Richard Mosse: What the Camera Cannot See from Art21 on Vimeo.

Episode 284: Artist Richard Mosse documents humanitarian crises and environmental catastrophes by making the unseen visible. This film follows Mosse and his collaborators Ben Frost and Trevor Tweeten as they travel across the world to film under-reported world events in zones of conflict, repurposing surveillance technologies and scientific tools to capture stories and scenes that evoke deeper understanding and motivate audiences to act. In locations like the Democratic Republic of Congo (DRC), where over 50 armed groups are engaged in combat, or along paths of migration from the Middle East and North Africa into the European Union, the artist works to bring attention to conflict and suffering around the world. “My power, if I have any,” says Mosse, “is to be able to show you the things that I’ve seen in a more powerful way than perhaps the pictures you’ve seen in the newspaper of the same thing.”

Mosse’s work calls specific attention to the tools we use to capture and distribute information about global events. He actively questions why certain conflicts remain relatively unseen, as in the DRC with The Enclave (2012-2013), or interrogates systems of targeted surveillance and dehumanization, as in Incoming (2014-2017). These projects point not only to the problems of the situations and locales in which Mosse and his collaborators work, but also the difficulties that we encounter in perceiving and understanding these events and processes as viewers. The conflicts and crises that Mosse documents are seemingly too opaque and complex to be appropriately described, and so often go hidden or misrepresented. This issue is especially present in his recent projects, which center on the Amazon Rainforest. The Amazon is at the heart of his new works Broken Spectre (2018-2022) and Tristes Tropiques (2018-2022), which bring the realities of climate change into focus by revealing both its mundane operations and its catastrophic effects. The artist uses multispectral imaging, cameras that capture ultraviolet light, and tropes of Western media to show audiences the various scales and impacts of deforestation in the Amazon as well as their own implication in it. “We can’t see the climate changing, and that’s really the inherent problem.” says Mosse, “It’s on a scale beyond what we can perceive.”

CREDITS | "Extended Play" Series Producer: Ian Forster. Director: Ian Forster. Editor: Riley Hooper. Camera: Sean Hanley, Andrew Kemp, Sebastián Lasaosa Rogers. Assistant Camera: Oscar Harrison. Sound: Fivel Rothberg. Colorist: Russell Yaffe. Sound Mix: Collin Blendell. Assistant Editor: Michelle Hanks. Music: Blue Dot Sessions, Joel Pickard. Artwork Courtesy: Richard Mosse, Jack Shainman Gallery, Carlier | Gebauer, Altman Siegel Gallery. Artwork Collaborators: Ben Frost, Sound; Trevor Tweeten, Cinematography & Editing; Jerome Thelia, Colorist; Matthew Warren, Studio Manager; Metropolis Film Labs, Film Scanning; Spectral Devices, Multispectral Camera Engineer. Amazon Behind the Scenes Video: Richard Mosse, Edimar Tozzo, Gabriel Uchida. Special Thanks: 180 Studios, Irish Pavilion of the 55th Venice Biennale, National Gallery of Victoria.

Learn more about the Hutukara Yanomami Association and help the Indigenous people to hold up the sky at paypal.com/donate/?cmd=_s-xclick&hosted_button_id=G56QEGMA9Y56J&source=url

"Extended Play" is supported by The Andy Warhol Foundation for the Visual Arts; and, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; the Art21 Contemporary Council; and by individual contributors.

TRANSLATIONS Translated subtitles are generously contributed by our volunteer translation community. Visit our translation team at Amara for the full list of contributors: amara.org/videos/tj4u1PE6Wygt/info/richard-mosse-what-the-camera-cannot-see/?team=art21

#RichardMosse #Art21 #Art21ExtendedPlay

「活在當下」， 對於與人建立連結， 是很重要的關鍵元素。 什麼是「當下」？ 「當下」就是一種 「平穩和效率的生活品質」。 這也是讓一個表演者 可以和他的受眾建立親近的關係。 能夠與互動對象 平穩、有效建立親近連結的能力， 對於一位教練、訓練師、管理者， 以及各種專業溝通者而言， 都是非常重要的資源。 所以， 平穩和連結來自於 活在當下，回到自己中心， 以及與身邊人們關係的連結程度。 活在當下， 也幫助我們能擁有 與眾不同的差異點。 這讓我們能享受生命， 同時生生不息地合作， 協助別人成長與轉化。 活在當下伴隨擁有 活力、連結、創造力、滿足、流動的感覺。 當我們沒有活在當下， 而與自己和其他人失去連結時， 會讓人覺得 空虛、失控、有距離、無用。 Richard Moss 說： 「我們與別人的距離，就等於我們與自己的距離。」 我們與別人及周圍世界的關係， 也就是我們與自己的一面鏡子。 以我們與自己的關係為基礎， 我們與其他人及外在世界的關係， 開始產生。 自己與自己的關係， 通常受限於我們不知道， 如何滿足、接受、支持和愛自己。 當每個人與自己連結， 彼此就都能活在當下， 自然會產生悲憫、同理、由衷地 關注彼此、自發性、信賴感和喜悅。 這些感覺， 都是有效的 個人與專業關係建立的基礎。 #NLP #催眠 #山姆王 #距離 #RichardMoss #活在當下 ＃內心戲 #愛自己 #關係 #基礎 #連結 #鏡子 #接受 #滿足 #悲憫 #同理 #自發性 #信賴感 #喜悅 #支持 https://www.instagram.com/p/CSbTeT-BE66/?utm_medium=tumblr

Incoming, Richard Moss

Richard Mosse - The Castle

Né en 1980, Richard Mosse est un photographe documentaire Irlandais.

Cet artiste s’est penché sur la question des camps de migrants, et grâce à des cameras militaires lui permettant de réaliser des photographies jusqu’à 30km de distance. Il s’est attelé à la tâche de documenter certains camps à travers l’Europe. 

La technologie utilisée produit un rendu étrange, argenté, ajoutant une certaine uniformité aux images, rendant les personnages anonymes. De plus, la perspective se trouve aplatie, due à l’utilisation de très grandes focales, ajoutant un aspect surréaliste aux images. En parallèle, Richard Mosse a réalisé en 2018 une édition présentant ce travail, "The Castle”, imprimée sur du papier argenté et permettant d’observer en détail et plan large les différentes interactions entre les habitants de ces camps, le tout accompagné de descriptions et anecdotes sur le sujet.

Ce travail est aussi impressionnant car il nous permet de découvrir l’ampleur de ces camps, allant parfois jusqu’à plusieurs dizaines de milliers de personnes, et nous fait découvrir une technologie militaire extrêmement poussée, mettant en question la notion de surveillance.

Loving these #richardmosse photographs. Happy weekend!!!! https://www.instagram.com/p/CWc1X7fvcVR/?utm_medium=tumblr

Richard Mosse al MAST #fondazionemast MAST.org #ursstahel #richardmosse https://www.instagram.com/p/CTxp4lRtEth/?utm_medium=tumblr

#displaced #richardmosse #mastbologna Uno sguardo che urla l'urgenza di un'azione e ci ricorda le nostre enormi responsabilità https://www.instagram.com/p/CRGrfmDMSbN/?utm_medium=tumblr

#melbourneartist #thomasdelohery #artistthomasdelohery @thomas_delohery at the #richardmosse #installation #installationart #art #artwork @ngvmelbourne #ngv #melbourne #australia #photographbyvisualartistthomasdelohery #artmelbourne #artshow @_artshow_ #bamthegram #australianart #skulls #politicalartistthomasdelohery #visualartistthomasdelohery #famousartistthomasdelohery (at National Gallery of Victoria) https://www.instagram.com/p/Bd9Z8x9g1iq/?igshid=jc8ab04htwj2

infrared daydreams

photo by  Bradley G Munkowitz

Thank you @chiaranonino !Repost from @vogueitalia • The contrast between wild, uncontaminated, artificial and domesticated is explored in the works of very different artists, such as @OlafBreuning, #ThomasDemand, @SimenJohan, @Sanna_Kannisto, #FlorianMaierAichen and #RichardMosse. They give us back images of invented ecosystems, altered perceptions and dreamlike visions - as if to underline how Nature, the actual one, is increasingly a mirage. And it's all our responsibility. Read the text by @ChiaraNonino in our March Issue and via link in bio. (at Vogue-Italıa) https://www.instagram.com/p/B9wcy4zldQO/?igshid=z0em9ww5kdes

And the white knight is talking backward.

In Vegas, Kat Mckay loses a card game to gangster Danton. Kat literally loses her heart and results in her seeing three ghosts gangsters, Jack the knife, Melichoir the magician and clint who help her on her journey to regain her life, her freedom, and her heart. Can Kat trust any of them or will they lead Kat to her death? This book was the dream you have when you mix nightquil with dayquil. (which you should never do). Lol. It was unusual. Nothing I had ever read before. It was across between. Alice in Wonderland and. Wizard of. Oz. I liked it very much though. The first half was riveting. I couldn't stop reading. I thought the story kind of slowed down in the Second half a bit but still interesting for me me to keep reading and I thought the ending was lacking though. I wanted to learn more about Kat. However, I still loved the book. This is the first book read by this author and it will not be my last. I am happy to have discovered this author. I wish to thank BOOKSIRENS and the publishers for this complimentary ARC copy of this book in exchange for this honest. Review.

Richard Mosse

PARIS PHOTO : Joel-Peter Witkin : Woman once a bird; Still life Marseilles, Penny Slinger : Eat me, Richard Mosse : Katydid with Nepenthes, Jean_Baptiste Huynh: Kenya, portrait 1, Edward Burtynsky : Tsaus Mountains, Namibia; Salt ponds, Senegal; Oil bunkering, Nigeria, Ebrahim Noroozi : the Lake on itsLast leg (lake Urmia). #grandpalais #parisphoto #parisphotofair #joelpeterwitkin #womanonceabird #stilllife #marseilles #pennyslinger #eatme #richardsaltoungallery #richardmosse #katydid #nepenthes #carliergebauer #jeanbaptistehuynh #kenya #edwardburtynsky #tsaus #namibia #saltponds #senegal #oilbunkering #nigeria #nicholasmetiviergallery #ebrahimnoroozi #lakeurmia #instapic #photooftheday #parismaville (à Paris Photo) https://www.instagram.com/p/B4zYgjOi7Tr/?igshid=1etod6j6f9kh

Richard Mosse @richard_mosse #richardmosse #artgallery #painting #photography #artexhibition #artcollector #contemporary #contemporaryartcollectors Richard Mosse @richard_mosse #richardmosse #artgallery #painting #photography #artexhibition #artcollector #contemporary #contemporaryartcollectors Richard Mosse @richard_mosse #richardmosse #artgallery #painting #photography #artexhibition #artcollector #contemporary #contemporaryartcollectors

Richard Mosse (Irish, born 1980), Men of Good Fortune, 2011, digital c-print.