Short Cuts 10 presents another four titles of an excellent photobook year 2019. It starts in the peripheral areas of Berlin and ends in the northernmost city of the United States, Utqiagvik, Alaska.
(1) Christine Fenzl: Land in Sonne (Hatje Cantz, 2019)
In this volume of photographs the photographer Christine Fenzl investigates the living conditions of young people in the peripheral areas of Berlin: Hellersdorf, Hohenschönhausen, Lichtenberg, and Marzahn. Although the Berlin Wall once strongly influenced their parents’ living environment, the generation born after the collapse can no longer imagine what it was like. In her sensitive pictures Fenzl traces the stories of this youth, their expectations, and their confrontation with Berlin.
Please click on image to enlarge and scroll through gallery!
Christine Fenzl was born in 1967 in Munich, Germany. She studied photography at the school of photography in Munich. For two years she lived in New York and worked as a freelance assistant. In 1992 Fenzl moved to Berlin where she became fulltime assistant of Nan Goldin.
Since 1995 Christine Fenzl is working as an independant photographer and had solo – and group exhibitions worldwide and publications in magazines like “Die Zeit, Liberation, Marie Claire, New York Sunday Times, Vogue” etc.
She photographs teenagers and young adults in their living environment and portrais juveniles who experience social and urban extremes in different countries
(2) Michael Kenna: Korea Part 1 (Gallery K.O.N.G., 2019)
I always enjoy locations that have mystery and atmosphere, perhaps a patina of age, a suggestion rather than a description, a question or two. South Korea has been a treasure for me in that regard as it has been inhabited for so long. Memories and traces are everywhere, in the air and embedded in the earth. Korea is still, technically, a country at war which dramatically and visually affects its appearance and atmosphere. I had, for example, never before seen beaches protected by barbed wire. I found that lifeguard watchtowers became much more ominous the closer I got to the DMZ.
Michael Kenna is particularly famous for the intimate scale of his photography and his meticulous printing. He works in a traditional, non-digital photographic medium.
His mysterious photographs, often made at dawn or in the dark hours of night, concentrate primarily on the interaction between the natural landscape and human-made structures.
Born in Widnes, England in 1953, he currently lives in Seattle, Washington, USA, and continues to photograph throughout the world.
Artist Page: https://www.michaelkenna.net/
(3) Diego Moreno: In my mind there is never silence (Inframundo / Hydra, 2019)
This series integrates the ancestral imaginary of ‘the Mercedarian panzudo’ figures that represent the sins in a Catholic tradition in San Cristóbal de las Casas ,Chiapas, the hometown of the author.
Since more than 500 years, every September 24th, the day of Our Lady of La Merced, each family builds their own “Panzudo” and take part at this amazing peregrination.
The Panzudos represent the sins: the more sins a person has to expiate, the bigger and uglier his attire will be, the better to cure his sins. These figures accompany Our Lady of La Merced, purifying themselves in the process.
Diego Moreno (* 1992, San Cristóbal de las Casas, Chiapas. Mexico) formally started his photography studies in the Chiapas Art Gymnasium in 2012. In 2014, he studied Storytelling and new media awarded by the World Press Photo association. Graduated from the Seminario de fotografia contemporanea by Centro de la Imagen and Centro de las Artes de San Agustín, Etla. Oaxaca.
In 2018, he published his first photobook HUÉSPED and 2019 publishes his second book: In my mind there is never silence. Both published by the Mexican publisher Inframundo / Hydra.
(4) Mark Mahaney: Polar Night (Trespasser, 2019)
Mark Mahaney’s Polar Night is a passage through a rapidly changing landscape in Alaska’s northernmost town of Utqiagvik. It’s an exploration of prolonged darkness, told through the strange beauty of a snowscape cast in a two-month shadow. The unnatural lights that flare in the sun’s absence and the shapes that emerge from the landscape are unexpectedly beautiful in their softness and harshness. It’s hard to see past the heavy gaze of climate change in an arctic town, though Polar Night is a visual poem about endurance, isolation and survival.
Much of Mahaney’s work concentrates on places and ways of living that no longer exist. American rural life was once personified by small Midwestern towns such as the one that Mahaney himself grew up in.
Places like these have been transformed beyond recognition, but the dreams and aspirations that formed them are still to be found in the traces that remain.
The honesty with which he depicts these quiet, unspectacular landscapes is also present in the impartiality with which he treats his portrait subjects. (⇒ Claxton Projects)