Hans Danuser
#Photographe
- Livre
Darkside, Vol. 2: Photographic Power and Photographed Violence, Disease and Death
Following the survey of photographed sexuality and lust in Darkside I, the other end of the physical spectrum is illuminated: the intimate affinity between death and photography – impairment, disease, degeneration, violence and death, pain, grief and loss. Recording death is, along with war reporting, one of photography’s original tasks. Pictures of horror are often shocking and yet “bestselling”. They provoke questions about exploitation, complicity and power relationships – infront of and behind the camera and in the photograph itself. Photography often provokes accusations that it aestheticizes misery, creating a “pornography of horror”. Enlightenment quickly turns into transfiguration, photographic enlightenment into commerce. Darkside I and II examine Eros and Thanatos in pi... - Festival
Foto Festival de Mannheim 2015
Après le succès rencontré par l’organisation de cet événement en 2013, La Chambre invite à nouveau le public alsacien à découvrir les images présentées dans le cadre du célèbre Foto Festival de Mannheim.
Profitant de sa proximité géographique avec l’Allemagne, La Chambre organise, le 14 novembre 2015, une journée durant laquelle seront proposées par les équipes du Foto Festival, les visites guidées de trois expositions.
Pour sa 6ème édition, le FF présente le travail de 44 photographes internationaux – connus ou émergents –, invitant le spectateur à faire face aux différentes situations de crise que la planète traverse. &... - Exposition
DARK SIDE 2 - Photographic Power and Violence, Disease and Death Photographed
Following the investigation of photographed sexuality and desire in Darkside I, Fotomuseum Winterthur focuses now on the other extreme of the bodily spectrum, charting the path from the body as a veritable ‘picture of health’ to the body injured, disfigured or mutilated, in decline and decay. This raises questions: Why is there an intimate affinity between photography and death? Why does violence attract images? The visual world of western culture is full of images of violence – both random outbursts of violence and military violence, regulative state violence. In a strange reversal, societies have shut away images of life-affirming, life-giving sexuality, banishing them to the fringes of obscurity, whereas images of dark and excessive violence have been brought into the light. The reasons for this are ...
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Following the survey of photographed sexuality and lust in Darkside I, the other end of the physical spectrum is illuminated: the intimate affinity between death and photography – impairment, disease, degeneration, violence and death, pain, grief and loss. Recording death is, along with war reporting, one of photography’s original tasks. Pictures of horror are often shocking and yet “bestselling”. They provoke questions about exploitation, complicity and power relationships – infront of and behind the camera and in the photograph itself. Photography often provokes accusations that it aestheticizes misery, creating a “pornography of horror”. Enlightenment quickly turns into transfiguration, photographic enlightenment into commerce. Darkside I and II examine Eros and Thanatos in pi...
Après le succès rencontré par l’organisation de cet événement en 2013, La Chambre invite à nouveau le public alsacien à découvrir les images présentées dans le cadre du célèbre Foto Festival de Mannheim.
Profitant de sa proximité géographique avec l’Allemagne, La Chambre organise, le 14 novembre 2015, une journée durant laquelle seront proposées par les équipes du Foto Festival, les visites guidées de trois expositions.
Pour sa 6ème édition, le FF présente le travail de 44 photographes internationaux – connus ou émergents –, invitant le spectateur à faire face aux différentes situations de crise que la planète traverse. &...
Following the investigation of photographed sexuality and desire in Darkside I, Fotomuseum Winterthur focuses now on the other extreme of the bodily spectrum, charting the path from the body as a veritable ‘picture of health’ to the body injured, disfigured or mutilated, in decline and decay. This raises questions: Why is there an intimate affinity between photography and death? Why does violence attract images? The visual world of western culture is full of images of violence – both random outbursts of violence and military violence, regulative state violence. In a strange reversal, societies have shut away images of life-affirming, life-giving sexuality, banishing them to the fringes of obscurity, whereas images of dark and excessive violence have been brought into the light. The reasons for this are ...