On 08 May 1945, Germany surrendered to the Allies — the day which marked the end of the Second World War, the most tragic and bloody conflict in history, with some 75 million recorded deaths. Families were separated, borders shifted and an estimated 60 million refugees were displaced, forced to migrate to countries often thousands of miles away from their homes. Still now it is rare to meet a European who has not been affected by that shift. Damian Heinisch was born in Poland, grew up in Germany, and now lives in Oslo. His new book, 45, is inspired by journeys made over three generations of his family. It begins with his grandfather, who in 1945 was piled into a cattle wagon and deported from Gliwice in southern Poland to a labour camp in Debaltsevo, Ukraine, where he eventually died. Then, in 1978, his father took his family (Heinisch was four at the time) and boarded a train out of the then Soviet-occupied Gliwice to start a new life in West Germany. Reflecting on his …
Influenced by the ideas of Donna Haraway, Hosokura’s latest publication breaks down the rigid binaries and definitions that give shape to our conception of what it means to be human
Ten photographers have made it into the shortlist for the annual MACK First Book Award; the winning project will be announced in May at Photo London 2020
The founder of publisher MACK shares his favourite projects from 2019
Crossing four continents over four years, Lisa Barnard’s latest project explores our ongoing obsession with gold as “a potent symbol of value, beauty, purity, greed and political power”
A collection of 9,200 polaroids reveals the female persona of a deceased Californian photographer. Curator Erin O’Toole discusses the complexities of unveiling them to the public
Think of a horror or thriller, and you may think of the happy first half hour or so when everything seems to be going just fine. The Stepford Wives’ town initially seems like it’s perfect; The Vanishing opens with a couple going on a holiday. It’s only later that the tone takes a turn for the worse, before descending into something more substantially scary. That shift is something the residents of Amherst, Massachusetts seemingly live in fear of, because – while on the face of it their small town is an idyll – they’re constantly on the alert.
“7.32pm – Residents at The Boulders complained about a man yelling out the window in a foreign language,” reads a police report published in the local paper, the Amherst Bulletin. “The man told police he was just stating his excitement for the dinner he was about to eat.” “5.53pm – A woman called police after being approach by a photographer in downtown who asked if he could take pictures of her feet,” another reads. “The photographer was not located.”
Publications we loved, and the big news stories from the last month in photobooks – including the nominees from the 2019 Mack First Book Award and an interview with photobook collector extraordinaire Manfred Heiting
In 2016, Natascha Libbert was commissioned to photograph the sea locks of IJmuiden – large constructions which allow ships and boats access to the Dutch port, and which are therefore of tremendous importance to the economy of the Netherlands, and in particular the port of Amsterdam further downriver. But while they’re important, they’re not necessarily exciting photographic subjects, and some of what makes them significant is hard to pin down visually – as is shown by the phrases and thoughts that the Dutch photographer jotted down in her notebook while working on the project, such as “man-made landscape”, “90 per cent of all trade is transported by sea”, and “at sea, the brain receives 85 per cent less information than on land”.
“My aim is not to make PHOTOGRAPHS, but rather CHARTS and MAPS that might at the same time constitute photographs,” writes photographer and prolific writer on his craft, Luigi Ghirri in his 1973 essay, Fotografie del periodo iniziale. Trained as a surveyor, the iconography of maps and atlases prevail Ghirri’s photography. “But what if you map his work?” asks curator James Lingwood. “He was, in a way, mapping the changing topography of modern life in Europe in the 1970s and also the change in the relationship between people and images.”