MY LAST SIGNED COPY!
"Photobook 'Fast Daheim' (Almost Daheim) by the Cologne photographer Daniel GIESEN is a melancholic b & w photo book with pictures from Cologne and the surrounding countryside / the Netherlands.
The volume is divided into three chapters, 'Memories; & Back' (about 120 pages), 'In the Footsteps of the Dreams of the Honey Cake Horse' (about 65 p.), And 'Almost Home' (about 30 p.).
The last chapter, though the shortest, gave the book its name; the photographer / viewer approaches (again) the home. Shown are superficially casually taken photos of a possibly wandering - documentary close-ups, not alienated.
In contrast, Chapter 2, which already seems artistic by its title. Here you will find unusual perspectives, alienations, excerpts and still lifes that can almost hide their geographical origin for non-Cologneers anyway and for locals.
The beginning of the volume, which makes up well over half the pictures and is titled 'memories & back', reveals the home of the photos. However, the pictures of the cathedral and the surrounding area, for example, lack any tourist significance. On the contrary, Daniel GIESEN is on the road in the city and it seems as though he is photographing with a hurry, so many pictures are intentionally out of focus. But GIESEN stylistically follows his example, Daido MORIYAMA; he quotes his manner without copying it. So the paper used is rather dull and the black and white contrasts in 'almost at home' much milder.
Shortly before the end of the press, Werner Schäfke also recorded 'Almost Home' in his volume 'Köln's Photobooks'; an atypical Cologne band, Rather in the tradition of a CHARGESHEIMER than that of an August SANDER!" (© Richard G. SPORLEDER)
Review:
"'Fast Daheim' is a kind of gloomy-melancholy walk through the cathedral city and other (urban) landscapes. His photographic style is very interesting because Daniel GIESEN often between strictly subjective and blurred Hipshots with partly different image levels on one side and On the other hand, it does not bother us, but on the contrary is even an enrichment for the book, which is completely in black and white.
On the whole, his paintings are characterized by a constant, impending, overlapping levels, walls, fences and windows. And sometimes from everything together, as in the photo of the chain link fence, behind the addition of a screen made of reeds. The only gap in it is in turn filled by a tree, so that it is definitely impossible for the viewer to get through. For bleak "garnish" weeds are still growing on the ground.
But even if GIESEN once started to sort of 'overview', the picture disappears in the fog like the view from the Drachenfels down to the Rhine (which incidentally took me a few seconds to recognize the place, although only two weeks ago before even standing there myself!).
Or GIESEN photographs the expanse of a North Sea beach - in such a way that the walkers in the background are just as big (or small!) As the shells in the foreground. Hope looks somehow different, but poetry can not be criticized GIESEN.
At the same time, Daido MORIYAMA's influence on his work can not be overlooked - and GIESEN also quotes the Japanese in a picture by showing the exhibition poster for the MORIYAMA retrospective in the SK Foundation Culture. "(© Damian Zimmermann, in: 'Almost at home' by Daniel GIESEN from 23.06.2010)
"Photobook 'Fast Daheim' (Almost Daheim) by the Cologne photographer Daniel GIESEN is a melancholic b & w photo book with pictures from Cologne and the surrounding countryside / the Netherlands.
The volume is divided into three chapters, 'Memories; & Back' (about 120 pages), 'In the Footsteps of the Dreams of the Honey Cake Horse' (about 65 p.), And 'Almost Home' (about 30 p.).
The last chapter, though the shortest, gave the book its name; the photographer / viewer approaches (again) the home. Shown are superficially casually taken photos of a possibly wandering - documentary close-ups, not alienated.
In contrast, Chapter 2, which already seems artistic by its title. Here you will find unusual perspectives, alienations, excerpts and still lifes that can almost hide their geographical origin for non-Cologneers anyway and for locals.
The beginning of the volume, which makes up well over half the pictures and is titled 'memories & back', reveals the home of the photos. However, the pictures of the cathedral and the surrounding area, for example, lack any tourist significance. On the contrary, Daniel GIESEN is on the road in the city and it seems as though he is photographing with a hurry, so many pictures are intentionally out of focus. But GIESEN stylistically follows his example, Daido MORIYAMA; he quotes his manner without copying it. So the paper used is rather dull and the black and white contrasts in 'almost at home' much milder.
Shortly before the end of the press, Werner Schäfke also recorded 'Almost Home' in his volume 'Köln's Photobooks'; an atypical Cologne band, Rather in the tradition of a CHARGESHEIMER than that of an August SANDER!" (© Richard G. SPORLEDER)
Review:
"'Fast Daheim' is a kind of gloomy-melancholy walk through the cathedral city and other (urban) landscapes. His photographic style is very interesting because Daniel GIESEN often between strictly subjective and blurred Hipshots with partly different image levels on one side and On the other hand, it does not bother us, but on the contrary is even an enrichment for the book, which is completely in black and white.
On the whole, his paintings are characterized by a constant, impending, overlapping levels, walls, fences and windows. And sometimes from everything together, as in the photo of the chain link fence, behind the addition of a screen made of reeds. The only gap in it is in turn filled by a tree, so that it is definitely impossible for the viewer to get through. For bleak "garnish" weeds are still growing on the ground.
But even if GIESEN once started to sort of 'overview', the picture disappears in the fog like the view from the Drachenfels down to the Rhine (which incidentally took me a few seconds to recognize the place, although only two weeks ago before even standing there myself!).
Or GIESEN photographs the expanse of a North Sea beach - in such a way that the walkers in the background are just as big (or small!) As the shells in the foreground. Hope looks somehow different, but poetry can not be criticized GIESEN.
At the same time, Daido MORIYAMA's influence on his work can not be overlooked - and GIESEN also quotes the Japanese in a picture by showing the exhibition poster for the MORIYAMA retrospective in the SK Foundation Culture. "(© Damian Zimmermann, in: 'Almost at home' by Daniel GIESEN from 23.06.2010)
- Format
- HC (no dust jacket, as issued), 22 x 30,5 cm., 200 pp., b/w ills., bilingual text: German / English, Ltd. to 300 copies