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	<title>cityscape Archive | malenki.net</title>
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	<title>cityscape Archive | malenki.net</title>
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	<item>
		<title>Masse</title>
		<link>https://malenki.net/product/masse-michael-gessner/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Mon, 03 Nov 2025 19:10:33 +0000</pubDate>
				<guid isPermaLink="false">https://malenki.net/?post_type=product&#038;p=11674</guid>

					<description><![CDATA[<p>Michael Gessner’s Masse sheds sharp new light on the signifiers of surveillance embedded in everyday life. Conceived as a sociological exploration of mass behaviour in the digital age, the photo book invites contemplation on the myriad ways in which individuals are monitored – and in which they monitor themselves – as they transition through the&#8230; <a class="more-link" href="https://malenki.net/product/masse-michael-gessner/">Continue reading <span class="screen-reader-text">Masse</span></a></p>
<p>Der Beitrag <a href="https://malenki.net/product/masse-michael-gessner/">Masse</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
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										<content:encoded><![CDATA[<p>Michael Gessner’s <em>Masse</em> sheds sharp new light on the signifiers of surveillance embedded in everyday life. Conceived as a sociological exploration of mass behaviour in the digital age, the photo book invites contemplation on the myriad ways in which individuals are monitored – and in which they monitor themselves – as they transition through the blurred boundaries between the digital and the physical.</p>
<p><em>Masse</em> opens with an image revealing a set of shiny bronze doors. The eye is drawn to a black box angled above its entrance. What does it see? And who is watching? Though the questions remain unanswered, the tone is set for the following pages, which reveal Gessner’s artistic dexterity as he moves seamlessly from hyper-stylised shots of hardware to classic architectural photos, collaged Fitbits, smudged impressions tracing the movement of fingerprints on a screen, and cropped streetscapes in Berlin, Seoul, and New York. Rooftop satellites, radio towers and CCTV cameras are extracted from their surroundings and examined in a detached, exacting style.</p>
<p>Scattered throughout, a series of six abstract works depicts shards of a circuit board splintering into ever smaller fragments – as traces of the surveillance society come into focus, so too does the digital copy of the self become increasingly nuanced. Across Gessner’s works, the restrained seduction of his visual language, executed with unfaltering precision, contrasts starkly with the complexity of the subject his camera examines. Lured into a conceptual panopticon, the viewer looks in from the edge and gazes out from the centre of the mass; at once the observer and the observed.</p>
<p>Der Beitrag <a href="https://malenki.net/product/masse-michael-gessner/">Masse</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
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		<title>Woodward</title>
		<link>https://malenki.net/product/woodward-christian-kasners/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Mon, 30 Jun 2025 14:34:35 +0000</pubDate>
				<guid isPermaLink="false">https://malenki.net/?post_type=product&#038;p=11305</guid>

					<description><![CDATA[<p>Woodward Avenue is one of Detroit&#8217;s five major avenues and leads from the city center to affluent suburbs. The photographs in the self-published and spiral-bound photo book Woodward were taken in 2015, some on foot, some from the co-driver’s seat. By sequencing them in the form of a book, the images convey the changes in&#8230; <a class="more-link" href="https://malenki.net/product/woodward-christian-kasners/">Continue reading <span class="screen-reader-text">Woodward</span></a></p>
<p>Der Beitrag <a href="https://malenki.net/product/woodward-christian-kasners/">Woodward</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
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										<content:encoded><![CDATA[<p>Woodward Avenue is one of Detroit&#8217;s five major avenues and leads from the city center to affluent suburbs. The photographs in the self-published and spiral-bound photo book <em>Woodward</em> were taken in 2015, some on foot, some from the co-driver’s seat. By sequencing them in the form of a book, the images convey the changes in the urban fabric along the route and thus the changing social and economic conditions in the various parts of Detroit that were traversed. In addition, the photographs taken from the moving car refer to the history of Detroit as a place of origin of the automobile, to the way in which the cityscape is constructed in terms of its visibility for motorists, and to the historically close connection between photography and the street. — Christian Kasners</p>
<p>Der Beitrag <a href="https://malenki.net/product/woodward-christian-kasners/">Woodward</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
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		<title>Tout va bien maman</title>
		<link>https://malenki.net/product/tout-va-bien-maman-sandrine-marc/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Sun, 12 Jan 2025 10:57:19 +0000</pubDate>
				<guid isPermaLink="false">https://malenki.net/?post_type=product&#038;p=11097</guid>

					<description><![CDATA[<p>Tout va bien maman brings together 60 photographs taken by Sandrine Marc in her neighborhood in Paris during the covid related lockdown in spring 2020. This photographs depict urban landscape in transformation in Ivry-sur-Seine and Nanterre. The zine, Tout va bien maman, published in 100 copies, is handmade. The pages, bound with gray thread, were&#8230; <a class="more-link" href="https://malenki.net/product/tout-va-bien-maman-sandrine-marc/">Continue reading <span class="screen-reader-text">Tout va bien maman</span></a></p>
<p>Der Beitrag <a href="https://malenki.net/product/tout-va-bien-maman-sandrine-marc/">Tout va bien maman</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
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										<content:encoded><![CDATA[<p><em>Tout va bien maman</em> brings together 60 photographs taken by <a href="https://malenki.net/product-category/artists/sandrine-marc/">Sandrine Marc</a> in her neighborhood in Paris during the covid related lockdown in spring 2020. This photographs depict urban landscape in transformation in Ivry-sur-Seine and Nanterre. The zine, <em>Tout va bien maman</em>, published in 100 copies, is handmade. The pages, bound with gray thread, were printed on a Xerox copier. The zine was published by Sandrine Marc on the occasion of her solo exhibition at the Galerie du Crous (Nov 2022, PhotoSaintGermain Festival). It is a sequel to the work entitled “Change plus vite que le cœur”, which was self-published in 2018.</p>
<p>Der Beitrag <a href="https://malenki.net/product/tout-va-bien-maman-sandrine-marc/">Tout va bien maman</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
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		<title>La Ville Invisible</title>
		<link>https://malenki.net/product/la-ville-invisible-stuke-sieber/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Tue, 07 Jan 2025 19:39:59 +0000</pubDate>
				<guid isPermaLink="false">https://malenki.net/?post_type=product&#038;p=11068</guid>

					<description><![CDATA[<p>»A single building’s history can reveal layers of the city that once was, showing how spaces constantly evolve. New cities emerge on top of the old, creating a complex landscape of urban plateaus.« (from the interview with Ivan Vartanian) Katja Stuke and Oliver Sieber have been working on »Cartographie Dynamique« since 2017. »Cartographie dynamique« is&#8230; <a class="more-link" href="https://malenki.net/product/la-ville-invisible-stuke-sieber/">Continue reading <span class="screen-reader-text">La Ville Invisible</span></a></p>
<p>Der Beitrag <a href="https://malenki.net/product/la-ville-invisible-stuke-sieber/">La Ville Invisible</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p>»A single building’s history can reveal layers of the city that once was, showing how spaces constantly evolve. New cities emerge on top of the old, creating a complex landscape of urban plateaus.« (from the interview with Ivan Vartanian)<br />
<a href="https://malenki.net/product-category/artists/katja-stuke/">Katja Stuke</a> and <a href="https://malenki.net/product-category/artists/oliver-sieber/">Oliver Sieber</a> have been working on »Cartographie Dynamique« since 2017. »Cartographie dynamique« is a virtual network connecting cities in Japan, Germany, France, China or India with the distinctive photographic works created in each location, often focussing on the transformation of the city.<br />
The current chapter, <em>La Ville Invisible</em>, deals with the question of whether major events such as the Olympic Games or EXPO can be accelerators of urban change. To what extent they contribute to changing the understanding of private and public space. Do ideas of coming together, exchange and sporting competition still play a central role or are the arenas and pavilions just more ruins of the future?  The book contains images from Osaka, Tokyo, Paris, Seoul and Sarajevo taken since 2014.</p>
<p>Der Beitrag <a href="https://malenki.net/product/la-ville-invisible-stuke-sieber/">La Ville Invisible</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
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		<title>Tøyen sentrum</title>
		<link>https://malenki.net/product/line-bohmer-lokken-toyen-sentrum/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Wed, 14 Oct 2020 10:16:35 +0000</pubDate>
				<guid isPermaLink="false">https://malenki.net/?post_type=product&#038;p=7225</guid>

					<description><![CDATA[<p>Line Bøhmer Løkken on Tøyen sentrum: „On a regular basis, I have sought out this fortress of red brick, with its tall towers that hover over and protect the partially concealed square. And despite its architectonic openness, it feels confined. I would not claim that we have become friends, this place and I, but one&#8230; <a class="more-link" href="https://malenki.net/product/line-bohmer-lokken-toyen-sentrum/">Continue reading <span class="screen-reader-text">Tøyen sentrum</span></a></p>
<p>Der Beitrag <a href="https://malenki.net/product/line-bohmer-lokken-toyen-sentrum/">Tøyen sentrum</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
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										<content:encoded><![CDATA[<p>Line Bøhmer Løkken on <em>Tøyen sentrum</em>:<br />
„On a regular basis, I have sought out this fortress of red brick, with its tall towers that hover over and protect the partially concealed square. And despite its architectonic openness, it feels confined. I would not claim that we have become friends, this place and I, but one might say that we have become acquaintances of sorts. Familiar and unfamiliar faces appear, and like other outdoor spaces, it fills up and is emptied in accordance with the temperature.</p>
<p>I know each angle, each nook and cranny. I have fine-combed the area with my one-sided gaze. Not so much with the desire to disclose, as with the desire to comprehend and understand, so that I can finally feel some sense of belonging. Despite this, we cannot quite manage to gain one another’s confidence. It is as though the place wants to retain its secrets, as though I cannot come close enough.</p>
<p>Der Beitrag <a href="https://malenki.net/product/line-bohmer-lokken-toyen-sentrum/">Tøyen sentrum</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
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		<title>Confined Space</title>
		<link>https://malenki.net/product/laura-padgett-confined-space/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Tue, 22 Nov 2016 10:04:01 +0000</pubDate>
				<guid isPermaLink="false">https://malenki.net/?post_type=product&#038;p=4628/</guid>

					<description><![CDATA[<p>This body of work of Laura J. Padgett was taken during several travels across the Libanon. It is an artist’s view of space, form and detail and at the same time a record. A record of the atmosphere of a place. On their own, these photographs may appear elusive, abstract, out-of-place. As a whole, the series&#8230; <a class="more-link" href="https://malenki.net/product/laura-padgett-confined-space/">Continue reading <span class="screen-reader-text">Confined Space</span></a></p>
<p>Der Beitrag <a href="https://malenki.net/product/laura-padgett-confined-space/">Confined Space</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p>This body of work of <a href="https://malenki.net/product-category/artists/laura-padgett/">Laura J. Padgett</a> was taken during several travels across the Libanon. It is an artist’s view of space, form and detail and at the same time a record. A record of the atmosphere of a place. On their own, these photographs may appear elusive, abstract, out-of-place. As a whole, the series could not be from anywhere else. — Bücher &amp; Hefte Verlag, Leipzig</p>
<p>Der Beitrag <a href="https://malenki.net/product/laura-padgett-confined-space/">Confined Space</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
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		<title>Lob der Peitschenlampe</title>
		<link>https://malenki.net/product/lob-der-peitschenlampe-arne-schmitt/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Mon, 12 Sep 2016 08:35:22 +0000</pubDate>
				<guid isPermaLink="false">https://malenki.net/?post_type=product&#038;p=4635/</guid>

					<description><![CDATA[<p>The offset-printed leaflet Lob der Peitschenlampe, self-published in 2016, combines two photographic images by Arne Schmitt with quotes from Wolf Jobst Siedler, Lob des Baumens, in: Siedler, Niggemeyer, Angreß, Die gemordete Stadt. Abgesang auf Putte und Straße, Platz und Baum, Berlin 1964, as well as, Klaus Heinrich, Willfährigkeit des Klassizismus? Vorlesung 1, Montag, 17.April 1978,&#8230; <a class="more-link" href="https://malenki.net/product/lob-der-peitschenlampe-arne-schmitt/">Continue reading <span class="screen-reader-text">Lob der Peitschenlampe</span></a></p>
<p>Der Beitrag <a href="https://malenki.net/product/lob-der-peitschenlampe-arne-schmitt/">Lob der Peitschenlampe</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
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										<content:encoded><![CDATA[<p>The offset-printed leaflet <em>Lob der Peitschenlampe</em>, self-published in 2016, combines two photographic images by Arne Schmitt with quotes from <em>Wolf Jobst Siedler, Lob des Baumens, in: </em>Siedler, Niggemeyer, Angreß, Die gemordete Stadt. Abgesang auf Putte und Straße, Platz und Baum, Berlin 1964, as well as, <em>Klaus Heinrich, Willfährigkeit des Klassizismus? Vorlesung 1, Montag, 17.April 1978, in: </em>Klaus Heinrich, Dahlemer Vorlesungen. Eine architektonische Auseinandersetzung mit dem NS, ARCH+219, 2015.</p>
<p>Der Beitrag <a href="https://malenki.net/product/lob-der-peitschenlampe-arne-schmitt/">Lob der Peitschenlampe</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
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		<title>Zweimal Belichtet</title>
		<link>https://malenki.net/product/zweimal-belichtet-aglaia-konrad/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Sun, 03 Nov 2013 18:56:56 +0000</pubDate>
				<guid isPermaLink="false">http://malenki.net/wordpress/?post_type=product&#038;p=3435</guid>

					<description><![CDATA[<p>Zweimal Belichtet by Aglaia Konrad is a publication about (an) unconscious photography (practice), in which two extremes meet. Filmstrips, which are exposed twice, more or less coincidentally, or by accident, in random circumstances, lead to an unintended result. The recognition of this unintended practice in a publication reflects an unknown, blind faith in the medium&#8230; <a class="more-link" href="https://malenki.net/product/zweimal-belichtet-aglaia-konrad/">Continue reading <span class="screen-reader-text">Zweimal Belichtet</span></a></p>
<p>Der Beitrag <a href="https://malenki.net/product/zweimal-belichtet-aglaia-konrad/">Zweimal Belichtet</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p><em>Zweimal Belichtet</em> by Aglaia Konrad is a publication about (an) unconscious photography (practice), in which two extremes meet. Filmstrips, which are exposed twice, more or less coincidentally, or by accident, in random circumstances, lead to an unintended result.</p>
<p>The recognition of this unintended practice in a publication reflects an unknown, blind faith in the medium of photography, as if the photo-grapher and the photo-camera both look the other way, so to speak, as if the photo-graphy is acting independently. A must-see for everybody who searches for a language of images in the realm of Esperanto (hope).</p>
<p>Der Beitrag <a href="https://malenki.net/product/zweimal-belichtet-aglaia-konrad/">Zweimal Belichtet</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
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		<title>Et Dans Ce Cas Seulement &#8211; Collectors Edition I</title>
		<link>https://malenki.net/product/marianne-hommersom-et-dans-ce-cas-seulement-edition-1/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Wed, 24 Jul 2013 18:00:56 +0000</pubDate>
				<guid isPermaLink="false">http://malenki.net/wordpress/product/marianne-hommersom-et-dans-ce-cas-seulement-edition-1/</guid>

					<description><![CDATA[<p>Three residency periods in Paris led to the series Et dans ce cas seulement. The pictures form a new chapter in Scenes of Wonder, a constantly growing collection of landscapes and cityscapes. In this work Marianne Hommersom focuses on the traces of human presence, light, textures, colors and on the way these elements come together in an&#8230; <a class="more-link" href="https://malenki.net/product/marianne-hommersom-et-dans-ce-cas-seulement-edition-1/">Continue reading <span class="screen-reader-text">Et Dans Ce Cas Seulement &#8211; Collectors Edition I</span></a></p>
<p>Der Beitrag <a href="https://malenki.net/product/marianne-hommersom-et-dans-ce-cas-seulement-edition-1/">Et Dans Ce Cas Seulement &#8211; Collectors Edition I</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
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										<content:encoded><![CDATA[<p>Three residency periods in Paris led to the series <em>Et dans ce cas seulement</em>. The pictures form a new chapter in <em>Scenes of Wonder</em>, a constantly growing collection of landscapes and cityscapes. In this work Marianne Hommersom focuses on the traces of human presence, light, textures, colors and on the way these elements come together in an often alienating, sometimes funny way.</p>
<p><a href="https://malenki.net/product/marianne-hommersom-et-dans-ce-cas-seulement-edition-1/">No. 1 – 10</a> and <a href="https://malenki.net/product/et-dans-ce-cas-seulement-edition-2/">No. 11 – 20</a> of <em>Et Dans Ce Cas Seulement</em> are issued as a numbered &amp; signed collectors edition including a C-print.</p>
<p>Der Beitrag <a href="https://malenki.net/product/marianne-hommersom-et-dans-ce-cas-seulement-edition-1/">Et Dans Ce Cas Seulement &#8211; Collectors Edition I</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
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		<title>Et Dans Ce Cas Seulement</title>
		<link>https://malenki.net/product/et-dans-ce-cas-seulement-marianne-hommersom/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Wed, 24 Jul 2013 18:00:48 +0000</pubDate>
				<guid isPermaLink="false">http://malenki.net/wordpress/?post_type=product&#038;p=2658</guid>

					<description><![CDATA[<p><a href="https://malenki.net/product/marianne-hommersom-et-dans-ce-cas-seulement-edition-1/">No. 1 – 10</a> and <a href="https://malenki.net/product/et-dans-ce-cas-seulement-edition-2/">No. 11 - 20</a> of <em>Et Dans Ce Cas Seulement</em> are issued as a numbered &#38; signed collectors edition including a C-print.</p>
<p>Der Beitrag <a href="https://malenki.net/product/et-dans-ce-cas-seulement-marianne-hommersom/">Et Dans Ce Cas Seulement</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p>Three residency periods in Paris led to the series <em>Et dans ce cas seulement</em>. The pictures form a new chapter in <em>Scenes of Wonder</em>, a constantly growing collection of landscapes and cityscapes. In this work Marianne Hommersom focuses on the traces of human presence, light, textures, colors and on the way these elements come together in an often alienating, sometimes funny way.</p>
<p><a href="https://malenki.net/product/marianne-hommersom-et-dans-ce-cas-seulement-edition-1/">No. 1 – 10</a> and <a href="https://malenki.net/product/et-dans-ce-cas-seulement-edition-2/">No. 11 &#8211; 20</a> of <em>Et Dans Ce Cas Seulement</em> are issued as a numbered &amp; signed collectors edition including a C-print.</p>
<p>Der Beitrag <a href="https://malenki.net/product/et-dans-ce-cas-seulement-marianne-hommersom/">Et Dans Ce Cas Seulement</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
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