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Alicja Dobrucka by Alicja Dobrucka,Thomas Frangenberg,Olivier Richon Pdf
I like you, I like you a lot is a personal work about family and the experience of death and mourning. It responds to the tragic loss of the photographer's 13-year-old brother Maks, who drowned while on a scout's trip in 2008 in Poland. The pictures reveal the sequence of events in the aftermath of the tragedy. Alicja Dobrucka's camera became a protecting shield from the brutal reality of a helpless situation. Maks and his friends were also first generation to grow up under an increasingly Westernised culture, and the camera witnesses how they were enthralled by Western - and especially American -archetypes.
Concrete Mushrooms by Elian Stefa,Gyler Mydyti,Niku Alex Muçaj Pdf
During Albania's period under the rule of the Marxist-Leninist Enver Hoxha between 1945 and 1985, some 750,000 bunkers were constructed all over the Albanian landscape. All are rounded and mushroom-like in design, and remain as a legacy of Hoxha's fear-based isolationist policies. The book contains descriptions and photographs of variously located bunkers, as well as information relating to their potential for use today.
There are many holy cities in India, but Mumbai is not usually considered one of them. More popular images of the city capture the world's collective imagination--as a Bollywood fantasia or a slumland dystopia. Yet for many, if not most, people who live in the city, the neighborhood streets are indeed shared with local gods and guardian spirits. In The Neighborhood of Gods, William Elison examines the link between territory and divinity in India's most self-consciously modern city. In this densely settled environment, space is scarce, and anxiety about housing is pervasive. Consecrating space--first with impromptu displays and then, eventually, with full-blown temples and official recognition--is one way of staking a claim. But how can a marginalized community make its gods visible, and therefore powerful, in the eyes of others? The Neighborhood of Gods explores this question, bringing an ethnographic lens to a range of visual and spatial practices: from the shrine construction that encroaches on downtown streets, to the "tribal art" practices of an indigenous group facing displacement, to the work of image production at two Bollywood film studios. A pioneering ethnography, this book offers a creative intervention in debates on postcolonial citizenship, urban geography, and visuality in the religions of India.
In June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945-1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward.These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country --- in cities and villages, alongside roads, in forests and on mountain passes --- are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called "monumental propaganda." The Albanian Lapidar Survey aimed to capture these monuments as fact.The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945-1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volumes 2 and 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi.Table of ContentsVolume 1: TEXTS: Vincent W.J. van Gerven Oei // Introduction -- People's Republic of Albania, Ministry of Education, Directorate of Culture // Circular to the Prefectural Executive Committee (Section Education): Regarding Lapidars (1946) -- Ramiz Alia // Report on the State and Measures for the Development and Further Revolutionizing of Monumental Propaganda (1968) -- Kujtim Buza & Kleanth Dedi // Dignified Symbols for Historical Events (1971) -- Muharrem Xhafa // Natural and Cultural Monuments during the Years of Socialism -- Gëzim Qëndro // The Thanatology of Hope -- Raino Isto // "We Raise Our Eyes and Feel as if She Rules the Sky": The Mother Albania Monument and the Visualization of National History -- Kosta Giakoumis & Christopher Lockwood // Pilgrimage Centered at Text and Memory: The Lapidar in Qukës-Pishkash -- Matthias Bickert // Lapidars and Socialist Monuments as Elements of Albania's Historic Cultural Landscapes -- Julian Bejko // About the Film Lapidari -- Ardian Vehbiu // Texts Chiseled on the Calendar: A Semiotic Reading of Inscriptions on the Commemorative Monuments for the Period of the National Liberation War -- Monument Descriptions: Index of Names, Index of Places, Index of DatesVolumes 2-3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi.
Alicja Dobrucka by Alicja Dobrucka,Thomas Frangenberg,Olivier Richon Pdf
I like you, I like you a lot is a personal work about family and the experience of death and mourning. It responds to the tragic loss of the photographer's 13-year-old brother Maks, who drowned while on a scout's trip in 2008 in Poland. The pictures reveal the sequence of events in the aftermath of the tragedy. Alicja Dobrucka's camera became a protecting shield from the brutal reality of a helpless situation. Maks and his friends were also first generation to grow up under an increasingly Westernised culture, and the camera witnesses how they were enthralled by Western - and especially American -archetypes.
I Like You, I Like You a Lot by Alicja Dobrucka Pdf
This book is part "an ongoing practice, documenting a personal experience of death and mourning, change and adjustment". -- www.alicjadobrucka.com [Accessed 27 January 2010].
"How Art Works explores puzzles that have preoccupied philosophers as well as the general public: Can art be defined? How do we decide what is good art? Why do we gravitate to sadness in art? Why do we devalue a perfect fake? Could 'my kid have done that'? Does reading fiction enhance empathy? Drawing on careful observations, probing interviews, and clever experiments, Ellen Winner reveals surprising answers to these and other artistic mysteries. We may come away with a new understanding of how art works on us."--Jacket.
British photographer Tariq Zaidi presents a fashion subculture of Kinshasa & Brazzaville: La Sape, Societe des Ambianceurs et des Personnes Elegantes. Its followers are known as 'Sapeurs' ('Sapeuses' for women). Most have ordinary day jobs as taxi-drivers, tailors and gardeners, but as soon as they clock off they transform themselves into debonair dandies. Sashaying through the streets they are treated like rock stars - turning heads, bringing 'joie de vivre' to their communities and defying their circumstances.
In The Mindful Musician: Mental Skills for Peak Performance, author Vanessa Cornett offers guidelines to help musicians cultivate artistic vision, objectivity, freedom, quiet awareness, and self-compassion, both on- and offstage in order to become more resilient performers. Contrary to modern culture's embrace of busyness and divided attention, Cornett's contemplative techniques provide greater space for artistic self-expression and satisfaction. With the aid of a companion website that includes audio files and downloadable templates, The Mindful Musician provides a method to promote attentional focus, self-assessment, emotional awareness, and creativity. The first of its kind to combine mindfulness practices with research in cognitive and sport psychology, this book helps musicians explore the roots of anxiety and other challenges related to performance, all through the deliberate focus of awareness.
Mit Insights - Wienerberger Contemporary Photography Collection hat die Wienerberger AG - weltweit fu¿hrender Anbieter von Baustoff- und Infrastrukturlösungen mit Hauptsitz in Wien - 2012 ein einzigartiges Kunstprojekt ins Leben gerufen. Jedes Jahr werden herausragende, junge europäische Fotografen/-innen beauftragt, sich mit der Wienerberger Gruppe und ihrem Umfeld zu beschäftigen. Anders als bei herkömmlichen Unternehmenssammlungen, die sich zumeist aus Ankäufen zusammensetzen, stehen bei dieser Sammlung die Entstehung neuer Arbeiten sowie die Auseinandersetzung mit der industriellen Tätigkeit und deren Auswirkung auf die Gesellschaft im Vordergrund. Bis heute sind weit u¿ber 100 Werke von 13 Ku¿nstlern/-innen in 20 Ländern entstanden. Beteiligte Fotografen: Hubert Blanz (D), Charles Fréger (F), Miklos Gaál (Fin), Martin Kollar (Svk), Markus Krottendorfer (A), Gábor Arion Kudász (Hu), Claudia Larcher (A), Janne Lehtinen (Fin), Ana Opalic¿ (Hr), Andrew Phelps (US), Peter Puklus (Hu), Friederike von Rauch (D), Gregor Sailer (A)
The Still Point of the Turning World by David Campany,Joachim Naudts Pdf
The photographic image is imbued with stillness. No movement, no sound, no time. But what happens if you add one of these missing elements? 'The Still Point of the Turning World' focuses on that rare moment in which a photographer turns towards film or a video artist turns towards photography. What beauty can be found on the border between these two media? This photo-filmic book coincides with an exhibition at FOMU, Antwerp, but takes up its own position in this debate. The book shows 24 artists pairing both photographic and filmic works and includes essays by David Campany and Joachim Naudts. Exhibition: FOMU Antwerpen, Belgium (23.06.-01.10.2017).
