— ahorn.

Art Institute Chicago, Society for Contemporary Art (March 17, 2011)

© Esko Männikkö & Pekka Turunen, Untitled (from the series ‘PEMOHT’), 1989-1995 / 2013, C-print framed by the artist, 73 x 90 cm, (Lava)

From the press release:

Galerie Nordenhake is pleased to present PEMOHT, an exhibition by Finnish photographers Esko Männikkö and Pekka Turunen. The title takes its’ name from a photographic essay realised by the two artists in conjunction over a seven year period between 1989 and 1995. Previously only exhibited in Scandinavia and Russia, this will be the first time this significant series is reassembled and can be seen in its’ almost integrality since shortly after its’ completion. This will also be the first time both artists will be shown together in a gallery context.
The title PEMOHT refers to the Cyrillic script for the Russian word Remont – a term which can be translated as reparation and stands as the euphemistic and tragic symbol for the collapse of a country and the subsequent failure of its’ institutions, devices and social structures. Within the immediate wake of the Soviet Union’s dissolution the two photographers travelled to the Kola Peninsula, a remote area on the border of northern Finland. At the beginning of the Soviet period the peninsula was heavily industrialised and militarised, largely due to its’ strategic position and the discovery of the vast nickel and heavy metal deposits in the 1920s. As a result, the ecology of the area suffered major ecological damage, including contamination by military nuclear waste and nickel smelting.
Set against the bleak backdrop of this violated area, Männikkö and Turunen’s colour photographs set out to document the everyday reality of a disenfranchised community living on the margins during times of major transition. A haunting document of post-Soviet living conditions, PEMOHT captures this new reality with poetry, clarity and grit.

© Esko Männikkö & Pekka Turunen, Untitled (from the series ‘PEMOHT’), 1989-1995 / 2013, C-print framed by the artist, 41.5 x 44.5 cm, (Cleaning berries)

© Esko Männikkö & Pekka Turunen, Untitled (from the series ‘PEMOHT’), 1989-1995 / 2013, C-print framed by the artist, 67 x 85 cm, (Cleaning car)

Esko Männikkö, Pekka Turunen, Pemoht
Galerie Nordenhake
April, 27 – June 22, 2013

Joakim Eskildsen “Cards, Selma, California, 2011″, © Joakim Eskildsen, courtesy Gallery TAIK

From the press release:

The ongoing project Home Works is sort of an artistic homecoming for Eskildsen who, after traveling the world for numerous photographic projects, turned back to his beginnings, and to the things that had so much inspired him when he first started taking pictures around his home at the age of 14. Already in those earliest photographs, Eskildsen shows a sensitivity for light and certain weather conditions that his work is still known for today. Since the beginning of the project in 2005, Eskildsen, and worked on the project around six homes in three countries, and become father of a son and a daughter who naturally become part of the project as well.

In 2011, Eskildsen was commissioned by Kira Pollack, Director of Photography at TIME Magazine, to capture the growing crisis in the U.S. During the time-span of seven months, he traveled through New York, California, Louisiana, South Dakota and Georgia, places that according to census data have the highest poverty rate. The outcome is American Realities, a stunning body of work in which Eskildsen has managed to make personal portraits of people living below the poverty line to many of who the myth of the American Dream had lost its raison d´être. The book American Realities will be published by Steidl in 2013.

Joakim Eskildsen, American Realities/Home Works
Gallery TAIK
April 26 – June 1, 2013

© Dirk Braeckman, T.C.-T.H.-11

From the press release:

With their matte surfaces, gray scales and unclear motifs, the black-and- white photographs of the Belgian artist Dirk Braeckman (born in 1958) are utterly enigmatic. Working on the boundaries of the medium of photography, they combine fleetingness and substance, texture and distance. The pictures don’t tell stories, though one might be tempted to think so. Leaving the moment in which the image was captured behind, each work reveals the diffuse process behind its own creation.
Several of the new works featured at the exhibition in the Galerie Thomas Fischer were made for Dirk Braeckman’s recent show at de Appel arts center in Amsterdam. Included is also a recent film by the artist.

Dirk Braeckman
Galerie Thomas Fischer
April 26 – June 15, 2013

Todd Hido: House Hunting
Presented in the Pier 24 Photography exhibition HERE.

You can find an interview with Todd Hido in Issue 6 of Ahorn Magazine.

Everything Was Moving: In Conversation with David Goldblatt
Barbican, London

Critically acclaimed South African photographer David Goldblatt, renowned for his sharp yet subtle take on life under apartheid, discusses his work with the London-based artist duo Adam Broomberg and Oliver Chanarin.

Dear friends,
We are proud to announce the new issue of Ahorn Magazine!


Solo shows by:
Arianna Arcara and Luca Santese
Athena Torri
Curran Hatleberg
Tereza Zelenkova and Peter Watkins

Interviews with:
Nicholas Nixon
Christian Patterson
Jo Ann Walters
Richard Rothman
Ofer Wolberger

and more…


1. Nicolai Howalt, Borderline #16, 2012
2. Trine Søndergaard, Guldnakke #1, 2012
3. Nicolai Howalt, Rusland #31, 2011
4. Nicolai Howalt, Car Crash Study #5, 2009

Nicolai Howalt & Trine Søndergaard, Selected Works
February 21 – April 13, 2013
Bruce Silverstein, New York

Read an interview with Trine Søndergaard in Issue 6 of Ahorn Magazine.

Adam Broomberg & Oliver Chanarin, War Primer 2

War Primer 2 is a limited edition book that physically inhabits the pages of Bertolt Brecht’s remarkable publication War Primer (Libris, 1998). The original was published in German in 1955 under the title Kriegsfibel.

War Primer 2 was published by MACK in 2011 and sold out immediately. While War Primer was concerned with images of the Second World War, War Primer 2 updates Brecht’s piece with images of the conflict generated by both sides of the so-called “War on Terror”.

War Primer 2 was produced in the artists’ studio in a limited edition of 100 copies, applying silkscreen and offset printed images to 100 copies of a 1998 edition (Libris, London) of Bertolt Brecht’s 1955 War Primer. This digital version combines critical and academic essays about War Primer with a screen based rendition of the artist’s book.

You can download the digital version here.

Conceived as an experimental platform for free-form, critical discussions, these forums are designed to engage in debates about the perspectives and scope of contemporary photography with leading artists, curators, and theorists in the field.

The structure of the forums has been continually evolving: for the upcoming session artists Gregory Crewdson, Director, Graduate Studies in Photography, Yale University; Ashley Hunt, Co-Director, Program in Photography and Media Faculty, CalArts; Stephen Shore, Director, Photography Program, Bard College; and James Welling, Chair, Photography Department, University of California, Los Angeles, lead a discussion about the mission, vision, and philosophy of their respective photography programs.

The MoMA Forum on Contemporary Photography is organized by Roxana Marcoci, Curator; Sarah Meister, Curator; and Eva Respini, Associate Curator