How to...

... hack a security camera with a helium balloon

easy way to fool even the most sophisticated forms of surveillance technology.

clever intervention by William Lamson

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Ugo Mulas la scena dell´arte

John Cage.New York, 1964

Ugo Mulas is on display at Galleria d'Arte Moderna in Turin. The focus is on the photographer's relationship with the art scene of his time. At 1964 Biennale he meets the art critic Alan Solomon, the art dealer Leo Castelli and many other Pop Art American artists. He decides immediately to leave for New York. His first trip in 1964 is followed by other visits to the city in 1965 and 1967, during which he puts together an extraordinary body of images that document New York art world.
The exhibition is on view until October 5, 2008.

Roy Lichtenstein, New York 1964

Andy Warhol, New York 1964

Fausto Melotti, Maggio 1970

Alik Cavaliere osserva una scultura di David Smith.
XXIX Esposizione Biennale Internazionale d’Arte, 1958

Edie Sedgwick e Andy Warhol.
New York, 1964

Giorgio De Chirico, 1968

Marcel Duchamp.
New York, 1964-1965

John Cage.
New York, 1964

All Images courtesy GAM di Torino, collected by Régine

more at ugo mulas.org

WHAT IS

curated by Kim Donaldson, 21th of August, Scala

What is Australia like? There are those that are interested in sport, those that are political, those that like to travel, those that like to just sit and watch, others who don’t mind waiting and those that like to do. There are also those who are interested in popular culture, others who are into architecture and others still who are into sci-fi or environmental issues. There is also a lot of space and it never really gets cold.
This program is not about narratives but about what is.

Afterwards
Becker reads Kaurismäki



Marbo Becker, acclaimed actor, director and curator for Directors Lounge reads from Aki Kaurismäki´s I Hired a Contract Killer. With musical accompaniment.

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WHAT IS

Artists: Sanja Pahoki, OSW, Brie Trenerry, Lyndal Jones, Laresa Kosloff, Taree Mc Kenzie, Janenne Eaton, Sue Dodd, Kim Donaldson, Jo Scicluna, Russell Kitchin, Jarrah de Kuijer and Santina Amato. 80 min

program starts at 9pm, doors open 8pm

See you at the Scala, Berlin, Friedrich Str. 112 A, 1st floor

Thobias Faeldt

Thobias Faeldt collects photographs and compiles them, like notes in a diary, into stories and narratives. It is never clear whether they are his own images and experiences or simple collations of found imaginery. Together they culminate in a one fictional year of a life, Year One.

i heart photograph: this photo takes what looks like a snapshot and makes the viewer slow down and think about what he or she is looking at. to what extent is this planned in advance and what is the role of staging in your work? is suggesting a narrative important to you, and if so, how do you bring it into your photographs?

thobias faeldt: none of the pictures from my series, ‘year one,’ are planned or staged—they’re always snapshots—but i try to frame the picture so you don't know where it's taken and you don't get any geographic information; no answers are given.

maybe it will kill the picture when i tell you this, but the cabbage picture is taken in my girlfriend klara's old apartment and she is watching a swedish criminal tv-series called "lasermannen" (a very good series based on a true story about a serial killer in sweden in the beginning of the '90s). when klara watches movies she can't do anything else—she is totally in it—and that's why she has those mysterious eyes. she was also into eating cabbage as a snack during this time.









I take thousands of pictures but i always stick to shooting only one frame of every photo 'cause i don't know how to choose otherwise. and i can't look at the pictures directly after i have taken them because if i do that i have such a strong feeling of the moment when i took it. it can only be a "picture" for me when the feelings from the moment are gone and all that is left is the picture as you see it. then i can choose. i'm always looking for pictures that have more than one layer of feeling. when i found the cabbage picture i felt sadness, happiness, and humor, so i chose it. so yes; suggesting a narrative is the most important thing for me in my work.

i see suggesting a narrative as the moment of build up in a story. the story comes with the pictures that, together, make something to be told; i make up the story afterwards.

when the moment of sensation is gone (the reason to take the picture in the first place) i look at it again to see if it has potential to be something more, not just a nice/sad/humorous moment but something that is a combination of it all together.

Interview taken from I heart photograph





















Thobias Faeldt . Year One