Irish photographer Richard Mosse, who won the 2017 Prix Pictet prize in May for his thermographic images of refugee camps, says he was arrested last Thursday on the Greek island of Chios while working on a project documenting refugees, The Art Newspaper r
Mosse says he was on the island to film an episode of Bloomberg’s “Brilliant Ideas” series. He was observing an anti-immigrant rally when he was arrested by undercover Greek police. In an Instagram post, Mosse says he was wrestled to the ground, handcuffed and taken to jail.
In our February “Exposures” story about Richard Mosse’s new film and book, “Incoming,” Mosse spoke about why he decided to use a thermal imaging camera in order to create a body of work about the refugee crisis. During the same interview, Mosse discussed the logistical challenges of using a tool meant for military surveillance to create art.
On a tip from a friend, Mosse bought a military-grade camera meant for long-range battle surveillance that doesn’t see visible light. Instead, this camera sees heat and produces crisp black-and-white images that are exposed based on the relative warmth of everything in the frame. Mosse then used this camera, intended to track and target, as a way to document displacement and the daily fight for survival by the refugees living in camps across Europe for a new project called Heat Maps.
Mosse’s shadowy renderings erase the lines that have been drawn between refugees, immigrants, natives, citizens, and the rest.
For his series of panoramic images, titled “Heat Maps,” the photographer Richard Mosse co-opted these capabilities for a different purpose. In 2016, Mosse visited routes commonly travelled by refugees—from the Persian Gulf to Berlin, and from northern Niger to the now-cleared Jungle camp in Calais, France—and used a military-grade infrared camera to document scenes along the way.
The works of Mandy Barker, Saskia Groneberg, Beate Guetschow, Rinko Kawauchi, Benny Lam, Richard Mosse, Wasif Munem, Sohei Nishino, Sergey Ponomarev, Thomas Ruff, Pavel Wolberg and Michael Wolf will be featured in an exhibition opening at the Victoria and Albert Museum (V&A) in London on May 4, 2017, when the winner will be announced by Prix Pictet honorary president and former United Nations Secretary General
Michael Christopher Brown has been made an Associate Member
Carolyn Drake has been made a Magnum Nominee
Matt Black has been made a Magnum Nominee
Newsha Tavakolian has been made a Magnum Nominee
Max Pinckers has been made a Magnum Nominee
Richard Mosse has been made a Magnum Nominee
Lorenzo Meloni has been made a Magnum Nominee
photographers such as Richard Mosse — who received widespread acclaim for his powerful infrared work from the Democratic Republic of Congo — have thrust Irish photography onto the global stage. With that in mind, and to celebrate St Patrick’s Day, TIME presents its choice of the most exciting Irish photographers working today
The artists Institute represents are Jodi Bieber, Rena Effendi, Lauren Greenfield, Rob Hornstra, Nadav Kander, Gillian Laub, James Longley, Gerd Ludwig, Joshua Lutz, Amanda Micheli, Richard Mosse, Zed Nelson, Jehad Nga, Simon Norfolk, James Pomerantz and Paul Shambroom.
Showcase: A Modern Ozymandias
Showcase: A Modern Ozymandias – Lens Blog – NYTimes.com:
When Richard Mosse traveled to Iraq last spring, he was intrigued by paradoxical scenes of U.S. troops living in Saddam Hussein’s former palaces: weight machines in a courtyard, makeshift dorm rooms in a marbled hallway and barbecue grills overlooking an artificial lake that the dictator once stocked with fish.
Saddam's Palaces: An Interview with Richard Mosse
These extraordinary images—published here for the first time—show the imperial palaces of Saddam Hussein converted into temporary housing for the U.S military. Vast, self-indulgent halls of columned marble and extravagant chandeliers, surrounded by pools, walls, moats, and, beyond that, empty desert, suddenly look more like college dormitories. Weight sets, flags, partition walls, sofas, basketball hoops, and even posters of bikini’d women have been imported to fill Saddam’s spatial residuum. The effect is oddly decorative, as if someone has simply moved in for a long weekend, unpacking an assortment of mundane possessions.