Fotograf Magazine

Claudiu Cobilanschi straddles the border between art and journalism, campaigning as journalists do, overstepping the limits of a given media and presenting his audience with a complex problem as a whole, in relation to himself as a person…

Whether I perceive the Slovak artist Michal Kern as a solitary runner in the snow¹ or a year-round walker – a tracker², who carefully observed all, even the least obvious, traces, processes and changes in his surroundings, for me he is also one who left his own deliberate ephemeral imprints in the high-mountain landscape of the Low and High Tatras…

Simone Nieweg (b.1962) is a good example of the influence of place, time and even the experience of viewers on their perception of art works. Between 1948 and 1989, Czech photography preferred different approaches than Western Europe, accepting mainly those impulses that were in harmony with “lyric movements” defined as typically Czech by Jaroslav Boček no later than in 1962…

WAM (World Agricultural Museum) is a site-specific work that uses the historical trope of the cabinet of curiosities to explore the introduction of biotechnology in farming. This 200 square-meter art installation recreates the atmosphere and the colonial aesthetics of the old Agricultural Museum of Cairo, to present the contemporary discourses on genetically modified crops and their various derivatives, coupled with the implementation of intellectual property policies on seeds, international trade agreements and their connection with food insecurity…

“The photographer is now charging real beasts, beleaguered and too rare to kill. Guns have metamorphosed into cameras in this earnest comedy, the ecology safari, because nature has ceased to be what it always had been—what people needed protection from…

Although Slovak neo avant-garde artist Peter Bartoš (1938) is a radical figure on the Slovak art scene, his work has still not been fully documented. Since he only selectively shares information about his work, Bartoš is difficult to access…