Coverbild Peter Bialobrzeski
Peter Bialobrzeski
Informal Arrangements
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Texts by: Indra Wussow, Peter Bialobrzeski
Graphic Design: Kathrin Hufen, Peter Bialobrzeski
Artist: Peter Bialobrzeski
German, English
May 2010 , 96 Pages , 0 Ills.
hardcover
1mm x 1mm
ISBN: 978-3-7757-2660-3
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| South African shantytown shacks in the immediate vicinity of the new World Cup stadium Soccer City
Peter Bialobrzeski’s latest project, Informal Arrangements, features the interiors of South African shantytown shacks. The photos were taken in 2009 in Kliptown, a suburb of Soweto. It was here, in 1955, that members of the Freedom Charter, the anti-apartheid movement, agreed upon a ten-point program. While the program remained illegal until 1990, it is today an integral part of the South African constitution. Despite the historical mandate, the lives of the inhabitants of these informal settlements have hardly improved in the last fifty years. The linear distance between Kliptown and Soccer City, Johannesburg’s new soccer stadium built especially for the 2010 FIFA World Cup, is less than ten miles. On the international market, admission to just one game is more expensive than all of the furnishings in one of the shacks in Bialobrzeski’s pictures. These photographs speak of the desire to arrange one’s home comfortably using the few means available.Peter Bialobrzeski (*1961 in Wolfsburg) studied communication design with an emphasis on photography from 1988 to 1993 at the Folkwangschule Essen and at the London College of Printing. His works have been exhibited in Europe, the US, Asia, and Africa. He has received numerous awards and honors, including the World Press Photo Award in 2003 and 2010, the Deutscher Fotobuchpreis in 2004, 2006, and 2010, the "Schönste deutsche Bücher" award in 2004, and the Dr. Erich Salomon Award of the Deutsche Gesellschaft für Photographie (DGPh) in 2012. Since 2002 he has been a professor of photography at the University of the Arts Bremen. Peter Bialobrzeski lives in Hamburg. Peter Bialobrzeski (*1961 in Wolfsburg) studied communication design with an emphasis on photography from 1988 to 1993 at the Folkwangschule Essen and at the London College of Printing. His works have been exhibited in Europe, the US, Asia, and Africa. He has received numerous awards and honors, including the World Press Photo Award in 2003 and 2010, the Deutscher Fotobuchpreis in 2004, 2006, and 2010, the "Schönste deutsche Bücher" award in 2004, and the Dr. Erich Salomon Award of the Deutsche Gesellschaft für Photographie (DGPh) in 2012. Since 2002 he has been a professor of photography at the University of the Arts Bremen. Peter Bialobrzeski lives in Hamburg.Peter Bialobrzeski (*1961 in Wolfsburg) studied communication design with an emphasis on photography from 1988 to 1993 at the Folkwangschule Essen and at the London College of Printing. His works have been exhibited in Europe, the US, Asia, and Africa. He has received numerous awards and honors, including the World Press Photo Award in 2003 and 2010, the Deutscher Fotobuchpreis in 2004, 2006, and 2010, the "Schönste deutsche Bücher" award in 2004, and the Dr. Erich Salomon Award of the Deutsche Gesellschaft für Photographie (DGPh) in 2012. Since 2002 he has been a professor of photography at the University of the Arts Bremen. Peter Bialobrzeski lives in Hamburg. Peter Bialobrzeski (*1961 in Wolfsburg) studied communication design with an emphasis on photography from 1988 to 1993 at the Folkwangschule Essen and at the London College of Printing. His works have been exhibited in Europe, the US, Asia, and Africa. He has received numerous awards and honors, including the World Press Photo Award in 2003 and 2010, the Deutscher Fotobuchpreis in 2004, 2006, and 2010, the "Schönste deutsche Bücher" award in 2004, and the Dr. Erich Salomon Award of the Deutsche Gesellschaft für Photographie (DGPh) in 2012. Since 2002 he has been a professor of photography at the University of the Arts Bremen. Peter Bialobrzeski lives in Hamburg.
»Bialobrzeski is our witness to social injustice, aspirations and futility. Again, his depictions of Africa are not without hope. He acts as our eyes, zooming in on details of a home where hope remains, a home decorated with love and pride, as comfortable as it is in the inhabitant's power to make it.«
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