News // 23 News by Edition Lammerhuber
EDITION LAMMERHUBER has published a captivating photo book by reportage photographer Goran Tomašević. He has not only survived thirty years in crisis zones, he has also mastered the art of photography by interpreting the world in the most humanistic way possible, walking in the footsteps of Robert Capa and James Nachtwey.
“This powerful, terrible book conveys a Dantesque vision of our humanity. The current circumstances, this morning in Ukraine, make us believe that this madness will never stop and will continue to break our hearts. Admiration for Goran Tomašević, a wonderful Caravaggio of photography!” Francis Kochert, Académie nationale de Metz, said on 22 Feb., 2022.
Goran Tomašević, born in 1969, is a Serbian photographer. Working for Reuters, he has spent more than 20 years traveling around the globe to cover the world’s biggest stories. His photos of wars and revolutions have become some of the most enduring images of the conflicts fought in the Balkans, Iraq, Afghanistan, Libya and Syria, South Sudan, Pakistan, Mozambique, DR Congo Central African Republic, Burundi, or Nigeria. Tomašević’s work has received several renowned international awards.
His father gifted him his first camera, an old FED 5V, a precursor to the Leica. Goran, thirteen years old at the time, did not yet know that it would allow him to make rapid progress, aided by his older sister’s boyfriend, a professional photographer. And would turn his life into a continuous adventure – now spread out on the 444 pages of this exceptional volume. Goran Tomašević never became detached from his Serbian origins. On the contrary, although he was fascinated by Africa and the Middle East, he started out by covering the situation in Croatia and Bosnia in 1991, taking commissions from the local press. He dedicated his work mainly to the deep crisis that raged in the region – between NATO bombings and anti-Milošević demonstrations.
“If you want to make the facts authentic, you have to be where they are. So that’s the challenge. But it’s harder,” he says in an interview, “when the stories are happening in your home. That’s what hurts the most.” This confession reveals one of the reasons for his humanity, which permeates all of his reportages. The photos by Goran Tomašević are more necessary than ever in order to recognize the truth of the facts and the respect owed to each viewer, citizens without borders of our totally digitized planet.” says Alain Mingam, President of the World Press Photo Contest 1994 and Vice President of Reporters Without Borders from 2013–2015.
The quality of his reportages and the force of his images opened the door for him to join the famous news agency Reuters in 1996. Over the next 20 years, be became one of the most award-winning photographers in the world. He has been named Reuters Photographer of the Year four times, he won first prize in the category Spot News Stories at World Press Photo, the China International Press Photo of the Year award, the SOPA Award of Excellence for News Photography, the London Frontline Club Award, and the Days Japan award. He was nominated for the Pulitzer Prize for Breaking News Photography. The Guardian’s photo team chose him in 2013 as the Agency Photographer of the Year, as did the International Business Times UK in 2016. In 2019, Tomašević and several of his colleagues from Reuters were awarded with the Pulitzer Prize Breaking News Photography award for covering the mass migration of Central and South Americans to the United States.
GORAN TOMAŠEVIĆ David Thomson, Jean-François Leroy & Vincent Jolly, Alain Mingam
444 pages, 254 photos, hardcover, 290 x 310 mm German, English, French, € 59, weight: 4 kg ISBN 978-3-903101-91-3.
EXHIBITION GORAN TOMAŠEVIĆ – ‘Between War and Peace’ Visa Pour l’Image, Perpignan, France 27 Aug. – 11 Sep. 2022.
29.08.2022 show complete article
After graduating with a degree in sociology, Verena Prenner moved to the Middle East. During her stay, she received a funding grant for a project in the Palestinian West Bank. Out of interest for sociological issues, she chose to live in a refugee camp. Besides working on the project at hand, examining the impact of Israel’s security wall on the living and working conditions of Palestinian taxi drivers, Verena Andrea Prenner was given the opportunity to work as a photographer at Muslim weddings. At the same time, she began studying life in the camp: How did the precarious living conditions affect the individuals? How was the community organized, what were its structures? And how did the life there affect her personally?
Daily routines are shaped by the Muslim culture and religion, a life between haram and halal, what is forbidden and what is allowed. Leaving only minimal individual space, especially for women. Residents were surprised about her, as a single woman, moving into the camp. She was soon seen as an Israeli or Palestinian spy and as an inferior woman.
Countless eyes followed her whenever she left the house. Shortly after she moved in, in June 2014, the Gaza War started. Public life froze. Only protest actions and military operations continued in the camp. Pain, misery and death were everywhere. During this time, a strange bond with the camp community evolved. On the one hand, she still did not understand many cultural and social paradigms, on the other, I felt close to the community on an emotional level
After months there and two more stays in the following years, mutual trust slowly built up. Eventually, she was no longer a stranger, and Verena Andrea Prenner decided to realize a photographic work, not just outside the camp but also inside it. Which raised the big question: What do you show?”
“Who or what surrounds me? Where am I? What challenges am I confronted with? What do I represent as a foreign entity in a closed social structure? Commuting between cultures and different societies: What develops? What was formative? Spontaneous moments, a project idea, ad-hoc statements. After long considerations, conversations and observations on site, I attempted to express my subjectively perceived mood in photographic works. At the end of a several month stay, I had found settings, the costumes had been built; the only thing left to do was to motivate lay people to have their photo taken with them. It quickly proved to be the greatest challenge of all to stage men in public wearing costumes. It was immediately seen as embarrassment of the men by a woman,” says Verena Andrea Prenner.
VERENA ANDREA PRENNER is a sociologist and photographer. For her artistic work, she conducts long-term sociological fieldwork and researches marginal groups, since margins are, after all, what define the middle. From this, she develops ideas as well as individual reflections and views of societies, which she depicts in the form of staged photography with the help of lay volunteers and passers-by on location.
EXHIBITION – the photographs of the book are on display in the exhibition CAMPING as part of the Festival La Gacilly-Baden Photo from 9 June through 16 October.
CAMPING – Verena Andrea Prenner . 22.5 × 27.5 cm, 144 pages, 60 photos . German, English . Hardcover . ISBN 978-3-903101-81-4 . EUR 49.90
GoSee : festival-lagacilly-baden.photo///verena-anderea-prenner & edition.lammerhuber.at//camping
26.06.2022 show complete article
Themed upon NORDWÄRTS!, or ‘northbound’, the outdoor photography festival is dedicated in 2022 to the northern European region of Scandinavia. In a gigantic open-air gallery – featuring 150 large-format photographs in 28 exhibitions along a length of seven kilometers – several of the world’s greatest photographers from the far north are showcasing their fascinating imagery in the parks, gardens and city center of Baden : “With their vast array of photographic approaches – some exploring the harshness of their environment, others the complexity of our modern developments – they do share a common perspective, blended with poetry, a touch of surrealism here and there, but always with the intention of sharpening consciousness for a better understanding of the world of tomorrow,” according to the festival.
NORDWÄRTS! is an opportunity to highlight the creative intuition of artists from northern Europe who have maintained a special connection to the harshness of their homeland ever since the beginnings of photography. For the inhabitants of Denmark, Finland, Iceland, Norway and Sweden, solitude and the wildness of nature are an essential part of their relationship with the world.
It is, therefore, not surprising that the countries of the north with their economical stability are among the most comfortable nations in which one could possibly live. Paralyzed regularly by frost and cold temperatures, while accustomed to the outdoors, they have developed a centuries-old tradition of political consensus, requiring the disapproval of conflict and the promotion of social development based on the strict preservation of natural resources.
So it’s quite clear how a Swedish teenager like Greta Thunberg was predestined to become the new voice of climate change for the youth of the world: She knows that melting glaciers and icebergs are not all too far from home and that it is all by no means an illusion.
The artists who grant us a very special glimpse of Scandinavia are: Sune Jonsson, Pentti Sammallahti, Tiina Itkonen, Ragnar Axelsson, Tine Poppe, Sanna Kannisto, Erik Johansson, Helena Blomquist, Jonas Bendiksen, Jonathan Nächstrand, and Olivier Morin.
In the second narrative of the festival, two exceptional photographers shed light on the state of our environment: ‘This empty World’ by Nick Brandt is an impressive illustration of a world in which animals, overwhelmed by unbridled human development, have barely enough space to survive. And Mathias Depardon presents in ‘The Tears of the Tigris’ impressive photos of the slow throes of a dying river.
For the first time this year, the festival has a particular focus on female Austrian photographers: Magnum photographer Inge Morath, the doyenne of Austrian photography, Christine de Grancy, and young artist Verena Andrea Prenner with ‘Camping’, a photo project about the unacceptable situation of life in refugee camps.
Lower Austria – constituted as a separate province in 1920 – is turning 100-years-old. To celebrate the occasion, Festival La Gacilly-Baden Photo is honoring its home country with two special works depicting how life was back then in old picture postcards … alongside the work by the only 20-year-old artist Gregor Schörg about the region of wilderness in the Dürrenstein-Lassing Valley and the beauty of untouched nature in one of the largest primeval forests in Central Europe.
The festival catalog NORDWÄRTS! has been published by Edition Lammerhuber. German/English; 17 x 23 cm; 272 pages; 123 photos, soft cover; 24.00 euros.
GoSee : edition.lammerhuber.at//nordwaerts
13.06.2022 show complete article