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The Congolese rebels that we photographed had a very strange reaction to the camera," recalls Mosse. "They were very ambivalent." Philip Jones Griffiths, Agent Orange. ‘Collateral Damage’ in Viet nam, London: Trolley Ltd, 2003, p. 4. Focusing on the American artist's performative'Contrapposto Studies',Bruce Nauman's show atPunta della Dogana, Venice, gives new meaning to body language – on view until 27 November 2022 Staley, Willy (14 December 2012). "The Color of War". New York Times Magazine . Retrieved 14 May 2014.
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. Conrad, Heart of Darkness, p. xxvi and Ian Watts, Conrad in the Nineteenth Century, London: Chatto and Windus, 1980, pp. 276 and 279. Sekula, in ‘In Conversation with Benjamin H.D. Buchloh’, in Sekula, Performance Under Working Conditions, Sabine Breitweiser (ed.), Vienna: Hatje Cantz, 2003, p. 46. On his journeys in eastern Congo between 2010-11, Mosse photographed rebel groups constantly switching allegiances, fighting nomadically in a jungle war zone plagued by frequent ambushes, massacres, and systematic sexual violence. These narratives urgently need telling but cannot be easily described.
Rancière, The Emancipated Spectator, trans. Gregory Elliott, London and New York: Verso, 2009, pp. 83-105; p. 96 A few years ago we shared photographer Richard Mosse‘s unique infrared imagery that he had shot in The Democratic Republic of Congo for his series Infra. Taking advantage of an old type of Kodak film called Aerochrome, he infused new color into this war-torn and often forgotten part of the Earth. Tristes Tropiques zooms out to depict environmental criminality from the perspective of a drone. Working with multispectral film used in advanced satellite technology (and for military reconnaissance), Mosse creates an alarming survey of the destruction of vast expanses of the Brazilian rainforest. The choice to exhibit Norfolk’s evocative archive photographs in conjunction with the main exhibition gives a now and then experience, acting as a reminder of Open Eye’s importance as both a venue within the city and the only gallery in the North West dedicated to photography. These two carefully selected exhibitions show the curators passion to deliver an exhibition programme that champions photography as an art form and explores the possibilities of the media. A detailed account of the press’s resistance to publishing Haeberle’s photographs in Seymour M. Hersch, ‘The Massacre at My Lai’ in John Pilger (ed.), Tell Me No Lies. Investigative Journalism and Its Triumphs, London: Jonathan Cape, 2004, pp. 85-119.
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.Joseph Conrad, Heart of Darkness and The Congo Diary, Robert Hampson ed., London: Penguin, 2007, p. 28. We re-introduce Richard Mosse, photographer and Pulitzer Center grantee, who will represent Ireland from June 1 to November 24 at this year's 55th Venice Biennale. While still only in his early thirties, Richard Mosse has exhibited his work internationally, from Tate Modern to Akademie der Künste, Berlin, and Kunsthalle, Munich. His work has already been collected by several museums, including the Museum of Contemporary Art, Chicago and the Musée de l’Élysée, Lausanne. He is representing Ireland at the Venice Biennale 2013 with The Enclave, an immersive multimedia installation projected onto several screens, and composed of footage shot last year in the Democratic Republic of the Congo using an Arri and 16mm infrared film (transferred to HD), with a soundscape recorded on location. To coincide with the Biennale, Aperture has published his second monograph. Mosse has received criticism for his work, notably from Ireland, for presenting difficult global conflicts or deeply personal situations amidst these conflicts in an overly aestheticised way, being described as "problematic", "troubling", [6] and discomforting. [7] Publications [ edit ] Mosse was born in Kilkenny, Ireland. [3] He received a first class BA in English literature from King's College London in 2001, an MRes in cultural studies from the London Consortium in 2003, a postgraduate diploma in fine art from Goldsmiths, University of London in 2005 and a photography MFA from Yale School of Art in 2008. [4] Life and work [ edit ]
His images depict in hyper-vivid color the landscape of war and those who live within this world of violence and upheaval. Geoff Manaugh, ‘Leviathan: An interview with Richard Mosse’, BLDG BLOG, 21 December 2009,
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