frame src="https://www.youtube.com/embed/z1k6F058Iqg" width="1000" height="563" frameborder="0" allowfullscreen="allowfullscreen"> Thank you very much for you attention! I hope you enjoyed the week. See you soon somewhere. And Thank you DER GREIF again, for your support and this opportunity. Let´s finish this week how it started, with a song from my dearest friends of DER BÜRGERMEISTER DER NACHT from Hamburg. Find more information on www.derbuergermeister.de

Today i want to share the work of Sergiy Lebedynskyy. »This young Ukrainian photographer, a founding member of the Shilo photo group (2010), uses a traditional basic Ukrainian spa as a metaphor for the current state of his country, stuck between a certain nostalgia for the previous system and looking with apprehension toward an uncertain future. In a present that has seen the emergence of deep financial discrepancies between people, some find refuge in traditions, old myths and recipes. The photographer, a PhD in physics otherwise, used a panoramic camera (Horizon) and outdated photographic paper from the Soviet era to better emphasize his approach.« More information on: www.shilo-group.com

Let me introduce you to Sasha Kurmaz and his work "Concrete and Sex". more Information on: http://www.sashakurmaz.com »Dual Process« In asking me to write this foreword, Sasha was clear about what he had in mind: »Just look at what’s there,« he told me, »and respond to it - just explain how you feel about it, there’s no need to be too fancy.« Judging from the work collected in this book, it occurs to me that he might favor a similarly direct approach in his photography. So many of Sasha’s choices here, from the work’s intimate content to its snapshot aesthetic, seem aimed at achieving immediate, unflinching results; while the images range from the provocative to the pensive, one senses throughout these pages a familiar, forthright, and often physical connection between the artist and his subjects. Concrete and Sex, Sasha’s third publication, is broadly structured around what has become a common motif in his work: the juxtaposition of nude snapshots against the post-industrial, post-Soviet architecture of Kiev, Ukraine. On one hand, it’s impossible to ignore the political implications of this approach - as in so much of his output, one finds here the blunt advocacy of sex, vandalism, and, of course, artistic expression as meaningful responses to repressive conditions, and it doesn’t feel like a stretch to view this work, at least partially, as a comment on the status of the individual (whose identity within these pages is repeatedly (and tellingly) obscured by anonymity and/or physical distortion) within the broader mechanisms of public ideology and fading history. My sense, however, is that Sasha’s interest tends to lie more in exploring the personal than the blatantly political. For one thing, an artist generally does not use his closest friends and hometown as subjects without some interest in examining his own relationships to each. What’s more, Sasha appears far too enamored with visual ambiguity to invest himself in delivering any overarching social commentary. His approach to shooting nudes, for instance, would seem to confirm as much: though often palpably sexual, the results are rarely “sexy,” favoring as they do awkward poses, unflattering crops, and the occasional prop designed to inject an element of humor that often borders on the bizarre. These aren’t the idealized nudes of classical sculpture or commercial photography: they are raw, unadorned depictions of the human form - the baring of which, as these images suggest, can be as potentially stirring, revealing, and complicated a prospect as any truly intimate relationship we’ll have in our lives.< So, with that said and as requested, I’ll conclude by listing a few of the things I think of as I make my way through Concrete and Sex: I think of facades, of the spaces that separate the external and internal, and the various strategies we use to keep certain elements unseen, whether it be the clothing that covers our bodies or the monuments that romanticize (and invariably misrepresent) our socio-political realities. I think of the body’s capacity to function as a sculptural object - a longstanding artistic tradition, certainly, but one which photographs like these extend through their capacity to incorporate elements of sculpture, performance, and two-dimensional representation simultaneously. Most of all, I think of how we as individuals are reflected in the things we create. Sasha has previously characterized his practice as an exercise in “self-study,” his photographs as a kind of approximated self-portraiture. It’s an important point to consider, for where some might be initially (and, I think, understandably) preoccupied with the aggressive tone of these images, understanding how they function in context – which is to say, as symbolic representations of the artist’s relationships to the people and places that surround him - almost certainly shifts one’s sense of the project at hand. Viewed in this light, we’re able to recognize the work as being sincere, direct, and above all, unapologetic, an earnest attempt to reconstruct the artist’s internal workings through external, thoroughly corporeal means. This, for me, is the most redeeming aspect of Concrete and Sex - and, indeed, of Sasha’s broader output: for in assessing work that seems to be so much about the photographer’s gaze – in this case, a distinctive, decidedly male gaze that aims to render its subjects both physically and figuratively naked - it is a remarkable thing to find that it’s ultimately the man behind the lens who has truly been exposed in the process. Christopher Schreck New York City March 2013

Let´s have a look at Janusz Becks work »Jugendbewegung«. Janusz Beck discovers the traditional Youth Movement »Bündische Jugend«. »Die Bündische Jugend ist eine Jugendbewegung, die zu Beginn des 20. Jahrhunderts entstand und damals den Aufbruch der Jugend in ein selbstbestimmtes Leben darstellte. Über Hundert Jahre später existiert diese Bewegung noch immer. Mein Anliegen ist es, die Besonderheit der Bündischen Jugendbewegung in der heutigen Gesellschaft zu dokumentieren und so einen Einblick in eine Lebenswelt junger Menschen zu geben, die in der Öffentlichkeit wenig präsent ist. Zu diesem Zweck habe ich verschiedene Treffen und Versammlungen der Jugendbünde besucht und an mehrtägigen Wanderfahrten teilgenommen. Auf diese Weise konnte ich Lebensweisen und Bräuche der Bünde beobachten und durch die Perspektive eines distanzierten Beobachters ihren Alltag erfassen. So erschaffe ich eine Einsicht in eine Jugendkultur, die durch das Erleben von Einfachheit und Naturverbundenheit eine jugendspezifische Lebensform anstrebt.« more Information on januszbeck.com Follow his tumblr-feed: januszbeck.tumblr.com

Today i would like to share the work "longings" from Timur Yueksel with you. »I set out to search for trust. But what I actually found was the pure longing for it. That drew me to a diversity of people, encounters and attitudes towards life, as well as bringing both hope and failure. As diverse as people are, there is something that connects us all; the longing for something we can trust.« The Book is for sale for more information visit www.timuryueksel.de

»Palm City Magdeburg«, one of my favorite zines in 2014. »Two sets of two syllables colliding gently. The tone is set. A booklet consisting of 16 pages, or four sheets folded into another, showing 14 photos; overlapping, touching each other and leaving fragments behind, becoming almost abstract. It is the publication of a single poem. The meter is formed by a repeating opposition of coloured photos and photos in black & white, but the images deliberately cross the pages and folds, like enjambed lines.« Magazine / Booklet 18 cm x 24 cm, 16 Pages, 4C-Digitalprint, 4/2014 120 Pieces

Let´s have a look at Tim Bruenings incredible portraiture, starring David Hasselhoff, Mykki Blanco and many more, enjoy. Tim Bruening was born 1983 in Hannover, Germany. He lives in Hamburg and works everywhere. His photographs have been featured in several solo and group exhibitions and have been published in magazines like ZEIT Magazin, INTERVIEW Magazine, TISSUE MAGAZINE, PURPLE  and STERN. He photographed campaigns for Adidas and Jetzt Magazin. More Information on timbruening.com Follow his rambling via timbruening.tumblr.com

Let me introduce you to Hannes von der Fecht a very talented photographer from Hamburg and his work »Maskun«. »Pingelap is a small island in the Pacific Ocean, a part of the Federate States of Micronesia. About 240 people live on this atoll. Ten per cent of them have a genetic form of colour blindness, achromatopsia, meaning their sight is extremely diffused and their eyes are very sensitive to light. This disease is locally known as ›Maskun‹ which in Pingelapese language means ›to not see‹. In his book, The Island of the Colorblind, Oliver Sacks, author and neurologist, describes the life of the inhabitants of Pingelap. His interest is based on the question, if, because of the multitude of people with Maskun in Pingelap, there is an independent culture of colour blind people. This book inspired me to travel to Pingelap and create a photographic series as a study in the perception of people with Maskun. I discovered that in everyday life people with Maskun are hardly distinguishable from those without – only the constant blinking of the eyes in the bright sunshine reveals any difference. With my camera I wanted to somehow visualize how the island was perceived by its inhabitants and come to terms with those who are living with Maskun.« The work will be exhibited in may. 8. Mai 2015 Antiquariat Seitenblick Buch und Kunsthandel, Bremen Find more information about Hannes on hannesvonderfecht.de

Hello people, I am very glad to have this opportunity to share some things, thoughts and photography. So, THANK YOU GREIF! Let´s start with some music of my dearest friends LAFOTE from Hamburg. I promise I will return to the serious things later on. Find more information on lafote.flavors.me Stay alert during the next days.