A Reindeer and a Burning Oil Can

A Reindeer and a Burning Oil Can

Documentary
{"id":14972,"grant_id":10,"user_id":31212,"grant_submission_status_id":4,"grant_result_type_id":null,"cover_block_id":168686,"story_id":14612,"place_id":null,"title":"A Reindeer and a Burning Oil Can","excerpt":"<p>A REINDEER AND A BURNING OIL CAN<\/p>","excerpt_raw":"A REINDEER AND A BURNING OIL CAN","body":"<p>Project expose\r<\/p><p>\u00bbA Reindeer and a Burning Oil Can\u00ab\r<\/p><p>In times when opinions and attention are fought over, pictures play an enormous, complex and reciprocal role. They shape our conceptions of the 'world', our expectations towards the supposedly familiar as well as the new, and thus also how this can then be perceived and described. Thus, images create and consolidate categories of perception, at the same time characterized by 'image socialization'. Attention should be paid to this interplay of visual representational practices in the series to be continued, A Reindeer and a Burning Oil Can, in order to invite people to reflect on the boundaries of what is sometimes used and understood as a documentary medium.\r<\/p><p>The setting for the series offers the city of Yakutsk in the far east of Russia - the coldest city in the world. Solely this superlative creates images in the mind, images of the cold, the exotic, maybe even the archaic. Images that have been firmly anchored in Western European-socialized minds for decades, be it through books, the focus of political news under the renewed East-West hardening or travelogues by adventurers seeking the extreme. The photographic series tries ludically to pick up on Western clich\u00e9s of Russia, such as militarism, fur, violence, improvisation or cold, but their 'authenticity' remains unclear: through the mixing of staging (film set and own arrangements) and 'documentary' alledged everyday observations, which however, are not marked, the viewers of the photographs should be led to the question, which images they consider credible - and why. At the same time, the deliberate use of staging in addition to the creation of irritation also serves to depict 'complexity' in its complexity, to refer to visual imprints, and thus to question the ideological moment in photography.\r<\/p><p>Two further trips to Yakutsk are planned to complete the photographic essay with the help of the grant. A trip is again in the winter, in the coldest months of January and February, and another in the warm summer of August. The budget of the grant is to be used to allow the two further trips for a total of two and a half months, with the cost items roughly as follows: 3000 euros for travel expenses, 3000 euros for translator and fixer fees, 2000 euros for accommodation and other expenses on site.\r<\/p><p>Still, the already produced part is limited mainly to extreme situations of cold, life in and with nature. Attention should now be given to the supposed everyday life (both produced for the film production as well as the already existing): consumption in the shopping mall, ice fishing on the frozen river Lena, diamond traders at business lunches, repairs in a car repair shop, worship in the church, the natural sciences Studying at the University of the City, attending theater and cinema performances, American football team training, downtown strolling, a leisurely evening with friends, basic military education at school, group photo of a forestry team, memorial funeral, only to name a few.\r<\/p><p>The illusion of narrative and content completeness thus created is intended to complete the impression of the authenticity of the series. The motifs mentioned here represent Western stereotypes of Russia in many different ways: diamond dealers stand for oligarchs, ice fishermen for self-sufficiency of poorer sections of the population, funerals for a supposedly high mortality rate. At the same time motifs are to be integrated into the series, which oppose the stereotypes and remind of supposedly Western everyday life: shopping malls, high culture, American football etc. Thus, an additional irritation is to be created, which corresponds on the one hand, the real complexity and complexity on the ground and in the same moment interacts with the stereotypical images, in which the images give each other authenticity or rob them. This effect should be supported visually by the use of artificial flash, which is unleashed used to throw a 'cinematic' light on 'mundane' everyday situations. The supposedly trivial is to be exaggerated, the staging on the film set in turn photographed as banal as possible, so that both 'worlds' or realities begin to merge - a search for clues between fiction and supposed reality, at the limits of credibility and documentary photography.<\/p>","body_raw":"Project expose\r\n\u00bbA Reindeer and a Burning Oil Can\u00ab\r\n\r\nIn times when opinions and attention are fought over, pictures play an enormous, complex and reciprocal role. They shape our conceptions of the 'world', our expectations towards the supposedly familiar as well as the new, and thus also how this can then be perceived and described. Thus, images create and consolidate categories of perception, at the same time characterized by 'image socialization'. Attention should be paid to this interplay of visual representational practices in the series to be continued, A Reindeer and a Burning Oil Can, in order to invite people to reflect on the boundaries of what is sometimes used and understood as a documentary medium.\r\n\r\nThe setting for the series offers the city of Yakutsk in the far east of Russia - the coldest city in the world. Solely this superlative creates images in the mind, images of the cold, the exotic, maybe even the archaic. Images that have been firmly anchored in Western European-socialized minds for decades, be it through books, the focus of political news under the renewed East-West hardening or travelogues by adventurers seeking the extreme. The photographic series tries ludically to pick up on Western clich\u00e9s of Russia, such as militarism, fur, violence, improvisation or cold, but their 'authenticity' remains unclear: through the mixing of staging (film set and own arrangements) and 'documentary' alledged everyday observations, which however, are not marked, the viewers of the photographs should be led to the question, which images they consider credible - and why. At the same time, the deliberate use of staging in addition to the creation of irritation also serves to depict 'complexity' in its complexity, to refer to visual imprints, and thus to question the ideological moment in photography.\r\n\r\nTwo further trips to Yakutsk are planned to complete the photographic essay with the help of the grant. A trip is again in the winter, in the coldest months of January and February, and another in the warm summer of August. The budget of the grant is to be used to allow the two further trips for a total of two and a half months, with the cost items roughly as follows: 3000 euros for travel expenses, 3000 euros for translator and fixer fees, 2000 euros for accommodation and other expenses on site.\r\n\r\nStill, the already produced part is limited mainly to extreme situations of cold, life in and with nature. Attention should now be given to the supposed everyday life (both produced for the film production as well as the already existing): consumption in the shopping mall, ice fishing on the frozen river Lena, diamond traders at business lunches, repairs in a car repair shop, worship in the church, the natural sciences Studying at the University of the City, attending theater and cinema performances, American football team training, downtown strolling, a leisurely evening with friends, basic military education at school, group photo of a forestry team, memorial funeral, only to name a few.\r\n\r\nThe illusion of narrative and content completeness thus created is intended to complete the impression of the authenticity of the series. The motifs mentioned here represent Western stereotypes of Russia in many different ways: diamond dealers stand for oligarchs, ice fishermen for self-sufficiency of poorer sections of the population, funerals for a supposedly high mortality rate. At the same time motifs are to be integrated into the series, which oppose the stereotypes and remind of supposedly Western everyday life: shopping malls, high culture, American football etc. Thus, an additional irritation is to be created, which corresponds on the one hand, the real complexity and complexity on the ground and in the same moment interacts with the stereotypical images, in which the images give each other authenticity or rob them. This effect should be supported visually by the use of artificial flash, which is unleashed used to throw a 'cinematic' light on 'mundane' everyday situations. The supposedly trivial is to be exaggerated, the staging on the film set in turn photographed as banal as possible, so that both 'worlds' or realities begin to merge - a search for clues between fiction and supposed reality, at the limits of credibility and documentary photography.","is_shortlisted":1,"is_strong":0,"is_ongoing":1,"is_unpublished":1,"sent_first_email_reminder":0,"started_at":"2017-01-01 00:00:00","ended_at":"2017-01-01 00:00:00","created_at":"2019-02-20 20:08:03","updated_at":"2019-02-26 17:46:26","place":null,"publications":[],"categories":[{"id":14,"name":"Documentary","slug":"documentary","created_at":"2015-12-08 13:17:52","updated_at":"2015-12-08 13:17:52","pivot":{"grant_submission_id":14972,"category_id":14}}],"tags":[{"id":31,"tag":"russia","created_at":"2015-12-07 17:05:37","updated_at":"2015-12-07 17:05:37","pivot":{"grant_submission_id":14972,"tag_id":31}},{"id":2945,"tag":"expectations","created_at":"2015-12-07 17:06:05","updated_at":"2015-12-07 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His work focusses, beside assignments, on personal long-term projects mainly dealing with societal structures.","long_bio":"<p>Jakob (*1991) is a photographer based in Hanover and M\u00fcnster. He studied documentary photography and photojournalism in Hanover\/Germany and Tomsk\/Russia and works in the fields of editorial, portrait and documentary photography.<\/p><p>His work focusses, beside assignments, on personal long-term projects mainly dealing with societal structures.<\/p><p>Selected Clients \/ Publications<\/p><p>GEO | DER SPIEGEL | SPIEGEL Wissen | S\u00fcddeutsche Zeitung Magazin | S\u00fcddeutsche Zeitung | manager magazin | DeVolkskrant (nl) | DUMMY | Fluter | Plan W | LFI | ZEIT Online | ZEIT Campus | WIRED (us) | 6mois (fr) | TAZ | <\/p><p>Awards \/ Grants<\/p><p>2018 Bronze Medal German Photobook Award<\/p><p>2018 Finalist Cortona On The Move New Visions, Italy<\/p><p>2018 Riga Photomonth Selection, Latvia<\/p><p>2018 Shortlisted for Sony World Photography Awards, professional competition, creative category<\/p><p>2018 Finalist LensCulture Exposure Award, Netherlands<\/p><p>2017 Winner Silver Medal Moscow International Foto Awards, Portfolio category, Russia<\/p><p>2017 Nominated for N-Ost Reportage Award, Germany<\/p><p>2017 Shortlisted for Kolga Award, Georgia<\/p><p>2016 Winner LensCulture Emerging Talent Award, Netherlands<\/p><p>2016 Winner PDN Photo Annual, student category, USA<\/p><p>2016 Winner 1st place German Youth Photo Prize, Germany<\/p><p>2016 Shortlisted for Kolga Award, Georgia<\/p><p>2016 Finalist Freelens Award, Germany<\/p><p>2016 Voies Off Selection, France<\/p><p>2015 Winner Gabriel Gr\u00fcner Grant, Germany<\/p><p>2015 Winner 1st place German Youth Photo Prize, Germany<\/p><p>2015 Nominated for Felix Schoeller Emerging Talent Award, Germany<\/p><p>2015 Winner silver medal (interpretive eye category) and bronze medal (general news category) at CPOY<\/p><p>(College Photographer of the Year Award), USA<\/p><p>2015 Shortlisted for Kolga Award, Georgia<\/p><p>2014 Winner VGH Photo Award, Germany<\/p>","long_bio_raw":"Jakob (*1991) is a photographer based in Hanover and M\u00fcnster. He studied documentary photography and photojournalism in Hanover\/Germany and Tomsk\/Russia and works in the fields of editorial, portrait and documentary photography.\nHis work focusses, beside assignments, on personal long-term projects mainly dealing with societal structures.\n\nSelected Clients \/ Publications\n\nGEO | DER SPIEGEL | SPIEGEL Wissen | S\u00fcddeutsche Zeitung Magazin | S\u00fcddeutsche Zeitung | manager magazin | DeVolkskrant (nl) | DUMMY | Fluter | Plan W | LFI | ZEIT Online | ZEIT Campus | WIRED (us) | 6mois (fr) | TAZ | \n\nAwards \/ Grants\n\n2018 Bronze Medal German Photobook Award\n2018 Finalist Cortona On The Move New Visions, Italy\n2018 Riga Photomonth Selection, Latvia\n2018 Shortlisted for Sony World Photography Awards, professional competition, creative category\n2018 Finalist LensCulture Exposure Award, Netherlands\n2017 Winner Silver Medal Moscow International Foto Awards, Portfolio category, Russia\n2017 Nominated for N-Ost Reportage Award, Germany\n2017 Shortlisted for Kolga Award, Georgia\n2016 Winner LensCulture Emerging Talent Award, Netherlands\n2016 Winner PDN Photo Annual, student category, USA\n2016 Winner 1st place German Youth Photo Prize, Germany\n2016 Shortlisted for Kolga Award, Georgia\n2016 Finalist Freelens Award, Germany\n2016 Voies Off Selection, France\n2015 Winner Gabriel Gr\u00fcner Grant, Germany\n2015 Winner 1st place German Youth Photo Prize, Germany\n2015 Nominated for Felix Schoeller Emerging Talent Award, Germany\n2015 Winner silver medal (interpretive eye category) and bronze medal (general news category) at CPOY\n(College Photographer of the Year Award), USA\n2015 Shortlisted for Kolga Award, Georgia\n2014 Winner VGH Photo Award, Germany","twitter_handle":null,"facebook_handle":null,"skype_handle":null,"google_plus_handle":null,"pinterest_handle":null,"instagram_handle":"jakobschnetz","vimeo_handle":null,"youtube_handle":null,"telephone":null,"show_explicit_content":"0","created_at":"2018-02-21 12:48:10","updated_at":"2019-02-21 09:33:20"}}}