Wednesday, 10 May 2017

Sunday, 2 April 2017

Work in progress.


Thursday, 9 March 2017



Perimeter is thrilled to continue its new programming initiative for 2017: Perimeter Talks. Taking place approximately once a month on a Sunday afternoon, the series features lectures, panel discussions and more casual in-conversations with publishers, artists, curators, designers, writers and editors. The talks explore and address various themes and issues relating to contemporary photographic, art and design publishing – helping demystify, challenge and offer insight into publishing as a medium and a practice.

Our second talk for 2017 features Melbourne-based German photographer Katrin Koenning, whose debut book Astres Noir (Chose Commune, Paris) – which drew upon images that Koenning and Bangladeshi photographer Sarker Protick had made for their Instagram feeds – went on to become an international phenomenon, making the final shortlist of the prestigious 2016 Paris Photo-Aperture Photo Book Award and winning the 2016 Australian Photobook of the Year Award. The talk will explore the making of the project, Koenning's wider practice and the bleed between Instagram and more traditional photographic contexts.

Where: Perimeter Books, 748 High Street, Thornbury. When: Sunday March 12, 3pm-4pm. Seating strictly limited. RSVP essential (hello@perimeterbooks.com). $5 donation on the door.

Saturday, 4 March 2017




NEW CITIZENS
Right now, no matter where we are, we find ourselves in a fireball of political confusion that sees us descending rapidly into liberal authoritarianism, fascism and border-euphoria, and in which humanism is under grave threat. It seems all the more important then to find and draw on what connects us. United in a new and bottomless placelessness (whether physical, metaphorical or virtual), our mechanisms of exclusion and our judgement of each other are still so fiercely place-attached. In this instalment of the festival, following on from examining Revelations, we are concerned with expanded and creative thinking around notions of New Citizen. We ask: who are we as humans? How did we come to be this way, where are we headed? What does it mean to be participant of an utterly computerised 21st Century that pulls us ever closer together, yet paradoxically, even further apart? In this era, our collective knowledge is richer than it ever was, yet we’ve lost sight of ourselves. Are we traversing an ocean of possibility while sinking under our own weight? In a world where the borders of real and imagined are incessantly blurring yet sharper than ever defined, is the very concept of belonging itself drifting away from the physical realm into another? Perhaps New Citizen is the individual we ought to strive to be. As a species wandering dangerously close to the edge of itself, New Citizen cannot be understood as a label or fixed term. New Citizen encourages: a politic of transformation and a thinking of indefiniteness of what describes identity and ultimately us as humans; a humanity of insiders concerned about the state of a distressed world in which politicisation of space and violent legacy of white dominance have long caused the mentioned to require new balance. It is about us as a society, addressing the collective state of urgency in which we find ourselves. In this sense, New Citizen advocates a need of breaking out, of acting, of mobilising towards a new and shared horizon. The New Citizen is global more than ever, a cosmopolite; a human being most of all who always comes from story. We are calling for the artist-communicator equipped with the power of language to show us a voice of dissent, challenging and foraging against the very things that are made by systems in power to keep us divided. We ask for your views of a New Citizen that far extend the conventional understandings of its ‘origin-definition’ which is confined to state and city and town; we ask you to think citizen as a anywhere-human, beyond entitlement, nationality or allegiance to government. Show us counter-language; a new way of navigating what it means to be alive and to live in a (post)capitalist, climate-changed 21st Century world. Whatever your photographic approach may be, show us new dialogues and new imaginaries. We ask: who or what are we as image-makers reflecting on the world in which we live? Where are our stories of unmapping, our stories of stories? How do we navigate this world of image and this world of World as people drawing from the toolset of communication? What is it like to be, now, as New Citizen in this, our time? What are our responsibilities, collectively and individually, to the world and to each other, in and towards a change of course? And what kind of boat can carry us together into the world of World that needs us less than ever?     -   Katrin Koenning



 
 
'With her series entitled 'Indefinitely', Katrin Koenning invites us to wander through a universe that is 'decardinalised', wandering in such a way as to resist static vision and spatiotemporal points of reference. These disorientating effects plunge us into a confusion between day and night, a confusion of seasons, a confusion between the world of humans and animals, a consufion between the world of the dead and the living. The imaginary world becomes immense, just as the vast expanse of salt water that washes over the globe is immense, and we are no longer therefore faced with images, but instead with images of the mind.' - Jerome Montagne

Wednesday, 22 February 2017







Photobook Reviewer, Unless You Will & Momento Pro / Photography Studies College


Tuesday, 14 February 2017


List of participating artists: Adam Fuss / Adam Golfer / Adam Jeppesen / Alec Soth / Alejandra Laviada / Alejandro Cartagena / Aleksander Rodchenko / Ana-Maria Preduț / Andrew Hammerand / Anne Collier / Annika von Hausswolff / Anouk Kruithof / Arseny Zhilyaev / Awoiska van der Molen / Basel Abbas and Ruanne Abou-Rahme / Beatrix Pang / Bjarne Bare / Bogdan Bordeianu / Brud / Carolyn Drake / Chen Kun Hui / Ching Chin Wai / Christina Leithe Hansen / Daisuke Yokota / Daniel Stier / David Fathi / Denes Miklosi / Doug Dubois / Eliza Hutchison / Emil Salto / Espen Gleditsch / Espen Tveit / Eva Stenram / Federico Ciamei / Francesca Catastini / Giulia Mangione / Godwin Koay / Guadalupe Ruiz / Guy Tillim / Hajime Kimura / Ingrid Eggen / Jaap Scheeren / Jetmir Idrizi / Judith Joy Ross / Ka-Man Tse / Katrin Koenning / Kiluanji Kia Henda / Lau Wai / Lina Selander / Lisa Oppenheim / Lorena Guillen Vaschetti / Lorenzo Vitturi / Lucas Blalock / Mame-Diarra Niang / Marianna Dellekamp / Marie Sjøvold / Mariela Sancari / Marwa Arsanios / Matt Lipps / Mihai Șovăială / Mikhael Subotzky / Ming Wong / Morten Andenæs / Mårten Lange / Nadia Mounier / Nico Krebs & Taiyo Onorato / Nicu Ilfoveanu / Ola Rindal / Oleg Samoilov / Patricia Piccinini / Peter Puklus / Pieter Hugo / Pipilotti Rist / Preben Holst / Sabelo Mlangeni / Sandrine Lopez / Setareh Shahbazi / Shimpei Takeda / Shirana Shahbazi / Sonja Thomsen / Susan Derges / Sveinn Fannar Jóhannsson / Tereza Zelenkova / Torbjørn Rødland / Tracey Moffatt / Trevor Paglen / Veronica Gerber Bicecci / Vik Lai / Vittorio Mortarotti / Viviane Sassen / Vlad Albu / Vojtech Veskrna / Wawi Navarroza / Wendy Ewald / Wolfgang Tillmans / Yafei Qi / Yakov Chernikhov / Yamamoto Masao / Yvonne Todd

http://www.skreidpublishing.com/gr-09022017/







Tuesday, 10 January 2017


'Between Realities' is a one-day symposium addressing diverse photographic positions, which challenge the prevailing modes of visual representation and their supposed factual depiction of reality through the photographic medium.

Several international artists have been invited, who in practice blur the borders between fact and fiction, thus re-imagining and subverting the traditional visual conception of the documentary genre.

The intention of the presentations is to open the discussion about the truth of an absolute ‘objective’ photographic replication of reality. Is the reproduction of a pictorial unadulterated ‘objective truth’ an erroneous belief, a goal neither viable nor desirable?


Tuesday, 3 January 2017



"What emerges over time from this immersion in place in Koenning’s practice is photography as a process of worlding. In The Crossing there is a sense in which each photograph offers a miniature portrait of a natural world on the cusp of disappearance. At the same time, there is ambiguity at play, especially in Koenning’s arresting images of fish and bird life hovering between states of appearance and disappearance, or processes of emergence and withdrawal. In Howqua #1 (Falsche Gezeiten, 2015), a tortoise shimmers in bioluminescent white light and appears as if plummeting into a dark void or falling through stars. Might this be the last tortoise, hurtling toward extinction or, more optimistically, can this sole tortoise be read as a symbol of species survival and thus an emblem of hope? Some images draw their titles from the work of Michel Serres and, indeed, The Crossing echoes the French philosopher’s call for “a natural contract of symbiosis and reciprocity.” As an embedded and deeply personal response to a transitioning ecology, Koenning’s images also embody what Zylinska terms a “post-anthropocentric ethics of expanded obligations.” This is ethics as “a way of taking responsibility, by the human, for various sorts of thickenings of the universe, across different scales, and of responding to the tangled mesh of everyday connections and relations."



"With the experience of being displaced from a homeland comes a continuous process of re-placement, through transcending traditional physical boundaries and traditional methods of psychological interactions. An anti-linear or disjunctive order emerges from this constant state of interpretation. Imagined borders give way to imagined worlds and newly created homes. Invariably and spontaneously responding to what surrounds and inhabits her when photographing, Koenning’s aesthetic varies, adjusting itself to the environment and the experiences that produce it, never following a formula. Just like a continuous shaft of light full of glimmering dust, constantly fluctuating, and without boundaries, Indefinitely redefines the notion of distance associated with the migratory experience by filling it with the most simple and intense visual poems.” — Claire Monneraye, Curator, Australian Centre for Photography


Monday, 26 December 2016



Colberg, who picked my work (Indefinitely), writes: “Pictures are more than what they are as pictures. They also are what we bring to them. Possibly my choice is in part a reflection of how I have been feeling about the state of this world since this year’s events have taken humanity back to a very dark place. Indefinitely for sure is dark and somber. Yet it contains traces of hope, of it being a dream. We don’t know, yet, whether it’s about to become a nightmare or whether it will end well.”
Astres Noirs, photobook of the year:







Friday, 2 December 2016

Friday, 25 November 2016


"Astres Noirs is an ethereal, other-worldly experience; figures bathe in half light, galactic dust clouds disrupt familiar landscapes and alien jellyfish seem to be suspended in motion. The duotone printing shimmers with an unique silver quality, providing an astonishingly beautiful publication with a tactility not often experienced in the photobook".


Thursday, 27 October 2016

Spread from With Devil, coming soon.


Saturday, 20 August 2016

Wednesday, 17 August 2016

Work in progress


Saturday, 13 August 2016

Work in progress

Field notes, 04.08.2016: Three days ago, on my nightwalk, I stood for long in front of this found constellation of things which rose up into air; two trees of different but similar height, a sign. I thought of my mother. Suddenly I saw a double agony in distance; the thing itself as a burn, insatiable, unsated, alas. But this - that objects closer would be closer, and those at a distance would be further away. And this - that then, in case of pain, greater pain would be inflicted by close distance. Less by large. Should the closer objects experience distance, the agony would be greater due to spatial proximity. The object the farthest away, then, is one of double-distance.