# Bildbauten by Philipp Schaerer

The series of images created by Philipp Schaerer entitled Bildbauten (built picture in German) includes twenty five rendering of monolithic buildings that seem to have been produced by their environment in some sort of camouflaged bunkers.

Here is the description thanks to which the Swiss artist describes his work:

The series of images with the title „Bildbauten“ deals with the effect and the claim to credibility of images of architecture that appear to be photographs. It further questions the medium “photograph” as a documentary piece of evidence depicting reality.

Frontal views of fictional architectures serve as an example. By means of their exaggerated and orchestrated way of representation, they model themselves on the object-like appearance and the formal language of contemporary architecture in a rather ironic way. All images try to reproduce a reality. They are not a photograph; instead, they were newly designed and constructed from scratch by means of image synthesis and digital image editing.

originally found on butdoesitfloats

# New Works by Yojiro Imasaka

Yojiro Imasaka is currently achieving his Master in Fine Arts in Pratt Institute and his New Works has been exhibited this year at the Steuben Gallery in New York. Those photographs explore the interstitial voids between high buildings, thus creating some ambiguous corridors driven by a gradient light.

# Small Worlds by Frank Kunert

A small dose of humor today to give some courage to every students who just realized that their semester will end up in 3-4 weeks or so (!). Frank Kunert's Small Worlds (in reality dioramas he photographs) are enchanting for their soft absurdity involving domestic architectures.

# Nébuleuse by Guillaume Amat

Nébuleuse is a photographic work by Guillaume Amat investigating the strange territory of the French Atlantic coasts and its military ruins from World War II, bunkers. The atmosphere of the photographs helps to compose a foggy heterotopia where those bunkers appears as monolithic artifacts within an infinite sand landscape.

This work integrates perfectly the series of article written about bunkers on boiteaoutils and that can be read by following this link.

Here is the text related to the series (nb: the complete series has to be seen of Guillaume Amat's own website):

Nébuleuse
In April 2007, in a muffled silence, the sea disappeared, as if vanished, leaving behind only ghosts of stone.
These Blockhaus, remains of World War II, slowly digested by the tides turned out to be threatening places of refuge in the middle of an unexplored desert.
A haunting wind is sweeping along the coast and wrapping distant figures.
In the open sea, one could hear the muffled sound of a foghorn very much like the whispering rumbling of life.
People seem to get lost in a scenery both quiet and threatening where one gets stifled by the immensity of the landscape.

The project called "Nebuleuse" (Nebula) is part of a reflection on the question of World War II heritage, the French coast and its conversation.

In the form of a photographic proposition, I tried to show how the hand of man and the hand of Nature can mix or be in conflict.

# Wind as a tree sculptor

photograph by Anita Gould in New Zealand...

# Vision Haptique by Salem Mostefaoui (OzCollective)

"Voyez, la vue optique, ce serait la vue éloignée, relativement éloignée, au contraire l’exercice haptique ou la vue haptique, c’est la vue proche qui saisit la forme et le fond sur le même plan également proche."

Extrait du cours de Gilles Deleuze à l'Université Paris 8 du 19.05.81

"See the optic vision, it would be a far vision, relatively far away, on the contrary the haptic vision, it is a close vision that grasp form and content on the same plan close as well."

Excerpt from Gilles Deleuze's seminar at Université Paris 8 (19/05/1981)

Vision Haptique is a series of twenty two photographs created by Salem Mostefaoui who is part of our friends' collective Oz. As the Deleuze's quote indicates, Salem tries to approach this antinomic haptic vision (haptic being what belong to the sense of touch) and to extract from each of those photographed buildings "a built truth that attempts to gather the architectural concept and its physical reality." In his approach of this method, he understands his work as being infinite.

When I contacted him to write this short article Salem referred to some photographers whose work has similarities in the approach of architecture:
- Perry Roberts
- Christobal Palma
- Nicolas Moulin
- Kim Høltermand

The complete series of visible on OzCollective's website

# Netropolis by Michael Najjar

Michael Najjar's hybrid photographs compose phantom cities by superimposition of their own components. The abundance of buildings triggers both a visual suffocation and a fascination for the poetry of their hybridization.
Netropolis is composed by twelve photographs of this kind based on Dubai, Hong Kong, New York, Berlin, Paris, Los Angeles, Mexico City, Sao Paulo, Shanghai, Tokyo, London and Beijing.

# Yang Yongliang's work

I very recently Yang Yongliang's wonderful work inspired by Chinese traditional painting that he studied for ten years. His dream like cloud/mountains cities place contemporaneous Chinese urbanity in a traditional mean of representation that translate very well the frenzy of China's current economical boom.

# Richard Galpin's peeled photographs

Richard Galpin is an English artist that creates his work by peeling existing photographs using exclusively a scalpel and thus producing new visual landscapes.