transformation Archive | malenki.net

Tout va bien maman

Robert Schlotter — Sun, 12 Jan 2025 10:57:19 +0000

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 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.

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De construction

Robert Schlotter — Tue, 07 Jan 2025 22:03:01 +0000

In De construction Kathi Seemann deals with the construction and deconstruction of architecture and living space, the cycle of restoration, demolition, new construction and the memories that remain. The publication is a collection of documentary photographs in digital and risographic printing. Nine loose interleaved sheets can be disassembled, rearranged and expanded.

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opus incertum

Robert Schlotter — Sat, 03 Aug 2024 09:29:14 +0000

In opus incertum – a term borrowed from Roman masonry, which consists of building walls from small blocks, broken tiles and a variety of bricks – Daniel Wagener questions the memory of time and place, and the social and functional transformations experienced by urban buildings.
opus incertum portrays a new reality, seeks to document episodes of urban construction, uncovers what lies behind the ostentation, reveals what is no longer seen.
opus incertum is also a tribute to the collective work and commitment of those who form society during the construction process, who ensure the transmission of methods and culture, and practice oral exchange in an exemplary show of solidarity, while remaining invisible.

Published on the occasion of the Luxembourg Photography Award 2023.

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SOMEHOW, NOTHING APPEARS TO BE HAPPENING, OVDJE OR RATHER, WENT A HOLE, CRNA RUPA

Robert Schlotter — Thu, 03 Aug 2023 18:29:37 +0000

One reoccurring theme in Vutuc’s work is the transmission of information, complete with its natural selection, alteration and deformation throughout time. Here, captured images – fragmented, curated cuts of reality – are presented to be not just explored, but challenged in their fidelity as the question of their physical density gets rivaled by the comparable weight of copies; Vutuc pairs up the seemingly static format of photocopiers, celluloid and Super 8 film and, then, projection techniques – playing with layers of surfaces and transparencies as varying vibrations also audibly resonate, life fuses with machinery through celluloid and confusion, then doubt are introduced by a duality of projectors competing for validity in their respective outputs. — Aymeric Nocus

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office figures

Robert Schlotter — Thu, 17 Nov 2022 19:00:17 +0000

When I moved into my studio in 2019 I was told that the building, probably from the 60ies in an industrial area of Hamburg and had once been a custom office, would be torn down soon to build a new living and shopping area. The room itself was small, squared and had a kind of platform at the two windows where I imagine the clerk sitting at their desk. The floor was a yellowish-brown linoleum and apart from that the room was empty when I moved in. In this dusty and frumpy atmosphere, I noticed little traces in the room, leftovers, stories from whom might have worked here. Scratches along the wall, probably from an office chair scrubbing. Holes from nails, at some places still screws in the wall. Crumbling plaster at the ceiling. This was the starting point of the series Office Figures. I started to fill the space with geometric shapes, stellar constellations, softened corners – and continued until I had to move out the following year. All materials used for these interventions in the room are discarded and found objects.

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Halle-Silberhöhe

Robert Schlotter — Thu, 17 Nov 2022 18:08:22 +0000

Between 1979 and 1989, the new Halle-Silberhöhe district was built in prefabricated construction in the south of the city of Halle (Saale). Around 15,000 apartments for around 39,000 people were built on an area of around 200 hectares.
This urban development measure became necessary, among other things, due to the additional need for workers in the nearby Leuna works and the Buna chemical works. Halle-Silberhöhe was not built in the spirit of a socialist ideal city, but rather pursued the sole aim of creating living space.

Until 1989 there was a high degree of social mixing in Halle-Silberhöhe. After 1989 there were major changes in the labor and housing markets. Unemployment, social separation and vacancies were observed and young people in particular were leaving the Silberhöhe. Since the mid-1990s, Halle-Silberhöhe has lost more than half of its residents, and by 2004 the average age had risen by ten years.
Due to the drastic vacancy rates, Halle-Silberhöhe was partly demolished in certain areas and partly in large areas. The resulting fallow areas should be largely reforested.

Between 2005 and 2007, Robert Schlotter documented the architecture, streets and processes of change in the Silberhöhe and portrayed residents and passers-by.

“In the GDR, new housing estates were built as planned, which, in addition to creating living space, were also intended to offer a socialist alternative to the “bourgeois” old towns. What was sought after back then – also because of the clean district heating and hot running water – has now often degenerated into a problematic peripheral zone. One of these is the Silberhöhe in Halle (Saale). Robert Schlotter visited the Silberhöhe between 2005 and 2007, photographed streets and made portraits of their residents. The black and white of his photos reinforces the structural desolation of the prefabricated buildings, in contrast to the people who live here. In their looks – here Schlotter approaches Helga Paris’s Halle series – the will to persevere is palpable. Silberhöhe has become home to many.” — MDV, Halle (Saale)

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Espinho

Robert Schlotter — Sat, 12 Mar 2022 13:24:59 +0000

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 & 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 & Gomes. At its peak, this company employed no fewer than 400 people – including children.
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.
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’s community, Vincen Beeckman pays homage to an era that is about to come to an end.

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