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Sep 28 | By Joerg Colberg

A Conversation with CPC 2011 Winner Nigel Bennet

Nigel Bennet’s Silence Has an Echo was picked by Michael Mazzeo as one of the winning entries to this year’s Conscientious Portfolio Competition. Michael wrote: “This portfolio offers enough information and ambiguity to elicit countless narratives. Nevertheless, the mood of the work is certainly unsettling and, I believe, very appropriate given the current state of the world.” I talked with Nigel about the series in an extended conversation that you can find below. (more)
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Sep 12 | By Joerg Colberg

A Conversation with Ute and Werner Mahler

I remember then when I saw portraits from “Mona Lisas of the suburbs” by Ute Mahler and Werner Mahler for the first time, I was blown away. Seemingly very simple photographs, the portraits reveal enormous depth, while at the same time they are incredibly beautiful. To make a long story short, there had been some plans to make a book, so after some discussions Ute and Werner decided to do it with Meier & Müller, the photobook publishing venture I’m part of. The book is now out (in Europe, US copies are in transit), so I asked the photographers some questions about this very special project - their first together, as a married couple, after each being a photographer for almost forty years. (more)
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Sep 5 | By Joerg Colberg

Sunder Remixed

I have long been thinking about the art of the remix and about seeing it applied to photography. I have also long been griping about photobooks, about edits or sequences, occasionally done badly, but often just done in ways that I think could be done differently. Not better, just differently. Thing is, even though we’re living in a culture that has long embraced the remix in many different ways, the world of contemporary fine-art photography has proven to be solidly conservative. Maybe there is a good reason for that. Maybe I’m just too attached to a silly idea. Maybe not. (more)
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Sep 1 | By Joerg Colberg

Steve Pyke: Los Muertos

“I had heard about the mummies of Guanajuato in Mexico, mummified cholera victims from the 1830’s.” writes Steve Pyke. “The reason for the condition of the corpses was said to be minerals found in the soil locally. The bodies were of men, women and young children, including one stillborn foetus. I had seen photographs but wasn’t prepared for the initial encounter… Walking into the small dark museum I saw rows of glass specimen cases containing atrophied yet completely mummified figures. Some were arched over as if in death throes, whilst others seemed at peace and holding books. Others I saw were standing as if soldiers on sentry duty. There was the faint, musty smell of mothballs in the room. It felt like a church in there, but with a frozen congregation. I felt a hushed reverence to these figures. I’m sure they would have been recognisable if I had been able to see photographs of what they looked like when alive, but when these people died photography was only just being invented.” (more)
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