Richard Mosse: Infra

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Barbara Kruger, in Karen Raney (ed.), Art in Question, London and New York: Continuum, 2003, p. 118. Moving away from warzones and migration into the natural world, Mosse’s most recent works (Ultra and Tristes Tropiques) examine the destruction of the rainforests in South America from various perspectives. In these series, the photographer trains his eye more firmly on natural landscapes.

Incoming, Curve Gallery, Barbican Centre, London; [14] [15] Le Lieu unique, Nantes, France, 2019. [16] Mosse made photographs of the war in the eastern Democratic Republic of Congo using colour infrared film with which he intended to create a new perspective on conflict. [2] Kodak Aerochrome is a false-color infrared film originally intended for aerial vegetation surveys and for military reconnaissance, such as to identify camouflaged targets. It registers light that is invisible to humans, rendering the grass and trees and soldiers' uniforms in vivid hues of lavender, crimson and hot pink. [ citation needed] He used this same film to make a documentary film entitled The Enclave, with cinematographer Trevor Tweeten and composer Ben Frost. This work was published in three publications, exhibited in solo exhibitions, and won the Deutsche Börse Photography Prize in 2014. As the refugee crisis reached a fever pitch in 2015—with over a million individuals entering Europe—increasing numbers of photographers traveled to document the struggle. The resulting images have been instrumental in bringing transparency to the the often-squalid living conditions, violence, death, and human rights violations that individuals and families are experiencing within the camps—and raising awareness around the dire need for action on the part of governments across the world.Infra," Richard Mosse's first book, offers a radical rethinking of how to depict a conflict as complex and intractable as that of the ongoing war in the Democratic Republic of Congo. Mosse photographs both the rich topography, inscribed with the traces of conflicting interests, as well as rebel groups of constantly shifting allegiances at war with the Congolese national army (itself a patchwork of recently integrated warlords and their militias). For centuries, the Congo has repeatedly compelled and defied the western imagination. Mosse brings to this subject the use of a discontinued aerial surveillance film, a type of color infrared film called Kodak Aerochrome. The film, originally developed for military reconnaissance, registers an invisible spectrum of infrared light, rendering the green landscape in vivid hues of lavender, crimson and hot pink. The results offer a fevered inflation of the traditional reportage document, underlining the growing tension between art, fiction and photojournalism. Mosse's work highlights the ineffable nature of current events in today's Congo. "Infra "initiates a dialogue with photography that begins as an intoxicating meditation on a broken genre, but ends as a haunting elegy for a vividly beautiful land touched by unspeakable tragedy. Mosse’s words and his pictorial Pop Art Congo remind us of Joseph Conrad’s subtler creation. Mosse’s touching inadequacy sets up a dialectical tension between ‘the limits of articulation’ and the ethical urge ‘to attempt to describe the unspeakable world’. Like documentary photography, Heart of Darkness also justifies itself as a witnessing, but qualified by claiming its inadequacy. Repeatedly, Mosse’s interviews mention Conrad’s novella, juxtaposing Conrad’s Congo to the post-genocidal country of today:

As of 2023 [update] he lives and works in New York City and Ireland. [1] [3] He has worked in Iraq, Iran, Pakistan, Palestine, Haiti and the former Yugoslavia. In 2017 his video installation Incoming, commissioned by the National Gallery of Victoria and the Barbican Art Gallery, also made with Frost and Tweeten, won the Prix Pictet. Open from 1 November 2023, Newson’s Yard on Pimlico Road is a new design destination located in a former 19th century timber yardSekula, in ‘In Conversation with Benjamin H.D. Buchloh’, in Sekula, Performance Under Working Conditions, Sabine Breitweiser (ed.), Vienna: Hatje Cantz, 2003, p. 46. A. Hussein, Edward Said. Criticism and Society, London and New York: Verso, 2002. 34. Jacques Rancière, ‘Lyotard and the Aesthetics of the Sublime: a Counter-reading of Kant’, in Aes thetics and Its Discontents, Cambridge and Malden MA: Polity, 2009, p. 88-105. Aperture Foundation and Pulitzer Center on Crisis Reporting are publishing a monograph of Richard Mosse’s Infra, with an introduction by Adam Hochschild, which will be available to view at the gallery for the duration of the exhibition.

a b c d O'Hagan, Sean (23 August 2012). "Photographer Richard Mosse to represent Ireland at Venice Biennale". The Guardian . Retrieved 14 May 2014. For the Same in opposition to Levinasian Other, see Alain Badiou, ‘Return to the Same’ in Ethics. Essay on the Understanding of Evil, London and New York: Verso, 2012, pp. 25-27. Leonore Annenberg Fellowship in the Performing and Visual Arts from the Annenberg Public Policy Center, University of Pennsylvania [17]Non-refugees and journalists are rarely, if ever, allowed access to the Moria camp, says Mosse. “The authorities in Greece are ashamed; the conditions are so squalid.” So he climbed a hill nearby to take a huge panorama of the camp, using a special weapons-grade camera, which captures images by detecting thermal radiation.