progetto Habitat – 03 – animali Schleich e altri sopravvissuti – animals

Per il lavoro” Melting Pot” http://www.fotokorth.de/work/melting-pot/  cercavo animali da inserire in collage con contesto industriale. In una ricerca internet mi imbattevo nella serie di “Schleich”, non ci avevo fatto caso, ma i miei tre prediletti – al Okapi si aggiungeva uno Zebra e infine un Lupo – fanno parte di questa grande famiglia di figurine tedesche. Mi si apriva un mondo da esplorare.

eisbaer – orso polare – polar bear

Vedo foto publicate per vendere online i giocattoli dei figli cresciuti. Mi fanno sorridere i scatti sul tavolo da pranzo, sul parquet e sul divano. Ci sono foto fatti da collezionisti perfettamente ambientate nella natura. Altri optano per fondi monocromatici e offrono tre prospettive. Trovo scatti dell’ animale steso sulla schiena che mostrano il marchio sotto la pancia. Mi sembrano allusioni scioccanti al rischio di estinzione di tante specie. Affino l’occhio e vado alla ricerca di scatti di qualità, con buona luce e risoluzione. Alcuni mi fanno scoppiare dal ridere per la postura involontariamente buffa. Nasce l’idea di creare lavori che fanno sorridere al primo impatto e poi magari suscitano una riflessione sul ruolo complesso e ambiguo che gli animali giocano oggi nella nostra società. Un esempio di questo vasto campo, è un pensiero di Richard David Precht: “Alcuni conigli hanno la fortuna di vivere sotto il tavolo e di morire di morte naturale – incluso lacrime e la tomba in giardino, altri hanno la sfortuna di finire nel nostro piatto”.

Via via vedo di più, mi innamoro degli animali con un’ aria  vissuta, graffiati e scoloriti. Nel gergo delle asta si chiamano: bespielt e replica. Acquistano unicità, sono più vitali di quelli nuovi, perfetti con la linea dello stampo sotto il ventre. Possono avere espressioni sofferenti, fieri, involontariamente comici – sono i sopravvissuti. Cerco di acquistarne alcuni. Le cerco proprio con il criterio ”bespielt” – giocato, a volte costano meno, a differenza di  esemplari con la famosa bandierina del produttore che vengono dalle vetrine dei collezionisti. Vado a caccia dell’ inserzione poco professionale, senza numero di serie con le foto sfocate e fatte senza cura. Mi faccio una cultura, segno i numeri del modello, le ricerco e le paragono. Foto fatto con cellulare e flash, a differenza di scatti fatti con attenzione e cura … per fortuna sono su Ebay.de. Su quella italiana non c’è molto mercato. Prima di natale l’offerta aumenta, imparo a valutare le aste e trovarne tanti senza spendere una fortuna.

Scopro altri produttori e riprendo una passione vissuta in infanzia: leggevo Konrad Lorenz a 12 anni e da Grande volevo fare la Biologa. Studio con passione questo mondo ricco di animali che non sospettavo esistessero – dalla scimmia Chap Mei al Capybara.

Noto le mie preferenze, non vorrei cavalli, cani e dinosauri, ma piuttosto animali selvaggi come tapiro e sciacallo  e mammiferi piccoli poco appariscenti, come orsetto lavatore tasso.

For the work “Melting Pot” http://www.fotokorth.de/work/melting-pot/ I was looking for animals to be included in collage with industrial context. In an internet search I came up to the series of “Schleich”. I had not noticed, but my three favorite – the okapi was joined by a zebra and finally by a wolf – are part of this great family of german figurines. A whole world awaited my exploration.

I see pictures posted online to sell toys of grown up children. They make me smile –  the shots on the dining table, on the floor and on the sofa. There are photos made by figurine collectors, perfectly acclimatized in nature. Others opt for monochromatic backgrounds and offer three perspectives.

I find shots of animals lying on the back showing the brand under the belly. They seem shocking allusions to the risk of extinction of many species. I sharpen my eye and I go in search of quality shots, with good light and resolution. Some make me burst with laughter because of the unintentionally funny postures. I get the idea to create works that make you smile at first glance and then provoke a reflection on the ambiguous and complex role that animals today play in our society. An example for this vast field, it is a thought of Richard David Precht: “Some rabbits are lucky enough to live under the table and die a natural death – including tears and a grave in the garden, others have the misfortune to end up on our plate “.

Day by day I see more, I fall in love with “long lived” animals, scratched and discolored. In the jargon of the auction they are called: bespielt and replica. In my eyes they are more vital than new ones, perfect with the line of the mold under the belly, they have acquired uniqueness. They are the survivors. Their expression varies from suffering to pride and unintentionally funny. I try to buy a few. The search just with the criterion “bespielt” – played. Sometimes they cost less, unlike specimens with the famous manufacturer flag offered from collectors shops. I hunt for the unprofessional insertion, no serial number with blurry photos and made without care. I learn and study, take notes of the model numbers, I research and I compare. Photos made with mobile phone and flash, unlike shots made with care and attention … luckily I have access to Ebay.de. On the Italian market there is not much. Before Christmas the offer increases, I learn to evaluate auctions and find many animals without spending a fortune.

I discover other manufacturers and renew a passion lived in childhood: I read Konrad Lorenz when I was 12 and wanted to be a biologist when I am grown up. Passionately I study this world full of animals, some I did not even suspect existed – from the monkey Chap Mei to Capybara.

Observing my preferences, I do not choose horses, dogs and dinosaurs, but rather wild animals like tapir and jackal and small unobtrusive mammals like the raccoons.

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sabinekorth

Curriculum • Place and date of birth: Monheim, Deutschland, March 18th, 1958. • Citizenship: German. EDUCATION • University of Bielefeld, Photo Design, 1986 • Graduation thesis: Youths' Free Time and Night Life in Italy. • Languages: English and Italian fluent • Member of DGPH Deutsche Gesellschaft fuer Photographie and DFA Deutsche Fotografische Akademie. WORK EXPERIENCE 1986 Moved to Florence, Italy. 1987 -1994 Manager of "Print Service" a professional black/white printing and developing laboratory. 1994–present Free-lance Photographer .Offers workshops in photography of reportage, portrait, black and white printing and fotomontage. .Attends regular annual lectures at University Dortmund, Germany - Dept. of Fine Arts. Professore di Fotografia Classica, Digitale e Fotografia Sperimentale Tecniche di Fotografia classica, sperimentale, alternativa, stampe antiche, pinhole, composizione, reportage, foto di matrimonio, ritratto, montage e collage, camera oscura analogica e digitale. Archiviazione,produzione libri fotografici, videopresentazioni. Guida didattica e workshop per studenti in combinazione con gite fotografiche e fotoanimazioni in scuole e asili. Docente di „fotocollage terapeutico“: Collaborazione come docente e tecnico fotografico con il Gruppo Fotografico “ScattOcchio”del Laboratorio di ArteTerapia Multimediale, Centro di Salute Mentale ASL 2 del Dott. Carmine Parrella. Realizzazione di laboratori creativi per bambini e adulti. Photography Instructor .Lorenzo De Medici Consortium for U.S. programs in Florence. .SACI – Studi Arts Center International Florence Courses through Studio Marangoni in Florence: .Sarah Lawrence College in Florence .New York University .School of Visual Arts in Florence Personal Experience 1991 – 2016 Traveled in Egypt, Mexico, Venezuela, Cuba, Ivory Coast, Ghana, Zimbabwe, New York, India, Morocco, London and Istanbul doing reportage black and white and color digital. Working Philosophy Today more than ever, expressive language communicates the “Zeitgeist” of our times. InFrom South to North, I bring together different cultural forms in order to stimulate reflection on this subject. Instead of employing a classical documentary method, I use a more creative approach that appeals directly to the viewer’s imagination. Combining photographs allows me to interweave and concentrate images. These are fictions that, like poetry, rely on metaphor and simile to achieve their effects. References, allusions, and analogies create a surreal atmosphere that leads the viewer to another reality—one that may be read only beyond the confines of the photo frame. I feel that a body of work is strongest and most honest when it challenges both the viewer and its creator to consider equally new perspectives and ideas. Recently I have begun to explore the possibilities of the “digital darkroom.” To date, most work produced digitally has been commercial. Only recently has digitally-produced photography emerged as an art form. I am fascinated by the computer’s ability to synthesize—to weave disparate materials and into a single continuum. This enables the artist to explore in fresh ways both surrealist and post-modern perspectives. Although my working methods have radically altered, my interests remain the same. The content of my previous work has flowed naturally onto the screen and into the images before you. I enjoy teaching and sharing with students my experiences as a photographer. Whether instructing students in traditional darkroom approaches to developing black-and-white photographs or in new digital approaches to developing color photographs, teaching is for me like a never-ending cycle of giving and taking. When working with students, I often encounter unexpected points of view that challenge me to rethink the ways I approach the students’ work as well as my own.

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