Léchifla

darksilenceinsuburbia:

Jill Quigley

Cottages of Quigley’s Point

Cottages of Quigley’s Point documents interventions in abandoned vernacular dwellings in my local area in County Donegal. In a landscape dominated by the legacy of therecent housing boom the remains of these older cottages are easily found, down country lanes and hidden in clumps of trees. They are known in the community by the names of the families that last lived in them, whether these families still live in the area or have moved away, and reflect that the historical aspects that linger in rural places remain a part of contemporary life.

It is common to read images of derelict cottages in a nostalgic light, celebrating the simplicity of an older way of life with a romantic attachment to hearth and home. This romanticising tendency precludes the encountering of such spaces as they actually are, as part of the landscape as it is now. The interventions are intended as a fresh approach to subject matter that would otherwise be considered an evocation of the past. The addition of bright colours and movement situate the subject in the present, briefly reanimating it in the encounter, and marks my exploration of this redundant yet accessible aspect of the locality.

My motive with this project is to disrupt rather than oppose traditional imagery of the Irish cottage, avoiding the dichotomy of the romanticised and the real. Rather, by interrupting the static interiors of these buildings I add an active and particular dimension to this element of the rural landscape, pursuing a personal means of negotiating past and present in my local community. (artist statement)

west-berlin:

Der Fotograf Jürgen Henschel (1923-2012)

#559:

Jürgen Henschel war von 1967 bis 1988 Pressefotograf der Zeitung “Die Wahrheit”, dem Organ der Sozialistischen Einheitspartei Westberlins (SEW), einer der seinerzeit umstrittensten Zeitungen der Mauerstadt. Seit den 60er Jahren dokumentiert er die Entwicklung Berlins – mit einem besonderen Fokus auf den Bezirk Kreuzberg. Henschel ist ein politischer Fotograf, jemand, der mit seinen Aufnahmen Stellung bezieht. Er dokumentierte den Zerfall des Quartiers um das Kottbusser Tor in den 70er Jahren, aber auch den wachsenden Widerstand der Bewohner gegen die Kahlschlagsanierung: den Häuserkampf der 80er Jahre. Er begleitete Demonstrationen, Straßenfeste, Ausstellungseröffnungen und Diskussionsveranstaltungen und zeigte Menschen, die etwas „bewegten“. Aber auch seine Fotos brachten etwas in Bewegung – Aufsehen erregte vor allem seine Aufnahme vom toten Studenten Benno Ohnesorg am 2. Juni 1967, die um die Welt ging.

Der Marktplatz Kreuzberg in der Skalitzer Straße, 1976

Kurt Mühlenhaupt in Karoline Müllers Ladengalerie, 30.04.1979

Adalbertstr. 6, 1981

Straßenfest in der Oranienstraße, 1980

From 1967 until 1988 Jürgen Henschel was press photographer of “Die Wahrheit” [The Truth], the official party newspaper of the Socialist Unity Party of Westberlin and one of the most controversial newspapers of the wall city. Since the 60s he documents the city development of Berlin - heavily focused on the Kreuzberg district. Henschel is a political photographer, someone, who takes a stand with his pictures. He has documented the decline of the quarter around Kottbusser Tor during the 70s, but also the growing inhabitants’ resistance against the so-called “clear-cutting restoration”: the urban warfare of the 80s. He took part in protests, street parties, exhibition openings, and discussion forums and showed people “acting”. But his photos set something in motion as well - his picture of the dead student Benno Ohnesorg from June 2 1967 going around the world caused a stir.

Kreuzberg market square in Skalitzer Strasse, 1976

Kurt Mühlenhaupt in Karoline Mueller’s Ladengalerie, 04/30/1979

Adalbertstr. 6, 1981

Street party in Oranienstrasse, 1980

(Fuente: fhxb-museum.de, vía darksilenceinsuburbia)

darksilenceinsuburbia:

Klaus Pichler

Just the Two of Us

Who hasn’t had the desire just to become someone else for a while? Dressing up is a way of creating an alter ego and a second skin which one’s behaviour can be adjusted to. Regardless of the motivating factors which cause somebody to acquire a costume, the main principle remains the same: the civilian steps behind the mask and turns into somebody else. For this photo series I visited owners of elaborate costumes in their own homes. As a matter of fact, ‘just the two of us’ deals with both: the costumes and the people behind them.

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