Bøger udgivet af Kehrer Verlag

Wine cellars are mysterious. Silent cathedrals, these spaces shelter a slow and continuous transformation. Wine evolves continuously, in absolute darkness imparted by the oak barrels. A cellar must guarantee three factors: a stable temperature, a constant hygrometry and a controlled darkness. The rest is pure creativity, uncorrelated to winemaking. Modern architectural creations, troglodyte caves, these unique places, where substance and form miraculously meet, allowed Alexis Cottin to capture photographs revealing the human aspiration for beauty.

Omatandangole is a term in the Oshiwambo language that is native to this part of Namibia where the photographs were made between 2016 and 2018. It refers to a kind of mirage that appears in heated air. The title reflects to a photographic pursuit of illusion that is rooted in actuality. Even though our surroundings are chaotic and broken it is possible to create photographs that show them as complete and pristine, so unlike what they are in reality. And yet - in that brief moment that is captured by the camera, wasn''t that sense of completeness true for a fleeting moment?

Petrus reflects on a certain rhetoric of masculinity in Western culture. It is about the human drive to define ourselves and the world through a definite form. Form is never stable though. It is the ever-changing result of a never-ending tension between forces pushing from within and pressures coming from without. Through a cynical, tender, and arbitrary analysis of what probably cannot be sliced and diced Francesca Catastini plays with archetypes and images considering the way they sculpt ourselves and shape our views.

I like you, I like you a lot is a personal work about family and the experience of death and mourning. It responds to the tragic loss of the photographer''s 13-year-old brother Maks, who drowned while on a scout''s trip in 2008 in Poland. The pictures reveal the sequence of events in the aftermath of the tragedy. Alicja Dobrucka''s camera became a protecting shield from the brutal reality of a helpless situation. Maks and his friends were also first generation to grow up under an increasingly Westernised culture, and the camera witnesses how they were enthralled by Western - and especially American -archetypes.

The tourist season is over, the promenade is empty and Brexit is at the door when Benita Suchodrev returns to the British coastal town of Blackpool to photograph the hidden reality behind the famous Amusement Mile. She leads us to local churches, soup kitchens, youth shelters, old age homes and impoverished neighbourhoods, meets bizarre characters, underage mothers, drug-addicts, artists, and hermits. She photographs strangers on train platforms, homeless in torn rags feasting on ham sandwiches and coffee under a dark overpass, closed storefronts and deserted alleys on a rainy night.

The concept of identity often seems like a container that can be filled with very different, even contradictory contents. With Particles, Boris Loder transforms the notion of identity as a container into sculptural photographs. His cubes contain found objects that reflect the character of various sites in Luxembourg in compressed form. In this way, assumptions about urban planning intentions are contrasted with actual use. Fast food on a sports field or a drug stash near a renowned bank allude to socio-geographical realities that only very rarely surface in popular notions of Luxembourg.

The Edge of Knowing is the culmination of a year-long journey from Antarctica to the Arctic; a journey undertaken with the goal of understanding the places that from the vantage point of the United States, are often simply thought of as being beyond ''America.'' This collection of photographs and essays redefines the American conceit of an idealistic, utopian dream as a pan-American vision that is shared across the furthest extremes of the continents. The Edge of Knowing takes us beyond the boundaries that traditionally define national identity.

Anni Leppaa''s motives derive from memories, loss, longing, and early adolescence, seeking for an experience of connection and closeness but also for the act of recognising something vaguely familiar through the images. Things are often veiled, hidden or turning away, but are in their own sphere of intense, remote closeness. Photographs transform their subjects and evoke a feeling of sudden recognition, that is not visible on the surface.

At least 141 people were killed along the Berlin Wall or died as a direct result of the border regime between 1961 and 1989. In her book, Irish photographer Ethna O''Regan (b. 1971) takes the viewer on a visual journey using landscape as a metaphor in order to create a feeling of remembrance for the victims of the Berlin Wall. She has produced photographic series in Ireland, America, Germany, and the Ukraine and has exhibited them internationally.

Kenji Aoki (b. 1968 in Tokyo) spent his formative years studying various design disciplines at Kuwasa Design School. It was photography and its ability to capture beauty in ''a normal coffee cup at home'' that changed Aoki''s world. Since then he has pursued the art of still life photography. After a successful career in Tokyo, Aoki moved to New York in 2009. He has worked with many clients in the United States and Europe, and was awarded from The Art Directors Club, American Photography, and The New York Times Magazine, among others.

On the occasion of the upcoming 90th birthday of Franz Gertsch, MASI Museum in Lugano invites the artist to plan an exhibition devoted to his oeuvre. This has led to a remarkable and striking meeting between Gertsch''s outstanding woodcuts and the wood engravings by two artists whom he regards as much more than simply pioneer revolutionaries of xylography, Paul Gauguin and Edvard Munch. Despite their historical distance and stylistic divergences, these three artists display profound and unexpected affinities, which extend far beyond the technique they share.

Alles ist mit einer dicken Schicht aus feinem Staub u¿berzogen. Der Boden brennt, und u¿ber einer riesigen Fla¿che ha¿ngen giftige Gase und Rauch. Mitten in dieser apokalyptischen Landschaft graben Menschen mit bloßen Ha¿nden im Erdreich. U¿berall im indischen Bundesstaat Jharkhand wird Kohle abgebaut. Die Einheimischen nennen sie den »schwarzen Diamanten«. Das Gleichgewicht zwischen Mensch und Natur ist sehr empfindlich. Die Fotos dieser Serie veranschaulichen, wie schwer es fu¿r den Menschen ist, alte Muster zu durchbrechen: Wider besseres Wissen setzen wir den Raubbau an der Erde immer weiter fort.Seit 2008 fotografiert Sebastian Sardi Minen. Mit seinem Projekt Black Diamond portra¿tiert er die Kohlearbeiter aus na¿chster Na¿he und erforscht gleichzeitig die Zwiespa¿ltigkeit der menschlichen Natur.

A career started in the beauty industry gave Ann Massal the feeling that Plato''s take on beauty as truth was long dead. She subsequently decided to study photography to try to express her very own view. With similarities to the crazy world of Alice in Wonderland, Massal''s pictures are never expected. Using a vast array of techniques - dripping, bleaching, cutting, rotting - she distorts images to offer us her outlook on beauty: ambiguous, sinful, and always colourful.

In the early 1990s Dutch photographer Ad van Denderen travelled to Welkom, a small mining town in South-Africa, to document the last days of apartheid. 25 years later his critically acclaimed photo book Welkom in Suid-Afrika was discovered by Lebohang Tlali, who grew up in Welkom''s neighbouring township Thabong. Welkom Today combines new and historic photographs by Van Denderen, Tlali, as well as images from family albums, newspaper archives, and essays. In a multivocal, non-hierarchical way, the project opens up to multiple histories and perspectives, across generations and backgrounds.

In September 2018, North Korea celebrated the seventieth anniversary of its founding. A country, of which we know little more than what is reported to us in the press, presented itself proudly and surprisingly peacefully. North Korea is considered one of the most inaccessible countries in the world. It is said that the key to a country is its people. But since a direct, uncontrolled exchange with locals is practically impossible, the photographer Ulrike Crespo approached the people through her camera, thus providing us with intimate and rare insight into everyday life in North Korea.

As a passionate observer and chronicler of everyday street life in New York, Helen Levitt (1913 2009) spent decades documenting residents of the city''s poorer neighbourhoods such as Lower East Side and Harlem. Levitt''s oeuvre stands out for her sense of dynamics and surrealistic sense of humour, and her employment of colour photography was revolutionary: Levitt numbers among those photographers who pioneered and established colour as a means of artistic expression. The book features around 130 of her iconic works.

This is the first publication to explore the work of Priya Ramrakha (1935-1968), the pioneering Kenyan photojournalist whose archive was recovered after over forty years. Hailing from an activist family of journalists, Ramrakha was one of the rare African photographers to chronicle the anti-colonial and post-independent struggles across Africa and one of the first to be employed by Time/LIFE. His iconic images defied stereotype, censorship and editorial demand, and captured key moments ranging from Mau Mau in the early 1950s to Africa''s independence movements through the 1960s.