Kristall ohne Liebe / Solo exhibition @ OBERWELT Stuttgart

“For the delight of his spirit and the joy of his eyes, he had desired a few suggestive creations that cast him into an unknown world, revealing to him the contours of new conjectures, agitating the nervous system by the violent deliriums, complicated nightmares, nonchalant or atrocious chimerae they induced.”

(John Howard's translation of Joris-Karl Huysmans's À Rebours)

In the spirit of Jean Floressas Des Esseintes, the protagonist of Huysmans's 1884 novel, Kristall ohne Liebe (literally translated “Crystal without Love”) takes the viewer on a visual journey into a mystic parallel world. Seen through self-built lenses, prisms and crystals, the photo series captures a psychedelic universe full of contrasts: colourful images, black and white photography, life, death, macro and micro level, the sublime and hidden knowledge collide.

Drawing influences from Symbolist painters like Odilon Redon to the rainbow aesthetics of the Hippie culture and the German Krautrock movement, the images were photographed over a period of more than five years in Norway, Sweden, Switzerland, the United Kingdom and Germany. An accompanying photobook is available via Tangerine Press (ISBN 978-1-910691-03-8).

A Great Sum (In Parts) / Osnova Gallery Moscow

Osnova Gallery is pleased to announce A Great Sum (In Parts), curated by Yulia Spiridonova and co­organized by the creators of A New Nothing, Ben Alper and Nat Ward.

A New Nothing, established in 2014, is an online project space that hosts ongoing visual conversations between photographers. The project aims at elevating images to a fully independent media language that better suits communication today. For the exhibition, Spiridonova, Alper and Ward chose to extend the project’s main idea of dialogue based on images.

A Great Sum (In Parts) takes form as a conversation: Spiridonova chose a pair of images from A New Nothing, sent it to Ward, who, responding in turn, sent a pair of images to Alper. Alper responded in kind with a new pair, sending those images back to Spiridonova. The dialogue continued over and over again for weeks like a wordless game of telephone. The resulting and concluded visual conversation is a collective assemblage comprised of thoughts and poetic gestures with deeply ambiguous connections.

Taking inspiration from both the Surrealist’s Cadavre Exquis and the appropriation techniques of Pictures Generation artists, Spiridonova, Ward, and Alper produced a new sequence of potential meanings and interpretations from imagery of contemporary American photography. The cumulative sum of these images in sequence becomes a mysterious and unpredictable encounter.

A Great Sum (In Parts) features works by Thomas Albdorf, Ben Alper, Veronique Besnard, Alexander Binder, Nick Boso, Timothy Briner, Nicholas Calcott, Joel Chapman, Connor Elledge, Grant Gill, Ariel Goldberg, Maury Gortemiller, Alexi Hobbs, Peter Hoffman, Katie Kline, Mac Lawrence, Matthew Leifheit, Joseph Maida, Catharine Maloney, Damien Maloney, Ross Mantle, Kai McBride, Yola Monakhov Stockton, Aleix Plademunt, Greg Ponchak, Louis Porter, Hector Rene, Shane Rocheleau, Eric Ruby, Tim Schutsky, Kyle Seis, Guillaume Simoneau, Brian Ulrich and Nat Ward.

PAN Magazine

Brad Feuerhelm review of 'Kristall ohne Liebe' @ASX

"It is thus, my most coveted photography book of the year in its qualification as unspeakable language and the glory of the potentially transcendental image."

Brad Feuerhelm, ASX American Suburb X

Kristall ohne Liebe

Kristall ohne Liebe
Limited Edition of 206, all copies signed by the artist
100 pages. Approx 8”/200mm wide, 11”/275mm tall. Handbound at the Tangerine workshop with cloth-covered heavy duty acid-free boards, conservation glue and hemp cord; full colour title page. 200 numbered and 6 lettered copies available for sale. Includes black & white and full colour images.
ISBN 978-1-910691-03-8

Order your copy:
Tangerine Press
Donlon Books

Video for Umanzuki / Porta (Yerevan Tapes)

Umanzuki is the youngest act to emerge from the current Italian Occult Psychedelia milieu. What was born as some sort of exotic free-jazz combo with the Sonic Birds EP, quickly developed into Tropical Nature Of Tiaso, a 35 minute-long improvisation built upon minimal electronics, diluted sounds and reduced synthetic rhythm.

Porta, their newest effort, explores one more artistic metamorphosis. Focusing on a EP format the Florence based trio has been able to shape the looseness of its previous creations and give birth to two skillfully crafted 8-minute tracks.

With Porta meaning Door it is no surprise that we feel like entering a new zone here, where A side is a somehow refined version of paths already explored on Tropical Nature Of Tiaso, while the flipside opens to a new, almost club-oriented dimension.

Watch the video on NOISEY.

Cover Photo for Jojo Hiroshige Album (Utech Records)

Jojo Hiroshige / Jojo

Words are different to sounds in that the images they create are limited. They’re like a two-edged sword – sometimes they can be used effectively, but sometimes they restrict the range of the images employed. When I was young I read Wittengenstein’s “Philosophical Investigations” and that led me to start thinking about the importance of pinning down thought through the medium of language. Escaping into sound because of your own inarticulacy with language, and using sound to express what cannot be expressed in words are two sides of the same equation.
– Jojo Hiroshige

Jojo’s music has always been a far more communicative medium than one might imagine from his fearsome reputation as the founder of Dionysian noise extremists Hijokaidan and the home of Japanese independent music, Alchemy Records. Rather than a fingers-in-ears rejection of social interaction, his music has always been created out of collaborative contexts, out of spaces where noise and the flesh of more than one performer can collide, to find and create meanings beyond the normal rules of linguistic interaction. It is the very possibilities of that space beyond words that has led Jojo to continually surround himself with new collaborators. So it’s fitting that Jojo’s release, the final one in the Shokyo Ontei series, should be the only one that turns its back on the relationship of music to a text. Unlike his previous solo releases, where vocals had always played a key role, here Jojo is caught alone with his guitar. Linguistic and social encoding falls away, leaving only the body, the instrument, the will.

Photograph by Alexander Binder.
Mastered by Lasse Marhaug.
CD limited to 300 copies.