![]() ![]() She thoroughly informs and closely guides families on how to best prepare for a move, and supports them throughout the transition into a new community. The exhibition continues until the 22nd June.Anna joined our Marin team in 2018 after over a decade as a sales and marketing director for Bay Area and Marin County independent, assisted living and dementia-specialized communities. By rendering the infra-red into the ocular range, they have managed to successfully re-frame the conflict and, in so doing, have turned technology used for warfare back in on itself to show its raw, hallucinogenic underbelly. Mosse, filmmaker Trevor Tweeten and sound recordist Ben Frost, have chosen to view this troubled land through a prism in an attempt to extract some hidden truth from a story as impenetrable as the surrounding vegetation. This methodology is the antithesis of the Photojournalist grabbing at action, and seems to have more in common with theatre or other performative fiction. A languid descent of a hillside down into a refugee camp is made cinematic with the expert use of a steady-cam, before laboring, somewhat uncomfortably, on a father holding a child in the belly of the camp. Given this universal treatment, beauty and the sublime, albeit as something of a technical construct, are never far from the surface. Much like the unfathomable extent of this tragedy, the project deals less with the specifics of the ongoing conflicts, and more with a dark psychological brew into which fact and fiction melt and dissolve. Onto these are projected infra-red moving images from the Congo, a place where the death toll – 5.4 million since 1998 – mirrors that of the holocaust. Six bed-sheet sized transparent screens hang from the ceiling, adding to the immersive nature of the work. Cast out from the pristine white walls of the gallery, these images are further removed from their documentary roots and engage more with the conceptual notions of representation – particularly with regard to our consumption of images of Africa as ‘other’ or ‘apart’ from western experience. The inspired act of selecting (practically) obsolete military surveillance film, which renders vegetation in lurid red and magenta hues adds to the symbiotic relationship between content and context. The lack of visible light paradoxically makes the viewer more aware of their own presence while negotiating the strange hypnotic properties of the images. In this disconnected space, the curatorial process can be taken as a fundamental element to the work itself. ![]() Trapped in its own subterranean world – this overspill display forms part of the Deutsche Börse Photography Prize exhibition at the Photographers’ Gallery, and manifests itself as a stream of consciousness halfway between dream and reality. The electrostatic whine of feedback reverberating around this darkened room accompanies the crimson shades of ‘Enclave’, the photographer Richard Mosse’s latest Congo Project. – a part of a country entirely surrounded by foreign territory ‘By contrast with the beautiful and the picturesque, the sublime is associated with awe, danger and pain, with places where accidents happen, where things run beyond human control, where nature is untamable.’ – Land Matters, Landscape Photography, Culture and Identity, Liz Wells, 2011 ![]()
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