September 17, 2014

IMPOSSIBLE 8x10 OF DEBORAH


UPCOMMING EXHIBITIONS


UPCOMMING EXHIBITIONS

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11.11.2014 / 5. Benefit Art Vendue at KPM Königliche Porzellan Manufaktur in collaboration with the Berlinische Museum Of Temporary Art - Berlin (Ger)    


30.10. - 08.11. 2014 / 5. Benefit Art Vendue Pre-Exhibition - collective exhibition at Mianki Gallery - Berlin (Ger)    


18.09. - 21.09. 2014 / Art Week Berlin - Positions Berlin Art Fair - Berlin (Ger)  


15.09. - 21.09. 2014 / Photokina 2014 - Presenting 8x10 at the Impossible Project Stand - Cologne (Ger) 

September 16, 2014

HELIO PRESS | OLIVER BLOHM: SEHNSUCHT ANALOG



Oliver Blohm: Sehnsucht Analog

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Die tiefe Schwärze in den Fotografien von Oliver Blohm hat mich sofort angezogen. Ich finde, sie gibt seinen Bildern eine subtile Kraft.    


Und natürlich ist sein analoger Prozess mit all seinen Spuren, Unschärfen und Zufällen ein besonderes Beispiel für ein künstlerisches Schaffen mit handwerklichen Mitteln. Großformatige Polaroids, Arbeit mit der Mikrowelle und ähnliches sind nur einige Beispiele für Olivers große Experimentierfreude. Die Ergebnisse sprechen für sich!    


Wir hatten das große Vergnügen eines seiner Motive zu drucken, welches dann auf der 5. Benefiz-Kunstauktion zu Gunsten der Telefonseelsorge Berlin versteigert wird. Vorher werden Olivers Werke und die vieler anderer Künstler in der mianki.Gallery ausgestellt. Telefonseelsorge Auktion  


Das Motiv heißt „Sehnsucht 02“ und wurde in einer Auflage von 3 Stück auf Büttenpapier im Format 40×50 cm gedruckt. Ein wortwörtlich beeindruckendes Portrait!

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FULL ARTICLE


September 2, 2014

SMITHSONIAN MAGAZINE | MAKING WAVES




MAKING WAVES

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A YOUNG ARTIST CREATES RIVETING PORTRAITS BY MICROWAVING FILM 


Here's What Happens When You Put Instant Film in a Microwave. - A German photographer made a name for himself by treating his photos like last night's leftovers.    


Oliver Blohm and a friend were snapping instant photos at a Berlin beer garden when they had an idea. What if they burned the photos with lighters as they developed? Their experiment wasn’t entirely frivolous, though they had consumed a good amount of Berliner Weisse. They knew the chemistry behind photography and that applying heat would alter the development process. Sure enough, the lighters created unique textures and spots on the photos and left them curious.    


“This is how Oliver works,” says his friend from the beer garden, Michael Fischer. “First he has a spark in his mind and one or two months later he has this great idea.”  


The trick was protecting the images from getting too hot and bursting into flames, which Blohm accomplished by inserting them between thick paper and a layer of glass. The resulting prints were beautifully discolored and warped. “It’s about the destruction,” Blohm says. “I wanted to play more and more with the texture, with the burns, with the flares.”
“This is how Oliver works,” says his friend from the beer garden, Michael Fischer. “First he has a spark in his mind and one or two months later he has this great idea.”  


“There’s a history of people manipulating instant prints,” says Brenda Bernier, chief conservator at Harvard’s Weissman Preservation Center. Products like those sold by Polaroid and The Impossible Project are easy to manipulate because they contain complex layers of dyes and chemicals. “They are a technological marvel,” she says. “It’s essentially it’s own dark room.”  


The science behind Blohm’s method is simple, according to Philip Sadler, director of the Science Education Department at Harvard. “Whenever you speed things up, things become uneven,” he says. “You get different colors, you get burns, discoloration.”  


James Foley, who worked at Polaroid as a chemist during the heyday of instant film, says they designed the material inside the film to react at a certain time. “By heating this up,” he says, “you could release things before all of the photographic chemistry was done,” resulting in those artistic flaws.  


Earlier this year, Blohm went pro with his microwave photos. He hired models, who sat there as he dashed over to the microwave and worked his magic. Blohm titled the series “Hatzfrass,” his German translation for “fast food.” When The Impossible Project opened a store in Berlin, they invited him to exhibit the series. He even brought a microwave so he could nuke other people’s photos. Since then, “Hatzfrass” has gained the attention of bloggers. Some fans have even sent him their own microwaved images. Still, amateur photographers might want to play it safe. “It’s not gonna go nuclear,” says Ken Foster, a bioengineering professor at the University of Pennsylvania, “but you might need to have a fire extinguisher handy.”

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FULL ARTICLE


August 19, 2014

GALLERY INSTANTLAND | WORKSHOP WITH OLIVER BLOHM



POLAROID WORKSHOP

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GENERAL INTRODUCTION, DOUBLE EXPOSURE, MANIPULATION & EMULSION LIFT  


We are going to deal with double exposures on SX70, 600er and Image/Spectra cameras and get a bit dirty while going inside of the film.  


The recent emulsions of the Impossible films are more elastic and resistant. The generating emulsion lifts and transfers the pictures to different grounds than paper and it is still simple to manipulate the images during development.  


The workshop will take up 3-4 hours.  


When?
13/09/2014 at 1PM

Where?
Sofortbild-Shop Berlin / Gallery INSTANTLAND
Mulackstr. 22
10119 Berlin

How much?
50€ incl. cameras and materials

Registration?
10 - 15 participants

How?
Please send your participation to instantland@sofortbild-shop.de

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August 14, 2014

MTV | 1993: DIE ZUKUNFT DER FOTOGRAFIE


1993: DIE ZUKUNFT DER FOTOGRAFIE

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ANFANG DER NEUNZIGER TUMMELTEN SICH STARFOTOGRAFEN IM MODEBUSINESS. HEUTE SIND NOCH IMMER VIELE VON IHNEN AKTIV, MÜSSEN SICH ABER GEGEN DEN NACHWUCHS BEHAUPTEN.. . 


Anfang der Neunziger war das Modelbusiness in fester Hand. Nadja Auermann, Christy Turlington, Linda Evangelista, Naomi Campbell, Claudia Schiffer, Cindy Crawford. Makellose Schönheiten, die von Topfotografen perfekt inszeniert wurden. Zumindest bis Kate Moss mit ihren 1,70 m um die Ecke kam, 1993 eine große Calvin Klein Kampagne landete und mal eben den Heroin Chic in Mode brachte. Wer jetzt aber denkt „Oh, arme Claudi“, kann sein Mitleid an anderer Stell unterbringen. Natürlich blieben die anderen Grazien dick im Geschäft, es entwickelte sich nur zusätzlich eine unkonventionellere Ästhetik. Aber unbeachtet wie unterschiedlich die Looks der Models zu dieser Zeit sein mochten, ein hatten sie gemein: Das Glück mit den wichtigsten Fotografen unserer Epoche zusammenzuarbeiten.  


Im Jahr 1993 waren Helmut Newton, Peter Lindbergh und Richard Avedon bereits seit Jahrzehnten im Geschäft, Steven Meisel fotografierte seit fünf Jahren jedes Cover der italienischen Vogue, Bruce Weber machte seine Schwarz-Weiß-Fotografien zu seinem Aushängeschild. Nick Knight trieb auch ohne showstudio.com sein Unwesen, Ellen von Unwerth wurde schon mit dem ersten Preis der International Festival of Fashion Photography ausgezeichnet. Das ehemalige Model Corinne Day verhalf Kate Moss zum Durchbruch, David Sims arbeitete für i-D und The Face. Diese Künstler prägten das Bild der Zeit, entwickelten die Darstellung von Mode weiter. Sie waren die Kuratoren der Popkultur und zeigten, wie wichtig ihr Beruf dafür ist.  


Viele von ihnen sind auch heute noch aktiv. Prägen noch immer das Bild unserer Welt. Und Tage für Tag kommen neue Talente auf den Markt, die ihre eigene Wahrnehmung der Umgebung in Fotografien festhalten. Jeder auf eine andere Weise.  


Der deutsche Oliver Blohm macht Kunstwerke aus analogen Fotos. Seine Werke sind hochästhetisch und vor allem sehr experimentell. Oder habt ihr schon von einem anderen Fotografen gehört, der seine Polaroids in die Mikrowelle steckt, um so spezielle Effekte zu erzeugen?

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FULL ARTICLE


August 12, 2014

ARTISTAS SEAN UNIDOS | OLIVER BLOHM! MICROONDAS & FOTOGRAFIAS POLAROID!


OLIVER BLOHM!

MICROONDAS & FOTOGRAFIAS POLAROID!

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Do you participate in the “Impossible Project“? How this has affected your work?

I‘m not directly participating wth the “Impossible Project“. Sometimes I work in the Impossible Partner Store, the „Sofortbildshop Berlin“ and its gallery. When the shop moved to a bigger location in the end of last year, we had the possibility to create a small gallery for instant photography. By starting the „Instantland Gallery“ I got somehow the partner of the shop owner Jörn Freitag and together we‘re curating the gallery. But of course there is somehow an influence, especially by curating the gallery I get to know many artists and instant film lovers and it‘s always interesting to see their different works, ideas and opinions, as well as get to know them. 


Do you use new technologies like photo edition and digital cameras, or do you stick to the „old school“ style and why?

Of course I work with new technologies as well, we‘re living in 2014 and just to scan the picture, calibrate the monitor and regulate the colors in photoshop is an important digital workflow! I also use digital cameras, but normaly for commercial needs. It depends on the project and everything has its advantages and disadvan But my heart is analog. Nearly all of my pictures on my portfolio are emerged with analog techniques. I love to smell the chemie, to play with it and have a real photo to my hand, not some digital and artificial files. And sometimes I have the feeling that there is a special connection between analog material and the photographer, but it‘s hard to describe. Maybe it‘s just the fact, that it feels more like craftsmanship. And everybody should do something to feel comfortable with, because if you have prejudices against something, it will be hard to handle it. 


Which artists influence your work and what is that you love most about them?

I love the mystic of Sarah Moon, the light painting of Paolo Roversi, the straightness of Richard Avedon, the morbid worlds of Joel Peter Witkin and the strong woman of Helmut Newton. But influnces and inspirations are everywhere, you just try to let your eyes open enough.

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FULL ARTICLE