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2001年，在挪威的一个小村庄Tessanden里，居住着一对兄弟Harald和Mathias。虽然两个人都已是耄耋之年（那时候，Harald今年75岁，Mathias已经80岁了），但是他们仍在为一家电厂工作，一个是伐木工人，另一个是工匠。他们每天的工作就是劈柴、搬运木头和烧木头。他们每周都会去一趟当地的超市，把包里塞满日常所需的食物。
Mathias曾经在奥斯陆工作过2个时间，但是他一点也不喜欢那里。Harald在利勒哈莫尔的一个宾馆里度过了他有生以来最痛苦的一个夜晚。这么多年来，他们在小村庄里过着规律而安逸的生活，日复一日。尽管Mathias有一次说，变化始终都在发生，不过这些变化可能会在某一天终结——当房间里有一个有活水的室内卫生间。在寒冷的一天，气温只有零下20度，Harald因为哮喘发作而病逝。Mathias在这座房子里孤独的生活了3年多之后，他搬进了Vågå的养老院。Mathias在2007年去世。
这样的生活方式在当今的挪威几乎已不复存在，只是永远的留存在了摄影师Elin Høyland的底片上。
When Elin Høyland heard about two elderly brothers, Harald and Mathias Ramen, living together in Tessanden, a small hamlet in rural Norway, she approached them to see if they would collaborate with her on a photographic project about their lives. The result is a fascinating and warmly human study of a way of life that has now almost entirely disappeared.
Harald (75) and Mathias (80) had always lived on the smallholding in which they were born. Neither had married. Mathias once worked in Oslo for two months, but hadn’t like it, whilst Harald spent one night, ‘the worst of his life,’ he would say, in a hotel in Lillehammer, some three hours away. They’d worked for an electricity company, as loggers and also as carpenters, but now much of their time was taken up just managing firewood for their home. As Harald said, they chopped wood, carried wood and burned wood. At least twice a day, they also fed wild birds in the twenty bird boxes that they monitored. Their days followed a predictable and comforting routine. In their free time they listened to the radio or read the local paper. Little changed from year to year, though Mathias once said that changes were happening the whole time and it would probably end up with them getting an inside toilet with running water. Harald died from an asthma attack while shovelling snow in conditions of –20ºc. Mathias continued to live alone in the house until he moved into an old people’s home. He died in 2007.
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悲伤
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日本摄影师Muga Miyahara的“床の间（Tokonoma）”系列（床の间是设置在和室靠墙约半叠或一叠大小的空间，通常是木制地板，比和室榻榻米稍微高一点，墙上挂着挂轴，地板摆饰插着当令鲜花的花器。在古代是祭拜神佛的场所，室町时代至战国时代末期，演变成特意在和室内设置“床の间”，当做一种装饰空间）。床の间系列体现了他对传统的解读，他将这块受人尊敬的区域作为舞台，在此设置了15种极富禅意且充满隐喻的场景，平静的画面中潜藏着对暴力的隐射与控诉。
Japan photographer Muga Miyahara’s interpretation of tradition is most noteworthy in his works titled “Tokonoma”. The term refers to a built-in recessed space in a typical Japanese house, usually decorated with a calligraphic or pictorial scroll and an Ikebana flower arrangement. In Miyahara’s vision the Tokonoma becomes a stage presenting a cornucopia of different objects, inviting the viewer to explore a variety of ideas and thoughts. Although the arrangements are zen-like, very pure and simple, they have the effect of disturbing the viewer rather than expressing serenity and tranquillity. A lonely artificial leg, an empty shirt on strings, or knives hanging from the ceiling. Everyone can discover the invisible layers behind the objects for himself. The picture of three bombers and an ascending explosion cloud can – apart from obvious associations with war, air raids and nuclear attacks – be the starting point for various reflections about violence.
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©Roger Ballen, Shadow Chamber series
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Roger Ballen 1950年出生于纽约，至今已在南非的约翰斯内堡居住了接近30年。在形成他1990年代末的戏剧性、富有表情的摄影风格之前， Ballen作为一个地质学家，拍摄居住在南非乡村的白人和住家。他的著作包括《Boyhood, Dorps》、《Platteland, Outland》，以及由Phaidon出版社出版的《Shadow Chamber》。他的作品在Stedelijk Museum（阿姆斯特丹），the Centre Georges Pompidou （巴黎），the Victoria and Albert Museum （伦敦），以及the Museum of Modern Art （纽约）均有展出。
2007年，在《SEESAW》杂志的邀请下，诞生了这篇访问，以下是第二部分（翻译_Luke）。
ROGER BALLEN was born in New York in 1950, and has lived in Johannesburg, South Africa, for nearly thirty years. Working as a geologist, Ballen began to photograph the homes and white residents of rural South Africa before developing his more theatrical and expressive style in the late-1990s. His books include Boyhood, Dorps, Platteland, Outland and Shadow Chamber, which has just been published in paperback by Phaidon. His work is included in the collections of the Stedelijk Museum (Amsterdam), the Centre Georges Pompidou (Paris), the Victoria and Albert Museum (London), and the Museum of Modern Art (New York). A conversation with Roger Ballen (2007), by Chas Bowie. via seasaw - Part 2.
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©Roger Ballen, Shadow Chamber series
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Roger Ballen 1950年出生于纽约，至今已在南非的约翰斯内堡居住了接近30年。在形成他1990年代末的戏剧性、富有表情的摄影风格之前， Ballen作为一个地质学家，拍摄居住在南非乡村的白人和住家。他的著作包括《Boyhood, Dorps》、《Platteland, Outland》，以及由Phaidon出版社出版的《Shadow Chamber》。他的作品在Stedelijk Museum（阿姆斯特丹），the Centre Georges Pompidou （巴黎），the Victoria and Albert Museum （伦敦），以及the Museum of Modern Art （纽约）均有展出。
Chas Bowie是一位作家和艺术家，现住于美国俄勒冈州城市波特兰，《Portland Mercury》杂志的艺术编辑。他的摄影作品亦曾在多处画廊、艺术中心展出。他创建了线上杂志Your Daily Awesome，并担任主笔。
2007年，在《SEESAW》杂志的邀请下，诞生了这篇访问，以下是第一部分（翻译_Luke）。
ROGER BALLEN was born in New York in 1950, and has lived in Johannesburg, South Africa, for nearly thirty years. Working as a geologist, Ballen began to photograph the homes and white residents of rural South Africa before developing his more theatrical and expressive style in the late-1990s. His books include Boyhood, Dorps, Platteland, Outland and Shadow Chamber, which has just been published in paperback by Phaidon. His work is included in the collections of the Stedelijk Museum (Amsterdam), the Centre Georges Pompidou (Paris), the Victoria and Albert Museum (London), and the Museum of Modern Art (New York). A conversation with Roger Ballen (2007), by Chas Bowie. via seasaw - Part 1.
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“一张照片到底能够表现多少真实和思想主张呢？我不知道，我只知道我不愿意停下来，在这个现实与虚幻交汇的世界，无数次地按下我手中的相机，去寻求与某个事物精神上的突然邂逅，以得到一种暂时的逃脱和无比快感。我继续着，并深深地沉溺其中……不管我拍摄的是一片杂乱的树林；一个走向好似绿野仙踪的少年背影；一条针脚缝得像拉链的大腿，都只是我与现实相撞的刹那，内心颤抖的印记……” - 孙彦初
孙彦初1978年生于河南周口，现工作和生活在郑州。6月4日，孙彦初个展开幕之日，他与假杂志合作出版的摄影书《Obsessed》也正式首发，全书共64页，限量500本，内附57×84cm大海报，点击了解购买详情。
Sun Yanchu is a Chinese photographer born in 1978 in Zhoukou, Henan Province. He now lives in Zhengzhou, Henan. OBSESSED, photographs by Sun Yanchu 2004-2011, is the first photo book published by Jiazazhi Publish Project (J.P.P.). More informations on jiazazhi.com.
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Traces系列是女性身体和自然环境影像的交错并置，模糊了时间、地点和身份，唯独留下了生活中微妙的痕迹：透明窗帘、紧身衣、在上空盘旋的萤火虫……灰调和局部特写营造出一种亲密的、隐秘的、稍纵即逝的、脆弱的、偷窥似的氛围。Aaron McElroy是一位纽约摄影师，出生于1978年。
Aaron McElroy is an American photographer living and working in New York, NY. The photographic series Traces juxtaposes visions of the female body and nature, shapes caught in the act of living. There are no indications of place, time or identity, the focus is on subtle traces left by life: the transparency of a curtain, laddered tights, and fireflies hovering over a field. The subdued tones of black and white and the closed field of vision give an intimate feel to the series, an almost voyeuristic sensation that grips the viewers, drawing them into the intriguing atmosphere of secret interiors and exteriors. Emerging from the photographs comes grayish grit. The photographs come into recognition; appealing, seductive half-dreams, yet they retain all the transitory vulnerability of humans dazed in their reality.
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Point Never Magazine是一本关于海洋、冲浪、自然、滑板和都市文化的独立杂志，32p黑白印刷，每季一期，至今已出版了3期。
Point Never is an independent imprint devoted to the culture of surfing, the sea, nature and skateboarding, the city, urbanity; A portrayal of truths, mythologies, abstractions, antipodes, commonalities and communities.
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