Innholdsfortegnelse for #3 2021 i Artdoc Photography Magazine

“ Of the national total of 69,000 victims, calculations conclude that 26,000 deaths, more than 40%, occurred in this region. When we think of wars, we mostly come up with the Second World War, the Vietnam War, the Iraq War, and recently the Taliban takeover of Afghanistan. Not often do we think of the battles of the Peruvian Shining Path group, but for Peruvians, it is a hardly healing scar of their history. In the Truth and Reconciliation Commission report, produced in 2003, abuses of human rights were investigated. One chapter, entitled Representative Stories of Violence, deals with the distant district Chungui. Max Cabello Orcasitas read the harsh texts and found out that there were no photographs of that part of their history. “I am not sure if there are…

Sébastien Cuvelier did not start with the concept of paradise as a theme. Instead, it evolved organically as he was inspired by his uncle’s travels to Iran in the early 1970s, in search of the archaeological site Persepolis where the remnants of the Achaemenid Empire are preserved. In the journals his uncle wrote about his hippie-like travels with his Volkswagen van. Cuvelier knew about the printed version of the journals and intended to follow his uncle to Iran for years. “The idea had been lingering in my head for many years, but I always postponed it because I thought it wasn’t the right time. My uncle’s journal kick-started my journey and made me want to see Iran with my own eyes. It felt like an opportunity to create something interesting…

Shroud is a project about an attempt to preserve an ice-grotto tourist attraction at the Rhône Glacier. Local Swiss entrepreneurs wrapped a significant section of the ice-body in thermal blankets. The photos Simon Norfolk took of the blankets have a mysterious atmosphere as signs of a geographical funeral. “The way I photographed them emphasized the way the ice-blankets looked like marble tombs. I wanted it to look like Carrara marble, like Michelangelo’s Peter Pietà in the Vatican. That was the kind of inspiration and the leading metaphor for the whole project. I lit the cloths from above. A giant helium balloon was carrying the flash, and so we could exactly produce the flashlight at the right angle. With this light, you can see every ripple in the cloth, which is…

“Now is Always begun during the Great Depression when my father, Joseph Harold Trachtman (1914-1971), shot a few rolls of film near his father’s drugstore in Centre City, Philadelphia. Nearly 90 years later, my sister found the negatives and gave them to me. Working from my father’s original negatives, I’ve combined the people from his neighbourhood with my own images, many of which were shot from windows and moving vehicles. Now is Always is our collaboration across time. My father lived in Philly his entire life, and his images of friends and neighbours are firmly rooted in one place and time: the corner of 19th and Girard during the Depression. On the other hand, my images are much less rooted, probably because I was pretty much on my own after…

“Country Mysteries comes from the need to tell about the echoes of the places I belong through a subjective interpretation that evokes the charm and mystery of the rural places. This story develops through the images of the Italian countryside where I come from, the Garfagnana valley, an area located in the northern part of Tuscany. Latching on to the cinematographic and literary tradition that combines liminal places and mystery novels, Country Mysteries turns into a contemporary narrative that puts together cinematic staged photography and documentation of everyday mystery, subjective and objective points of view. A mystery, living for centuries in the woods and the mountains, permeates the landscape. The young protagonists of this story try to understand the enigmatic language of the rural scenery and face the impossibility of…

“During the pandemic, I needed introspection and reflection. I felt the urge to explore the possibilities for something I could relate to, which could deeply move me, evoking memories and emotions. I wanted to create a visual and poetic territory that would link reality and a universe where a harmonious correlation could be achieved between the fantasy of an escape and the mysteries of dreams. My series After Echo depicts an inner journey that resonates with my silent encounters with nature and my visited places over the last ten years. It’s an attempt to convey a sense of longing for timeless beauty, to portray the essence behind the apparent and the perpetual presence of the sublime. After Echo constitutes an emotional response to the proportions of space and time. Through…