Hugo Bernatzik - Unseen Africa - Michael Hoppen Gallery
+1
Le 2011-10-05 18:22:57
Partager:
Bernatzik's work bridges the gap between the great pioneer 19th Century photographers like Desire Charney (1863), and those who went into Africa a generation later, for example George Rodger (1940s) and Mirella Ricciardi (early 1970s). His work is strikingly different and remarkable when juxtaposed with that of his predecessors. Theirs are relatively static images confined to the more accessible areas of Africa whereas Bernatzik penetrated the remotest corners of the continent to capture the heady exoticism confronting him. The photographers who followed him into Africa in the 1940s and 1950s were greeted by a consciousness and sometime wariness of the ‘white man and all that came with him'.
All Bernatzik's belongings, negatives and cameras were destroyed by fire during bombing in Austria during the Second World War. What was to only survive was one almost complete set of small prints, unique and in remarkable condition, accompanied by a set of diaries and small albums bearing testament to his peripatetic life. Born in Vienna in 1897, Hugo A Bernatzik abandoned his medical studies to travel, financing his journeys with journalism and selling his photographs. Fascinated with the people he encountered he returned to Vienna to study ethnology, psychology and anthropology before returning to his travels. His work was a rare combination of both scholarly and popular and was published in many languages both sides of the Atlantic. Over the span of his career Bernatzik undertook research in and photographed, Egypt, Sudan, Papua New Guinea, Bali, Southeast Asia and Swedish Lapland amongst others. Bernatzik fell ill on his last trip to Morocco and died in Vienna in 1953 from a tropical disease at the age of fifty-six.
“I am in awe of Bernatzik's work. Without these photographs how would we known how perfect and beautiful Africa was and could be? The images are some of the greatest work I have ever seen on Africa and it's varied peoples.” — Don McCullin
Women of Power consists of 29 color photographs depicting Polish witches, healers, sorceresses, visionaries, spiritual leaders and shamanic techniques practitioners.
According to what Ewelina Jarosz wrote about Women of Power : "The title points to Katarzyna Majak's intenti...
C’est à une invitation à la sérénité et à un retour sur soi que nous propose Yves Marcellin dans cette exposition inédite, installation photographique consacrée aux cinq remémorations du Bouddha.
Empreint des écrits du vénérable moine bouddhiste Thich Nhat Hanh, et plus particulièrement sensi...
With "The Family of Dog", Michael Ruetz has created, over the last 50 years, a unique body of photographic work. Superficially, these images might appear to pay tribute to the established forms of animal photography. But a second, more focused view shows that the reverse is true. Ruetz' pictures are as far removed from those of the animal specialist...
Failed States is an exploration of coincidence and poetics amid the barriers and bureaucracy of governmental power.
In January 2010, while on a trip to research the history of snipers in Austin, Texas, Magid witnessed a mysterious shooting on the steps of the State Capitol. After attempting to speak with a state empl...
Une Ford Pick-up, une Pan/Shovel 66, une Custom 2004 (Jeffrey), une Triumph 69 (Vince), une El Camino 64, une Bel Air 65 (peinte par Vince), une Duo Glide 62, une Comet (qui appartenait à Steve Mc Queen), une Special Construction 2000 (toutes, OM), une Harley 1969, une Dyna 2003 (Wes),une Pan 59, une Pan 62, une Pan 65 (John Copeland), une Sportster 68 (Dr...
Le conte photographique l’Emouvantail, se veut être « l’Echo » d’une histoire d’amour entre un épouvantail etune jeune femme, la Dame de l’O qui pourrait être celle de chacun d’entre nous… Mais pas seulement…
Créée par le Musée de l’Elysée à Lausanne, l’exposition Hans Steiner Chronique de la vie moderne a été présentée à la Fotostiftung de Winterthour, à la Médiathèque Valais-Martigny et au Museo Villa dei Cedri de Bellinzona.
Je vais pouvoir tout photographier. Tout, tout. Maintenant, je n'aurai peut-être plus de chagrin de rentrer à Paris, puisque j'emporterai tous les portraits de ma campagne.