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The_PBM Catalogue Box

SCH14_009 Catalogue Box add SMALL

5-lehmitz-inside-open-a 6-lehmitz-inside-open-b 4-lehmitz-inside-b 3-lehmitz-inside-a33 Publications carry the first Edition of The PhotoBookMuseum in a Container-Lookalike-Box. A tribute to all exhibitions .

Elsken. Moriyama, Meiselas, Harvey, Petersen, Drake, Templeton, Chargesheimer, Sieber, Taptik, Shore, Cases, de Middel, Parr/Badger, Jiang Jian….

Here you see the Cafe Lehmitz catalogue.

PhotoBookStudies* #18 Anders Petersen Cafe Lehmitz

Café Lehmitz_Plan

3-lehmitz-inside-a 4-lehmitz-inside-b  PhotoBookMuseum - Café Lehmitz - by Daniel Zakharov 001Can you have a beer in a photobook ? Yes you can. In the PhotoBookStudies*#18 we are reconstructing the legendary Reeperbahn pub (in german named ”STEHBIERHALLE”-)  from Anders Petersen’s landmark PhotoBook CAFE LEHMITZ published in 1978. Because of very less informations about the real Lehmitz our architecture team took the book to rebuild half of the LEHMITZ in 1:1 size for The PhotoBookMuseum. In Black & White…for sure . Welcome and Cheers !PhotoBookMuseum - Café Lehmitz - by Daniel Zakharov 022PhotoBookMuseum - Café Lehmitz - by Daniel Zakharov 009PhotoBookMuseum - Café Lehmitz - by Daniel Zakharov 008

 

 

 

 

 

Program #2

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PhotoBookStudies: A place of learning
PhotoBookStudies are a completely new way of approaching the photobook. They are in effect secondary literature presented visually in the form of a rhizomatic map. Large, wooden partitions serve as both bulletin boards and blackboards. Photographs, book pages and other illustrated material are arranged graphically and supplemented by written notes. PhotoBookStudies illustrate the artistic, historical and social origins of a photobook. They also show the people, events and developments that influenced the author in his or her work.
Together with students from the Kunsthochschule für Medien Köln (Academy of Media Arts in Cologne), Markus Schaden developed, for example, a PhotoBookStudy on Ed van der Elsken’s Love on the Left Bank. This photobook tells a love story in the bohe- mian scene in Paris of the 1950s and is con- sidered an incunable of this genre. As a gesture of respect to the Swedish photographer Anders Petersen, The_PBM is planning to build a replica of Café Lehmitz. Petersen’s photographs of this famous Hamburg bar were published in 1978 in a photobook of the same name. The story of this photobook will be traced in a PhotoBookStudy on the exterior walls of the replica. Other studies will focus on the work of Stephen Shore, Todd Hido, Susan Meiselas and Daido Moriyama.

Taken from The PhotoBookMuseum Proposal 2014

Countdown #30 days to go…Building The_PBM .

PhotoBookMuseum - Container - by Daniel Zakharov 004

PhotoBookMuseum - Container - by Daniel Zakharov 014PhotoBookMuseum - Container - by Daniel Zakharov 010PhotoBookMuseum - Container - by Daniel Zakharov 004PhotoBookMuseum - Container - by Daniel Zakharov 025…we count down now..30 days left heading August 19th for Grand Opening! Finally 14 blue 20 feet shipping container will work as exhibition spaces and contain the shows for STEP #4 : MOBILE MUSEUM after closing the Carlswerk-Edition …

Copyright 2014 Photos by Daniel Zakharov for the_PBM

 

The Program

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The CarlswerkEdition
Start at 5:30 am
The opening of the expo will take place on the best of all possible days: the 175th anni- versary of the invention of photography. It will begin on Tuesday, 19 August 2014, early in the morning with an event in which everyone in Cologne who is awake at 5:30 am will hopefully participate. They will be asked to use a digital camera or cell phone to take a picture of Cologne. Preferably in an urban setting. The images they make will be shown that evening on the expo grounds. The organ- izers hope that together these images will present a multi-faceted portrait of the city. “Chargesheimer-Reloaded”
The event is inspired by the famous photo- book Köln 5 Uhr 30 by the Cologne photo- grapher Chargesheimer (1924–1971). In 1970 he documented the deserted streets and squares of Cologne at 5:30 am. That same year, he was invited to show this work at Photokina. He made extra-large prints of his photographs and created a special design for the exhibition.
On the occasion of The_PBM expo, this legendary exhibition will be faithfully recon- structed on the basis of photographs and other documentation. How did Chargesheimer approach this task? How did he present his book on walls? And what can The_PBM learn from him that will benefit future exhibitions?

The world in photobooks
Over 25 exhibitions will illustrate the wide variety of styles and contents of photobooks from around the world. Of these, one group will be historical overviews. Erik Kessels from the Netherlands, for example, will concentrate on the history of private photo albums, while Martin Parr from Britain will present a collec- tion of important photobooks on the subject of protest. The other exhibitions will show work of Hans-Jürgen Raabe, Jiang Jian, Dominique Darbois, Gerry Badger and Martin Parr.
Another group of exhibitions will focus on outstanding examples of current photobooks. These will include works such as PIGS by Carlos Spottorno, the winner of the 2013 Kassel Photobook Award. In his photobook this Spanish photographer examines the ef- fects of the recession on southern European countries. The design of this ironical and criti- cal publication is based on the magazine The Economist from Britain. Other photobooks that will be shown are by Christina de Middel, Oliver Sieber, Stephen Gill, David Alan Harvey, Ricardo Cases, Deanne & Ed Templeton, Ali Taptik, Carolyn Drake, Todd Hido and Andrea Diefenbach.

Guest collections
Martin Parr and Gerry Badger’s compendia The Photobook: A History I + II triggered a collection boom between the years 2004 and 2006. Reference objects became collector fetishes. Some photobooks were suddenly unaffordable. But speculators can be found in almost every market, whether industry, prop- erty or art. Collecting for its own sake or for financial reasons is, however, something that The_PBM has absolutely no intention of pro- moting. For this very reason, it has no plans to acquire a collection of its own or to make specific photobook acquisitions.
Instead, collectors will be invited to work together with the curators of the museum to present their collections to a broad audience. The collections chosen will be dedicated to photobook-related themes. Cäcilia and Walter Zöller, for example, collect publications by Daido Moriyama, one of the most important Japanese photographers of the post-war era. To date, these two collectors have acquired over 70 photobooks by Moriyama. Oliver Klobes and Oliver Tielsch from Cologne are skateboarders and publishers of Monster Skateboard Magazine, and their collection reflects their interests. Bernd Detsch collects photobooks by and about the painter and photographer Ed Ruscha.

The_PBM Plan #1

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A paradigm shift in photography
Since the turn of the millennium, the photobook has rapidly become the central form of expression in photography. Thanks to digital technology, more photobooks have likely been published in the past ten years than in the previous 170. The medium of the book has long since developed from an instrument for spreading knowledge to an autonomous art form. A new generation of photographers, curators, historians, collectors and publishers see the photobook as a type of visual Esperanto. A photography festival without a section on photobooks has become incon- ceivable. Museums too are increasingly accepting this paradigm shift. Important institutions such as Tate Modern in London and the Museum of Fine Arts in Houston have been purchasing photobook collections in order to stay abreast of current developments in visual culture. Although photographic collections have for decades been an integral part of museum holdings, there is to date no museum dedicated exclusively to the photobook. The PhotoBookMuseum will change this.

A museum for the 21st century
The mission of the museum will be to promote the photobook as an independent artistic medium. The PhotoBookMuseum is intended to be a vibrant public space that educates a broad audience about the form, content and function of photobooks. Its motto could be this: away with showcases. The_PBM will have only a few valuable photo- books that are kept behind glass. Instead, visitors will be encouraged to handle the majority of objects so that they can feel the paper and leaf through the books at their own speed. In this way they can literally grasp the intent of the photographer. Access to objects will be given top priority. The_PBM will have nothing in common with dusty museums of the past. Instead it will take impetus from reform-minded institutions such as Tate Modern. Its director, Chris Dercon is pursuing the goal of making Tate Modern a museum of the 21st century, a democratic institution that offers visitors space for active participation. He calls for inclusion instead of exclusion. Sharing, he says, is cool. This is something that The_PBM believes too. Its program is specially geared towards a broad audience.

The photobook as a mobile exhibition
Photobooks can be complex things. They are more than just books of pictures. They make an artistic statement. The editor decides on the selection and sequence of the images and determines their size and arrangement. What is also important is the combination of typeface, graphic elements, paper, binding and cover. Once a photobook has been printed, its composition cannot be changed. An exhibition, on the other hand, can be modified any number of times: after the opening, for example, or when it is moved to a different site. Curators value this flexibility. Artists often don’t. For them, the photobook is a guarantee that their artistic statement will remain unchanged, wherever and whenever their book is read. In addition, it is simpler and less expensive by far for a compact photobook to travel than it is for a complete exhibition. Seen in this manner, the photobook is itself a mobile exhibition.
When it is kept in a display case, however, a photobook is comparable to Snow White in her glass coffin: beautiful, but not vital. In order not to destroy a photobook, curators usually frame photographs from the book and hang them on the wall. As a result, exhi- bitions are dominated by individual prints. All attention is focused on them. But the photobook as a whole is the actual work of art. Its special effect can only unfold if it is held in the hand or if fundamentally new forms of presentation can be found. In order to show what the future PhotoBookMuseum can achieve in this respect, Schaden.com will be presenting an Editon on the grounds of the Carlswerk in Cologne-Mülheim from August to October 2014.