Webfile119776 Landscape Photography

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    TABLE OF CONTENTS TABLE OF CONTENTS TABLE OF CONTENTS TABLE OF CONTENTS

    SUMMER OF PHOTOGRAPHY..................................................................................................... 3

    SENSE OF PLACE. EUROPEAN LANDSCAPE PHOTOGRAPHY ................................................ 4 Photographers in the Exhibition .................................................................................................. 6 Overview of the Photographers .................................................................................................. 8 Photography, Nation, Nature ...................................................................................................... 9 Visitor Information ....................................................................................................................25

    SUMMER OF PHOTOGRAPHY @ BOZAR...................................................................................26 Bozar Photography Award ........................................................................................................27

    PARTNERS SUMMER OF PHOTOGRAPHY ................................................................................28 Programme ..............................................................................................................................28 Calendar & Contact ..................................................................................................................29

    CONTACT INFORMATION PRESS OFFICE BOZAR ...................................................................32

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    Summer of Photography Every two years the Centre for Fine Arts organises the Summer of Photography, an international biennale that focuses on photography and related media. Not only does the festival provide the opportunity to discovery modern-day photography, it also looks forward to the future of the image in our culture. Various Belgian and European exhibitions and photography and media museums have been working together to create a themed programme that explores the cultural exchange between the European member states and places it in a global context. The result is a varied programme of exhibitions and related events, with talks, a symposium, and a portfolio day, with curators, photographers, and related specialists in different fields offering us an insight into their work and their vision.

    In a variety of locations in Belgium, Summer of Photography thus creates a lively forum and platform for specialists, amateurs, and anyone with an interest in photography. Through the combined forces of its partners, this biennale promotes photography as a medium, as well as the international reputation of the Belgian photography world.

    There is a common theme running through the Summer of Photography. In 2012, this biennale is exploring an age-old genre, the landscape. Dozens of photographers in whose work the landscape plays an important role will be participating in the main exhibition Sense of Place at the Centre for Fine Arts and the partners programmes.

    They will be reflecting on the current state of the natural landscape and its relationship with the city and people, but the landscapes place in photography will also be given an important role in itself. And when people talk about the European landscape, geo-political connotations also come to mind.

    For more information: http://www.summerofphotography.be

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    SSSSENSE OF PLACEENSE OF PLACEENSE OF PLACEENSE OF PLACE EUROPEAN LANDSCAPEEUROPEAN LANDSCAPEEUROPEAN LANDSCAPEEUROPEAN LANDSCAPE PHOTOGRAPHYPHOTOGRAPHYPHOTOGRAPHYPHOTOGRAPHY

    14.06 > 16.09.201214.06 > 16.09.201214.06 > 16.09.201214.06 > 16.09.2012 Centre for Fine ArtsCentre for Fine ArtsCentre for Fine ArtsCentre for Fine Arts, , , ,

    Central to the programme is the exhibition Sense of Place: European Landscape Photography being held at the Centre for Fine Arts. With around 160 pieces by 40 European photographers, the exhibition paints a picture of the diversity of national and regional landscapes within the European Union. The exhibition simultaneously focuses on the similarities and differences across Europe, both in the landscapes and in the attitude of people towards those landscapes. The works are divided into three main areas within Europe: North, Central, and South. Curator Liz Wells, Professor in Photographic Culture at Plymouth University, selected works by young talents as well as by internationally renowned photographers such as Andreas Gursky (Germany), Elina Brotherus (Finland), Massimo Vitali (Italy), Olafur Eliasson (Denmark), Chrystel Lebas (France), Joan Fontcuberta (Spain), Pedro Cabrita Reis (Portugal), and Carl De Keyzer (Belgium). Through their pictures, they each provide a personal vision of the landscapes of their homeland.

    2. Andreas Gursky 3.Carl De Keyzer

    1. Elina Brotherus

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    Sense of Place is built around three key themes. The first of these is the concept of the national landscape, situated within the wider context of Europe. National and regional identities arise historically in part from a common relationship within a region and from the degree of dependence on that place. With its diversity of climate, agriculture, population density, and natural resources, Europe is characterized by enormously varied landscapes geologically, agriculturally and sociologically. The exhibition explores ways in which cultural differences persist despite the

    political and economic unity that now exists across national boundaries. The second theme has its roots in the wider debate surrounding the aesthetics of landscape photography and the concept of place. Places gain significance through the stories that are told about them and through the manner in which they are represented. How does contemporary photography contribute to forming perceptions of our environment? The third and final theme suggests more philosophical approaches to the relationship between people and nature. Nowadays, many areas of Europe are highly urbanized, marked by legacies of Western industrialism and by the office, service and retail centres that characterize the post-industrial economy. We may have a less immediate relationship to the natural environment than our predecessors, yet images of nature continue to affect us spiritually and to influence and inspire our sense of identity, personally, nationally and regionally.

    5.Chrystel Lebas

    4.Joan Fontcuberta

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    PHOTOGRAPHERS IN PHOTOGRAPHERS IN PHOTOGRAPHERS IN PHOTOGRAPHERS IN THE THE THE THE

    EXHIBITIONEXHIBITIONEXHIBITIONEXHIBITION When they hear the term landscape many people still think first of an idyllic unspoiled nature, a utopian place of calm and relaxation. Chrystel Lebas (France) documents the effects of movement of light at a lake over a 24 hour period. Per Bak Jensens photos are almost meditative images of the waterfalls, coastlines, and forests of his native Denmark. Amongst other subjects, Irene Kung (Italy) portrays olive trees, typical of the Italian countryside. The Breughelian landscapes of Alexander Gronsky (Latvia) or the quasi-stereotypical pictures of Irish country life by Jackie Nickerson seem almost to come from another era. Nature thus becomes almost a part of our heritage. Ilkka Halso (Finland) goes even further, showing digitally manipulated photos of fictional nature museums.

    Gerry Johansson (Sweden) presents a series of black and white photos including the village where he was born, which has since become a protected nature reserve. For him, taking photographs means documenting what remains. Likewise, Theodoros Tempos (Greece) explores a former fishing area. Mysterious, mist-covered places appear in the work of Peter Kotrun (Slovenia). Did he leave out what was not lyrical enough?

    In reality, landscapes are often hugely influenced by human activity. The impressive photos of densely populated beaches by Massimo Vitali (Italy) are an allegory of contemporary mass culture. Economic progress also has a strong influence on the appearance of a landscape. As Thomas Weinberger (Germany) and Maro Kriv (Slovakia) both suggest, heavy industrialisation suppresses nature under cables, motorways, and industrial estates. In the Beaufortain region of the French Alps, a gigantic hydropower plant looms large, recorded by Cline Glanet. But the economic tide can also turn. Anthony Haughey shows how the Irish crisis changed the Irish landscape into an unfinished, overgrown building site. The area within a 150 km radius of Madrid, recorded by Gerardo Custance, provides an equally disturbing picture as does Arion Gbor Kudszs portrait of his native Hungary.

    6. Gerry Johansson

    8. Peter Kotrun

    7. Per Bak Jensen

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    Landscapes carry their history with them; they show political scars and signs of unrest. Marianna Christofides reminds us that Cyprus remains a divided nation. Bart Michiels (Belgium) subtly explores the effects of major battles in the history of the modern landscape with pictures of Bastogne and Passchendaele. Flo Kasearu (Estonia) places black dots on politically sensitive spots, thereby giving meaning to the landscape. Vesselina Nikolaeva portrays nature on the border of Bulgaria and Turkey a frightening no mans land. Jem Southam points out the similarities between the chalk cliffs along the coastlines of Great Britain and France, referring to the geological and, later, political division of the continent. Andreas Mller-Pohle (Germany) lets himself be swept away by the Danube, the river that links the Black Forest to the Black Sea, and therefore a symbol of the tensions between Eastern and Western Europe. In contrast, Rhein II by Andreas