<?xml version="1.0" encoding="UTF-8"?><rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	>

<channel>
	<title>rural Archive | malenki.net</title>
	<atom:link href="https://malenki.net/product-tag/rural/feed/" rel="self" type="application/rss+xml" />
	<link>https://malenki.net/product-tag/rural/</link>
	<description></description>
	<lastBuildDate>Mon, 16 Feb 2026 13:40:15 +0000</lastBuildDate>
	<language>en-US</language>
	<sy:updatePeriod>
	hourly	</sy:updatePeriod>
	<sy:updateFrequency>
	1	</sy:updateFrequency>
	<generator>https://wordpress.org/?v=6.9.4</generator>

<image>
	<url>https://malenki.net/wp-content/uploads/2020/08/cropped-malenki-icon-32x32.png</url>
	<title>rural Archive | malenki.net</title>
	<link>https://malenki.net/product-tag/rural/</link>
	<width>32</width>
	<height>32</height>
</image> 
	<item>
		<title>Böhm #56 – New Landscapes</title>
		<link>https://malenki.net/product/bohm-56-new-landscapes-stuke-sieber/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Mon, 03 Nov 2025 20:26:45 +0000</pubDate>
				<guid isPermaLink="false">https://malenki.net/?post_type=product&#038;p=11680</guid>

					<description><![CDATA[<p>Die Böhm is a fanzine published by Katja Stuke &#38; Oliver Sieber since 1999. Each issue is the juxtaposition of two different bodies of work, one each by Stuke and Sieber, under a single collective title. Both photographers are concerned primarily with issues surrounding portraiture, the mediated image, the expressions of self-identity influenced by popular&#8230; <a class="more-link" href="https://malenki.net/product/bohm-56-new-landscapes-stuke-sieber/">Continue reading <span class="screen-reader-text">Böhm #56 – New Landscapes</span></a></p>
<p>Der Beitrag <a href="https://malenki.net/product/bohm-56-new-landscapes-stuke-sieber/">Böhm #56 – New Landscapes</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p><em>Die Böhm </em>is a fanzine published by Katja Stuke &amp; Oliver Sieber since 1999. Each issue is the juxtaposition of two different bodies of work, one each by Stuke and Sieber, under a single collective title.</p>
<p>Both photographers are concerned primarily with issues surrounding portraiture, the mediated image, the expressions of self-identity influenced by popular culture, in particular youth sub-cultures <span class="s1">— </span>Darius Himes, Photobookreview 2012</p>
<p class="p1"><em>Die Böhm</em> is published once or twice a year.</p>
<p class="p1"><span class="s1"><a href="https://malenki.net/product/bohm-55-stuke-sieber/">Böhm #55</a>, Böhm #56 and <a href="https://malenki.net/product/bohm-57-unreal-estates-stuke-sieber/">Böhm #57</a> are created with images taken by Katja Stuke and Oliver Sieber in and around Cervia (Italy) during their residency at Note di Sguardi (Giovanna Sarti) in 2023.</span></p>
<p>Der Beitrag <a href="https://malenki.net/product/bohm-56-new-landscapes-stuke-sieber/">Böhm #56 – New Landscapes</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>Böhm #55 – Grand Tourismo</title>
		<link>https://malenki.net/product/bohm-55-stuke-sieber/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Mon, 03 Nov 2025 20:02:31 +0000</pubDate>
				<guid isPermaLink="false">https://malenki.net/?post_type=product&#038;p=11678</guid>

					<description><![CDATA[<p class="p1">»Die Böhm« is a fanzine published by Katja Stuke &#38; Oliver Sieber since 1999. Each issue is the juxtaposition of two different bodies of work, one each by Stuke and Sieber, under a single collective title.</p>
<p class="p1">Both photographers are concerned primarily with issues surrounding portraiture, the mediated image, the expressions of self-identity influenced by popular culture, in particular youth sub-cultures <span class="s1">— </span>Darius Himes, Photobookreview 2012</p>
<p class="p1">»Die Böhm« is published once or twice a year.</p>
<p>Der Beitrag <a href="https://malenki.net/product/bohm-55-stuke-sieber/">Böhm #55 – Grand Tourismo</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p class="p1"><em>Die Böhm</em> is a fanzine published by Katja Stuke &amp; Oliver Sieber since 1999. Each issue is the juxtaposition of two different bodies of work, one each by Stuke and Sieber, under a single collective title.</p>
<p class="p1">Both photographers are concerned primarily with issues surrounding portraiture, the mediated image, the expressions of self-identity influenced by popular culture, in particular youth sub-cultures <span class="s1">— </span>Darius Himes, Photobookreview 2012</p>
<p class="p1"><em>Die Böhm</em> is published once or twice a year.</p>
<p><span class="s1">Böhm #55, <a href="https://malenki.net/product/bohm-56-new-landscapes-stuke-sieber/">Böhm #56</a> and <a href="https://malenki.net/product/bohm-57-unreal-estates-stuke-sieber/">Böhm #57</a> are created with images taken by Katja Stuke and Oliver Sieber in and around Cervia (Italy) during their residency at Note di Sguardi (Giovanna Sarti) in 2023.</span></p>
<p>Der Beitrag <a href="https://malenki.net/product/bohm-55-stuke-sieber/">Böhm #55 – Grand Tourismo</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>Real Estate</title>
		<link>https://malenki.net/product/real-estate-tamami-iinuma/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Wed, 25 Jun 2025 16:15:02 +0000</pubDate>
				<guid isPermaLink="false">https://malenki.net/?post_type=product&#038;p=11293</guid>

					<description><![CDATA[<p>„I visited Higashikawa for the first time in the summer of 2007. During my stay I became fascinated by the town’s houses&#8230; . (Later) I came to learn more about the houses in Higashikawa, which are based upon the „Act on Promotion of Construction of Good Rural Housing“. (&#8230;) The silhouette of each house is&#8230; <a class="more-link" href="https://malenki.net/product/real-estate-tamami-iinuma/">Continue reading <span class="screen-reader-text">Real Estate</span></a></p>
<p>Der Beitrag <a href="https://malenki.net/product/real-estate-tamami-iinuma/">Real Estate</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p>„I visited Higashikawa for the first time in the summer of 2007. During my stay I became fascinated by the town’s houses&#8230; . (Later) I came to learn more about the houses in Higashikawa, which are based upon the „Act on Promotion of Construction of Good Rural Housing“. (&#8230;) The silhouette of each house is drawn to be in harmony with the ridge of the nearby Daisetsuzan Volcano Group. The pitch of the roof, the color palette and the distance from the sidewalk to the entrance are all considered,whist the use of local timbers is also promoted. The result is impressive, which each piece of architecture having a strong impact &#8230; . — Tamami Iinuma in Case Study:„A place that is truly photogenic“ &#8211; The gentrification of provincial towns in Japan</p>
<p>&#8230; photographic encounters generate stories that celebrate humanity and extol nature. (&#8230;) In order to provide opportunities for the emotional excitement that comes with photography, we the residents of Higashikawa hope to create a new world that embodies the best of the four seasons in our town, to build a community with heart that is open to the people of the world and a place that is truly photographic. —Photo Town Manifesto Higashikawa-cho, Kamikawa-gun, Hokkaido (June 1, 1985)</p>
<p>Der Beitrag <a href="https://malenki.net/product/real-estate-tamami-iinuma/">Real Estate</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>Espinho</title>
		<link>https://malenki.net/product/espinho-vincen-beeckman/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Sat, 12 Mar 2022 13:24:59 +0000</pubDate>
				<guid isPermaLink="false">https://malenki.net/?post_type=product&#038;p=9589</guid>

					<description><![CDATA[<p>Some years ago, while sitting on a train in Portugal, Vincen Beeckman stumbled upon the town of Espinho and it’s fishermen’s quarter, a self-contained area of the city consisting of twenty streets at the most. Espinho was once home to a large fish-canning factory, the de Fábrica Brandão, Gomes &#38; Cª, established in 1894 by&#8230; <a class="more-link" href="https://malenki.net/product/espinho-vincen-beeckman/">Continue reading <span class="screen-reader-text">Espinho</span></a></p>
<p>Der Beitrag <a href="https://malenki.net/product/espinho-vincen-beeckman/">Espinho</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p>Some years ago, while sitting on a train in Portugal, <a href="https://malenki.net/product-category/artists/vincen-beeckman/">Vincen Beeckman</a> stumbled upon the town of Espinho and it’s fishermen’s quarter, a self-contained area of the city consisting of twenty streets at the most.<br />
Espinho was once home to a large fish-canning factory, the de Fábrica Brandão, Gomes &amp; Cª, established in 1894 by two pairs of brothers from the local area. The fishermen of Espinho had a loyal client in the brothers Brandão &amp; Gomes. At its peak, this company employed no fewer than 400 people – including children.<br />
With the introduction of huge industrial fishing vessels, floating factories, coming mainly from neighbouring Spain, little was left for the fishermen of Espinho to fish. The coastal factory has been closed for decades. Only two ships of the local fishing fleet still navigate the currents of the Atlantic. Espinho’s fishermen still catch their fish using the ancient Xávega method (also known as xávena), whereby small wooden boats go out to sea to cast baited nets, that are later hauled in from shore.<br />
After his first encounter, Beeckman frequently returned to the fishing quarter for a number of weeks each year, to photograph this vanishing world. With this publication, launched together with Espinho&#8217;s community, Vincen Beeckman pays homage to an era that is about to come to an end.</p>
<p>Der Beitrag <a href="https://malenki.net/product/espinho-vincen-beeckman/">Espinho</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>YOUTH – Collectors Edition</title>
		<link>https://malenki.net/product/youth-collectors-edition-kathi-seemann/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Wed, 25 Mar 2020 20:41:28 +0000</pubDate>
				<guid isPermaLink="false">https://malenki.net/?post_type=product&#038;p=7277</guid>

					<description><![CDATA[<p>book with photographic print on Canson paper</p>
<p>Der Beitrag <a href="https://malenki.net/product/youth-collectors-edition-kathi-seemann/">YOUTH – Collectors Edition</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p>Y O U T H focusses photographically and linguistically on the structures of the rural life of village teenagers in Germany. The work challenges identification and interconnectedness, team play and group dynamic in local groups, clubs and circles of friends. Which role do youth-culture and fashion, “home” and tradition play in times of an increasing political shift to the right and glorification of life in the country-side? In the book, which is created in line with the exhibition project, the photographs are accompanied by the essay <em>Idealized Images of Rural Life: Between Right-Wing Ideology and the Romanticism of the Everyday </em>by Yasmin El Sayed, as well as an essay and interview with Kathi Seemann about her photographic work.</p>
<p>Der Beitrag <a href="https://malenki.net/product/youth-collectors-edition-kathi-seemann/">YOUTH – Collectors Edition</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>YOUTH</title>
		<link>https://malenki.net/product/kathi-seemann-youth/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Mon, 03 Feb 2020 12:25:22 +0000</pubDate>
				<guid isPermaLink="false">https://malenki.net/?post_type=product&#038;p=6730/</guid>

					<description><![CDATA[<p>Y O U T H focusses photographically and linguistically on the structures of the rural life of village teenagers in Germany. The work challenges identification and interconnectedness, team play and group dynamic in local groups, clubs and circles of friends. Which role do youth-culture and fashion, “home” and tradition play in times of an increasing&#8230; <a class="more-link" href="https://malenki.net/product/kathi-seemann-youth/">Continue reading <span class="screen-reader-text">YOUTH</span></a></p>
<p>Der Beitrag <a href="https://malenki.net/product/kathi-seemann-youth/">YOUTH</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p>Y O U T H focusses photographically and linguistically on the structures of the rural life of village teenagers in Germany. The work challenges identification and interconnectedness, team play and group dynamic in local groups, clubs and circles of friends. Which role do youth-culture and fashion, “home” and tradition play in times of an increasing political shift to the right and glorification of life in the country-side? In the book, which is created in line with the exhibition project, the photographs are accompanied by the essay <em>Idealized Images of Rural Life: Between Right-Wing Ideology and the Romanticism of the Everyday </em>by Yasmin El Sayed, as well as an essay and interview with Kathi Seemann about her photographic work.</p>
<p>Der Beitrag <a href="https://malenki.net/product/kathi-seemann-youth/">YOUTH</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>Konsens</title>
		<link>https://malenki.net/product/konsens-julia-debus/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Thu, 14 Jul 2016 15:42:55 +0000</pubDate>
				<guid isPermaLink="false">https://malenki.net/?post_type=product&#038;p=5797/</guid>

					<description><![CDATA[<p>edges of leporello and back of slipcase with copper pigment;<br />
lithograph by Anders Forsmark; printed by Thomas Druck Leipzig; binding by Buchbinderei Mönch, Leipzig / Werkstätten der HGB Leipzig; slipcase design by Felix Holler; silkscreen printing by Felix Holler / Gilbert Schneider</p>
<p>Der Beitrag <a href="https://malenki.net/product/konsens-julia-debus/">Konsens</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p class="p1">Julia Debus on Konsens: &#8220;In the Leporello entitled <em>Konsens</em>, images of landscapes blend together: rural areas, intermediate areas <span class="s1">—</span> out of scope of attention, subsistence agriculture, and a lot of space whose use is not obvious at first glance. Areas that seldom form the beginning or end of a journey but are usually crossed. Grasslands, rock formations, scrub, trees, rivers. A connecting motif are paths &#8211; which appear in different forms. The photographs were taken in transit, on railroad tracks over several thousand kilometers on trips across India.<br />
For me, paths embody the opportunity to view a landscape with concentration: fixed points in the passing space. The documentary idea, which was still present during conception, dissolves in the process of photographing, editing and transferring into a new context. <span class="s2">The Leporello offers a multitude of perspectives: folded up, it is as compact as a book, unfolded with a length of 7m, a </span><span class="s3">predomin</span><span class="s4">an</span><span class="s5">t</span> object. Through this duality, and the variety of possible combinations, an open narrative is created.&#8221; (translated from German by malenki.net)</p>
<p>Der Beitrag <a href="https://malenki.net/product/konsens-julia-debus/">Konsens</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>Between Spaces</title>
		<link>https://malenki.net/product/between-spaces-garry-loughlin/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Mon, 24 Nov 2014 20:49:04 +0000</pubDate>
				<guid isPermaLink="false">http://malenki.net/wordpress/?post_type=product&#038;p=3425</guid>

					<description><![CDATA[<p>Whilst there is a photography tradition of documenting the American road trip, I felt that traveling by bike would expose me to opportunities and encounters that could be overlooked if travelled by car or bus. Taking a slower pace and being on my own speed allowed me, as an observer passing through small American towns,&#8230; <a class="more-link" href="https://malenki.net/product/between-spaces-garry-loughlin/">Continue reading <span class="screen-reader-text">Between Spaces</span></a></p>
<p>Der Beitrag <a href="https://malenki.net/product/between-spaces-garry-loughlin/">Between Spaces</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p>Whilst there is a photography tradition of documenting the American road trip, I felt that traveling by bike would expose me to opportunities and encounters that could be overlooked if travelled by car or bus. Taking a slower pace and being on my own speed allowed me, as an observer passing through small American towns, to see the beauty in the banality of everyday life. I feel the decision to cycle not only gave me a stronger connection the landscape but also to the people I met along the way. — Garry Loughlin</p>
<p>Der Beitrag <a href="https://malenki.net/product/between-spaces-garry-loughlin/">Between Spaces</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>PARAiSO</title>
		<link>https://malenki.net/product/paraiso-dani-cardona/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Mon, 28 Apr 2014 15:30:38 +0000</pubDate>
				<guid isPermaLink="false">http://malenki.net/wordpress/?post_type=product&#038;p=2645</guid>

					<description><![CDATA[<p>Der Beitrag <a href="https://malenki.net/product/paraiso-dani-cardona/">PARAiSO</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p>Der Beitrag <a href="https://malenki.net/product/paraiso-dani-cardona/">PARAiSO</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>Sibir</title>
		<link>https://malenki.net/product/debby-huysmans-sibir/</link>
		
		<dc:creator><![CDATA[Robert Schlotter]]></dc:creator>
		<pubDate>Thu, 12 Aug 2010 10:30:14 +0000</pubDate>
				<guid isPermaLink="false">https://malenki.net/?post_type=product&#038;p=5718/</guid>

					<description><![CDATA[<p>&#8220;The collapse of the Soviet empire has resulted in a fascinating political and social situation. The projects Elementarz (2003), Last Stop before Europa (2005) and In a Valley (2007) are a research on the periphery of the Western European capitalist culture. With the recent work Sibir Debby Huysmans continues this photographic research. The two longest&#8230; <a class="more-link" href="https://malenki.net/product/debby-huysmans-sibir/">Continue reading <span class="screen-reader-text">Sibir</span></a></p>
<p>Der Beitrag <a href="https://malenki.net/product/debby-huysmans-sibir/">Sibir</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p>&#8220;The collapse of the Soviet empire has resulted in a fascinating political and social situation. The projects Elementarz (2003), Last Stop before Europa (2005) and In a Valley (2007) are a research on the periphery of the Western European capitalist culture.<br />
With the recent work Sibir Debby Huysmans continues this photographic research.<br />
The two longest rivers of Russia, the Yenissey and the Lena, guide the photographer through the contemporary Siberian landscape. Huysmans concentrates on the individuals, living in these forgotten areas and the signs of human presence in relation to the landscape.</p>
<p>Remainders of dreams of the past and signs of hope for tomorrow appear through the daily environment.<br />
The characters seem to experience an \&#8217;old\&#8217; world under the impoverished conditions of a pre-capitalist reality. Nothing much seems to happen, the pace of life is slow and the images are fully quiet. They often expose undefined, lost spaces nobody seems to notice anymore.&#8221; — Debby Huysmans</p>
<p>Der Beitrag <a href="https://malenki.net/product/debby-huysmans-sibir/">Sibir</a> erschien zuerst auf <a href="https://malenki.net">malenki.net</a>.</p>
]]></content:encoded>
					
		
		
			</item>
	</channel>
</rss>
