Fotoeins Fotografie

questions of place & home

Posts tagged ‘Fujifilm X70’

My Vienna: the final stop at the central cemetery

Where: Vienna Central Cemetery (Wiener Zentralfriedhof).
Who: Beethoven, Boltzmann, Falco, Lamarr, Schütte-Lihotzky, Strauss I and II.
Why: Cross-section of cultural and economic history for capital city and nation.

In Vienna, tram 71 begins in the Old Town; goes around the western half of the inner ring past City Hall, national Parliament, and the Opera House; and heads southeast to the city’s main cemetery or the Zentralfriedhof. There’s a saying particular to the city’s residents, a phrase which means they’ve died by “going to the end of the line.”

Sie haben den 71er genommen.” (“They took the 71.”)

As Europe’s 2nd largest cemetery, the Zentralfriedhof covers a surface area of 250 hectares (618 acres). There are over 300-thousand graves, among them 1000 are in the “honorary” or Ehrengräber category. Over three million people of all religious denominations are buried in the cemetery, which was established in 1863 with the first burial taking place in 1874. In the present, 20 to 25 funerals take place every day.

I had at the outset wanted to find the graves of a couple of physicists whose work formed an important part of my scientific education. Then, I discovered the names of musicians buried here. Then, I learned the names of important figures in Vienna’s history. And then, I realized coming here to visit would be a slow measured sweeping wave through Austria’s artistic, cultural, and industrial history.

Dr.-Karl-Lueger-Gedächtnis-Kirche, Wiener Zentralfriedhof, Wien, Vienna, Austria, Österreich, fotoeins.com

Dr.-Karl-Lueger-Gedächtnis-Kirche (Dr. Karl Lueger Memorial Church), near the centre of the cemetery.

Beethoven, Mozart, Schubert, Wiener Zentralfriedhof, Wien, Vienna, Austria, Österreich, fotoeins.com

Group 32A: Beethoven (grave, no.29), Mozart (memorial, no.55), Schubert (grave, no.28)

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Cindy Sherman, Vancouver Art Gallery, Vancouver, BC, Canada, fotoeins.com

Fotoeins Friday at Vancouver AG: Cindy Sherman

Above/featured: Untitled #586 (2016/2018).

The following descriptions are from the Vancouver Art Gallery where the Cindy Sherman retrospective is on display until 8 March 2020.

In 2016, Cindy Sherman was commissioned by the celebrated fashion magazine Harper’s Bazaar to create a new series of photographs for publication. Responding to that commission, Sherman photographed herself wearing outfits by Prada, J.W. Anderson, Marc Jacobs, Miu Miu, Gucci, and Chanel. She augmented these costumes with make-up, wigs, and digitally created backgrounds to create invented characters, based on so-called street-style stars. Her photographs gently lampoon a contemporary trend associated with fashion shows, which are attended by individuals whose ostentatious dress and exaggerated behaviour rival the main spectacle for attention. Nick-naming the phenomenon ‘project twirl’, Sherman explained: “I just loved the description of these people, these characters who go to the fashion shows – and twirl.”

Sherman’s collaborations with fashion are long-standing. Since 1983, she has worked with Dianne Benson, Dorothée Bis, ‘Harper’s Bazaar’ (for the first time, in 1993), Comme des Garçons, ‘Vogue Paris’, and ‘Garage’ magazine. Characteristically, her fashion photographs mock the self-regard associated with haute-couture. However, they have further significance shared with her work as a whole. Sherman observed: “I want there to be hints of narrative everywhere in the image so that people can make up their own stories about them.”


Organized by the National Portrait Gallery London, the current exhibition surveys the work of Cindy Sherman (born 1954), one of the world’s leading contemporary artists. Using make-up, wigs, costumes, and other means to transform her appearance, Sherman photographs herself acting out the roles of numerous fictional characters. Her images of these personae incorporate references to modern cultures, notably cinema, television, magazines, and fashion. By creating enigmatic appearances from various sources, her work critiques our image-saturated society and raises questions about the meanings we assign to the things we see.

•   Cindy Sherman: ‘I enjoy doing the really difficult things that people can’t buy’ – Sean O’Hagan, The Observer (Guardian), 8 Jun 2019.
•   Cindy Sherman review – pain-laced portraits of a shapeshifting enigma (NPG London) – Adrian Searle, The Guardian, 25 Jun 2019.

I made the photo above on 26 Oct 2019 with a Fujifilm X70 fixed-lens prime (18.5/28) and the following settings: 1/40-sec, f/3.6, and ISO3200. This post appears on Fotoeins Fotografie at fotoeins DOT com as https://wp.me/p1BIdT-fTa.

My Vienna: Holocaust Memorial, by Rachel Whiteread

Where: Judenplatz, in Vienna’s Altstadt.
What: Holocaust Memorial, by Rachel Whiteread (2000).

How do you commemorate or memorialize the absent or missing? How should the void be acknowledged, recognized, and remembered? Does the act of constructing a physical monument “draw a line”, creating a physical manifestation of marking an end that gathers and wipes away all subsequent future responsibility for remembering?

In Vienna’s Old Town, what was unjustly and violently removed from the city’s long historical memory and cultural identity comes into shape at Judenplatz. Under the public square are ruins of the medieval synagogue destroyed in the pogrom of 1421 with hundreds of Jews driven out, hundreds killed by burning, and the community erased. Directly above these ruins is the Holocaust Memorial which attempts to generate experiences and memories to address the void left behind after the systematic murder of 65-thousand people.

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Lisa Hilli, Vancouver Art Gallery, Vancouver, BC, Canada, fotoeins.com

Fotoeins Friday at Vancouver AG: Lisa Hilli

Above/featured: Sisterhood Lifeline (2018).

Lisa Hilli: Gunantuna (Papua New Guinea).

‘Sisterhood Lifeline’ assembles a standard office cubicle in the gallery; large wallpapers feature First Nations vavine (women) in stark white spaces, exchanging discreet gestures of comfort. An audio recording on the office telephone recounts real-life situations experienced by the artist’s friends and colleagues in the workplace, which reveal the in/visibility of their bodies, voices, and agency. This work engages with Indigenous power and presence within the context of Eurocentric cultural institutions wherein vavine – considered here beyond binary constructions of gender – must hold space and make way for their communities. The term “sisterhood lifeline” is borrowed from Areej Nur, a writer and producer at 3CR Community Radio in Melbourne, Australia.


“Transits and Returns” presents the work of 21 Indigenous artists whose practices are both rooted in the specificities of their cultures and routed via their travels. These forces of situatedness and mobility work in synergy and in tension with one another, shaping the multiple ways of understanding and being Indigenous today. Within the exhibition, these dual realities are explored through themes of movement, territory, kinship and representation, with many artworks inhabiting multiple categories. The resulting presentation foregrounds the creative sovereignty of each artist to determine their own articulations of the world, while also exploring the resonances between them.

Featuring artists from local First Nations, as well as those from communities located throughout the Pacific region (ranging from Alutiiq territory in the north to Māori lands in the south, with many mainland and island Nations in between), Transits and Returns traces wide-ranging experiences that are inclusive of both ancestral knowledges and global connections.

The descriptions are directly from the Vancouver Art Gallery where Lisa Hilli’s work is on exhibition until 23 February 2020.

I made the photo above on 15 Oct 2019 with a Fujifilm X70 fixed-lens prime (18.5/28) with the following settings: 1/100-sec, f/4, and ISO4000. This post appears on Fotoeins Fotografie at fotoeins DOT com as https://wp.me/p1BIdT-g4L.

My Vienna: Margarete Schütte-Lihotzky, mother of the modern kitchen

Who: Margarete Schütte-Lihotzky.
Key: 1st woman architect in Austria, designer of something we take entirely for granted.
Quote: “I developed the kitchen as an architect, not as a housewife.”
Where: MAK Vienna.

I always liked how cooking had well-defined endpoints: a desirable start, and a satisfying conclusion. I enjoy the process: the contemplation of “what to make,” the gathering of ingredients, the preparation, and naturally, the consumption. There might also be something to say about the duality of creation and annihilation …

That got me to thinking about kitchens as a critical unit of a home. Before the 20th-century, the wealthy could afford to have staffed kitchens; everybody else had access to no kitchen or an unsafe unhygienic kitchen in a building separate to their living quarters. The assumed universality of a kitchen within a home is a 20th-century concept and implementation that sought to overcome social and economic class. The design of a modern kitchen invites repeated patterns of movement and action around where cookware, utensils, condiments, glassware, etc. are stored and where the central focus of cooking activity takes place.

For everyone who spends any time in a kitchen, we have Margarete Schütte-Lihotzky to thank.

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