Catalogue Exhibition │Millepiani
Posted on July 27 2023
..
..
HUMAN LANDSCAPES
—
The work reflects the passage of time and its transformations. Humanity builds, but time passes and landscapes change. Cities decline, while new ones emerge. In abandoned areas, nature restores what's lost. Every place has a history of growth, decline, and rebirth. This visual dialogue highlights nature's resilience and humanity's fleeting trace, prompting reflection on the cycles governing our existence and the legacy we leave behind.
- I. B.
—
This photograph from "The Great Devour of Cities" shows Piazza di Spagna overwhelmed by tourists, where my role as a photographer adds to the crowd’s impact. The image captures the paradox of documenting the transformation while being part of it, highlighting how tourism reshapes urban spaces, and how, through my lens, I too participate in the city's slow consumption.
- J. A. G.
—
In 2024 you will find an image similar to this on almost every continent. It is a very human landscape that says as much about our relationship to the land as it does our relationships with fellow humans. We do not dwell here. We pass through looking to make connections.
- B. H.
—
Taken during a break in a corporate meeting. Participants smoking and talking on their cell phones.
- K. H.
—
On the evening of the 'Dushechki' holiday, the glowing candles on tombstones echo the lights of nearby residential buildings. This juxtaposition emphasizes the coexistence of life and death, inviting the viewer to contemplate the shared spaces between the living and the deceased, as well as the continuity of memory and presence within the urban landscape.
- H. M.
—
Rows of concrete columbaria stand solemnly against the backdrop of utilitarian panel houses, highlighting the stark contrast between spaces for the living and the dead. This image invites reflection on how different social statuses are mirrored in these parallel worlds, where both the living and deceased find their final 'homes' in similarly austere environments.
- H. M.
—
36K-277 is a typical highway of regional significance. This road connects my house with my parents' house. Here, the number of roadside monuments or cenotaphs - memorials erected at the site of fatal accidents - is growing every year. Sometimes I want to ignore the monuments and not allow a single thought about death. But no matter how hard I try to ignore the cenotaphs, and therefore the facts of the deaths of people on this route, I cannot. The grief from sudden death on the road becomes so great that the echoes of cenotaphs reach a large number of people over time. Working on the 36K-277 project helps me get in touch with my own fear of death and experience my pain from loss.
- N. S.
—
Main Street – understood as diverse, contemporary human landscapes – defines small town USA and offers a conceptual understanding of rural America. Exhibiting local goods and services puts economic, cultural, and socio-political values on display. Classical Foundations: Richmond, IN forms part of Down on Main, a body of work that aims to capture colloquial forms of (self) expression as townspeople place not just their wares, but something of themselves, on display.
- J. B.
—
This project, entitled Watching You, Watching Me, considers the correlation between public surveillance systems and the act of observation. The objective is to question the mystique of security cameras, by placing the public/viewer in a place of observation that counteracts the traditional dynamic of public surveillance. The series is primarily comprised of photographs of publicly accessible security cameras, the lenses of which have been fixated within a circular form.
- J. G.
—
Guido Klumpe work, often mistaken for collages or paintings, offers a carefully composed interpretation of urban spaces rather than a literal depiction. With powerful colors and precise forms, he reveals the mysterious and absurd, as well as the hidden beauty in urban environments. His work has been exhibited and awarded internationally.
—
The Roughness series translates visual experiments using construction nets to explore the transformation of urban landscapes and the agency of an individual or community over these changes. Based on Milton Santos' concept of roughness as an important counterpoint to spatial homogenisation, it juxtaposes personal analogue photographs of local neighborhoods with nets collected from buildings under construction.
- L. F.
.
—
The Roughness series translates visual experiments using construction nets to explore the transformation of urban landscapes and the agency of an individual or community over these changes. Based on Milton Santos' concept of roughness as an important counterpoint to spatial homogenisation, it juxtaposes personal analogue photographs of local neighborhoods with nets collected from buildings under construction.
- L. F.
—
The body, nature, and architectural forms all have a special relationship to one another, they all shape one another. Material is something that shapes the human body, but the human body also shapes material. This dual relationship creates a certain tension. Memory is something that is deeply personal and individual, often rooted in culture. Yet the human experience does not differ completely from one to another; there are certain shared experiences between bodies relating to their surroundings that manifest into a form of collective memory.
- S. G. K.
—
Fragile Desert Lithium Landscapes collection Beyond the Metaverse, beyond the glare of pixels, lies the real world. The Salar de Atacama, north of Chile, hosts one of the world’s largest lithium reserves. As the digital world expands, the demand for lithium grows. This fragile ecosystem requires sustainable development to mitigate the potential negative impacts and risks associated with lithium mining. Technological progress and environmental sustainability should coexist in harmony.
- S. G.
—
Winter hits Warsaw, Poland. Snow covers the demolition site in this European city, which after 34 years has become a key commercial and tourism hub and, recently, a front-line state.
- J. M.
—
As you pass by this window, you get a glimpse of the potential of a natural landscape but you are brought back to the contrasted reality with the reflection of the city buildings behind you. With the vast expansion of urban development, I cannot help myself to think if this is what will become the norm in the future for when you want to get a glimpse of nature.
- L. W.
—
This piece utilizes Buncombe County Special Collections to combine two images of an area taken years apart in order to display human change in a North Carolina city setting.
- N. A.
—
—
—
This work was influenced by the history of dance whilst living in Paris, a city I found surprisingly harsh to live in. The photograph capture a female body (myself) within a stark Parisian terrain. While the landscape is brutalist in its texture and form, the dancer emits gesture and curiosity. This interaction instills points of harmony, pattern, and oddities between the human body and an austere, concrete terrain.
- I. O.
—
'Soft Rock' was captured in the industrial area of Porto Marghera in Mestre, the often overlooked sibling of Venice. It depicts layered heaps of mining waste swallowing emaciated trees, giving birth to an unearthly yet inviting landscape. The image highlights the tension between humans and the man-made, reflecting our struggles to coexist.
- O. T.
—
—
—
It all began on the sand, cradle of our species. As silicon, it powers our technology, yet it remains the place where we forget ourselves. Like us, it slowly sinks into oblivion, into the depths of the sea, where our history and mistakes lie.
- R. DCK
—
Transit is an exploration into the space between leaving and arriving. Through the documentation of people and places an object encounters on its journey, I am interested in broadening the connection that we have to object, transit, and commerce. Transit consists of a wooden crate with miniature pinhole digital cameras taking photos every ~15 seconds during a given shipment period. The resulting images are composited into time-lapse videos as a document of this journey.
- M. L.
.
.
.
.
.
.
.
.
.
.
Connect