FRIEDL KUBELKA

Friedl Kubelka was born in London in 1946. She attended the Photography Department of the Graphic Instruction and Research Institute in Vienna from 1965 to 1969. After her diploma examination as a professional photographer, she ran her own photography studio from 1971 to 1977. In 1977 she directed her first "class in artistic photography" and in 1990 founded her own "School of Artistic Photography" in Vienna. In 1997, she completed her psychoanalytical training. Friedl Kubelka lives in Vienna.

After initial artistic works in 1971, Kubelka started on her long-term project, Year’s Portraits, in 1972. For this, the artist took pictures of herself with a camera on a daily basis over a period of one year – a process that has been repeated every five years since. This conceptually-structured work on the subject of self-portraiture produces a complex picture of a woman’s search for her own identity by alternating excessive poses of female self-representation with documents of personal retreat. Through the choice of staging and props, small stories and personal experiences are hinted at—the individual photographs seem to link up to form a film running at a rate of one frame per day. The continuation of this project in a weekly format (Portrait Louise Anna Kubelka, 1978-96) and on the basis of a single day (e.g., Day Portrait Peter Kubelka, 1974) broken up into a photograph taken every half hour reached its culmination in One Thousand Changing Thoughts (1980) of her mother. This work in 43 sections originated in a suggestion made by her mother, Lore Bondy, and shows a series of portraits with very brief breaks between individual frames and so comes closest to the cinematic process of the dissolution of reality into individual frames. In her cinematic works Kubelka has reversed this photographic process borrowed from film-making by filming peo-ple in a condition of utmost immobility. In films such as Heidi (1974), Peter Kubelka and Jonas Mekas(1994), or Parents (1997-99), the absence of action and plot accentuates the personal interactions taking place during the process of filming and being filmed in a unique way – sometimes leading to the actual appearance of the artist herself in a particular film.

(Hemma Schmutz)

Barbara Crane ¨Private Views¨

Sasha Mademuaselle

¨Light Paths is a travel diary created and printed on the road. The forty-five days journey took me and my travel companions from Settemilamiglialontano.asia from India, across Pakistan, China, Kyrgystan, Uzbekistan, Turkmenistan, Azerbaijian, Georgia, Turkey, Bulgaria, Serbia, Croatia to Italy.¨
Theo Volpatti 

Rinko Kawauchi

Paul Graham 

End of an Age

In End of an Age, British photographer Paul Graham captures the threshold moments that mark the ending of adolescence, the small slice of time between youthful indulgence and the emerging awareness of adult responsibilities. His photographs resonate between these two poles: between full-on consciousness and escape: between staring the world in the eye or shying away; between seeing the world with shocking clarity and the desire to hide oneself from that reality: turn away, get drunk, close your eyes, get stoned. It is a situation that each of knows and remembers all too well, a traumatic time. And it is often the threshold of a profound psychological transformation -- a chartless sea in which one might successfully navigate, get becalmed, or simply drown. Paul Graham's pictures consider this point in one's life, and reflect upon its trauma, uncertainty and pain. The photographs alternate between ultra-sharp direct flash images where every detail is minutely recorded, and the opposite extreme, with loose available-light photographs, saturated with colour, blurred and sometimes poorly focused. First and foremost, these compelling colour images are portraits in the fullest sense -- images that seek to reflect on the inner self through our material presence.

Published by Scalo

http://www.mackbooks.co.uk/books/31-End-of-an-Age.html

                            

Andrew Lyman "Alone Together"