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Keybot 4 Ergebnisse  ruslania.com
  Mortalis | Fotomuseum  
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Zolang de fotografie bestaat, bestaan er foto’s van dode mensen. De tentoonstelling Mortalis, die aansluit op het boekenweekthema ‘Leven en dood in de letteren’, belicht op drie manieren het beeld van de dood in de fotografie: met post-mortem fotografie uit de 19e en 20e eeuw, foto’s van beroemdheden als Marilyn Monroe, Che Guevara en Pim Fortuyn en het journalistieke beeld van de naderende, onontkoombare dood in World Press Photo.
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Photographs of the dead have existed since the very earliest days of photography. This exhibition reflects the theme of this year’s Dutch Book Week, ‘Life and death in literature’ and examines images of death in photography on the basis of three types of material: examples of nineteenth and twentieth-century funerary portrait photography, photographs of deceased celebrities like Marilyn Monroe, Che Guevara and Pim Fortuyn, and World Press Photo award-winning news pictures of approaching and unavoidable death.
  Mortalis | Fotomuseum  
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Het sociaal-historische gedeelte van de presentatie wordt ingevuld door fotohistoricus en publicist Louis Zweers. Uit de collecties van fotopersbureaus en van Otto Spronk selecteerde hij foto’s van dode (soms vermoorde) beroemdheden.
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The social history section of the presentation is the work of photographic historian and writer Louis Zweers. From the collection of Otto Spronk and the archives of photo press agencies, he has selected pictures of deceased (sometimes murdered) celebrities, many of which shocked the world when first published. They include photographs of Napoleon, Otto von Bismarck, Abraham Lincoln, Pim Fortuyn, Marilyn Monroe, John Lennon in the mortuary (seldom seen!), Robert and John F. Kennedy, Che Guevara, Martin Luther King and the executed Romanian president Ceausescu.
  Michelle Vignes | Fotom...  
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De wekendurende bezetting in 1973 door sympathisanten van de American Indian Movement was een actie om hun voorouders te wreken en een militant protest tegen de nog immer voortdurende bevoogding door de Amerikaanse overheid. Het tweede drama van Wounded Knee liep betrekkelijk goed af met één dode aan indianenzijde en twee gewonden aan de kant van de FBI.
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This year it is precisely three decades since some 300 Indians occupied the little town of Wounded Knee in South Dakota (US). The name has a strong emotional resonance since it was here that, in 1890, the Sioux Indian chief Sitting Bull and several hundred members of his tribe were massacred by the federal army and police. This nineteenth-century Battle of Wounded Knee is generally regarded as the last major armed confrontation between the Indians and the whites in America. The dramatic ten-week occupation of Wounded Knee by supporters of the American Indian Movement in 1973 was an action designed to avenge their ancestors and as a militant protest against continuing tutelage by the American authorities. It was comparatively bloodless, with just one Indian fatality and two men wounded on the federal side. The event got the problems of the Indians back onto the US political agenda and led in subsequent decades – particularly during the Democratic Carter and Clinton presidencies – to some improvement in the legal rights of Native Americans.
  Mortalis | Fotomuseum  
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De kern van de tentoonstelling bestaat uit post-mortem foto’s die op een intieme en inlevende wijze verslag geven van de dood als stilleven. Voor veel professionele fotografen in de 19e eeuw behoorde het portretteren van dode mensen – de post-mortem fotografie – namelijk tot de vaste praktijk; men adverteerde er zelfs mee.
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At the heart of the exhibition are the funerary portraits, which depict the dead person in a kind of intimate and sympathetic still-life. Portraiture of this kind was routine to many professional photographers in the nineteenth century; they even advertised the service. Their serene pictures of the newly dead (especially young children), shown on their deathbeds as if in eternal slumber, were a commonplace of life at the time. This exhibition also includes present-day portraits of the dead. In both cases, the main purpose is to offer comfort and provide a souvenir of the person concerned. Photographers like Koos Breukel, F. Starik, Chantal Spieard and Wim van Ophem exhibit the last pictures taken by family and friends; Anton Corbijn and Paul Blanca have photographed their fellow artists like Herman Brood laid out for burial; Marrie Bot has recorded death scenes encountered by the police. In contrast to these emotionally involved depictions of dead individuals, the exhibition also includes more detached and clinical pictures which seek to emphasise the beauty and universality of death. The serene portraits of the dead by Andres Serrano, Rudolf Schäfer and Daniel & Geo Fuchs are modern versions of the memento mori: a reminder that death comes to us all.