50 black and white digital prints focuses on structures, shapes and lines. Gibson will also be signing his new book MONO at the gallery and will giving a talk on his artwork on Sunday, September 28, 2014.

Jeff Dunas and Ralph Gibson
pendant «Les Rencontres Internationales à Arles» –
photo by Andreas Baier

Ralph Gibson was born in Los Angeles and first studied photography in the US Navy and at the San Francisco Art Institute. He started assisting famed photographers Dorothea Lange and then with Robert Frank, one of his greatest influences. He is well known for his love of the book arts and producing photo books. To date he has produced over 40 monographs. Ralph was hired by Bottega Veneta to photograph supermodels in Milan, Italy for their Fall 2013 ad campaign.

via L’oeil de la Photographie.

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