Exploring the intersection of photography and Art Brut, this book delves into Roger Ballen's career while highlighting his unique artistic vision. It showcases a curated selection of his photographs, alongside installations created specifically for the Halle Saint Pierre exhibition. Additionally, it includes images of objects and artworks from Ballen's personal Art Brut collection, providing a comprehensive look at his influences and contributions to contemporary art.
Focusing on the vanishing essence of 'Old Africa,' the book captures Roger Ballen's journeys through South Africa's small towns from 1982 to 1986. Through his lens, he documents the unique landscapes, cultures, and communities that define these areas, offering a poignant reflection on their rapid transformation and the stories that may soon be lost. Ballen's exploration highlights both the beauty and the challenges faced by these towns, preserving their legacy in a changing world.
Scripts and Strategies in Hypnotherapy Volumes 1 and 2 have been combined to
create a single comprehensive source of scripts and strategies that can be
used by hypnotherapists to build a successful framework for any therapy
session.
This monograph showcases the innovative artistry of a prominent contemporary image-maker, featuring a collection of unique visual works. The updated edition includes previously unpublished pieces, offering fresh insights into the artist's creative evolution and distinctive style. It serves as both a comprehensive overview of the artist's contributions to the field and a celebration of their ongoing influence in the world of visual art.
An exploration of “the Ballenesque” over the four-decade-long career of this daring artist—representing an entirely fresh edit by Roger Ballen himself and featuring many previously unpublished images Roger Ballen is best known for his psychologically powerful and intricately layered images that exist in a space between painting, drawing, installation, and photography. Ballenesque is the first comprehensive retrospective of his work. Separated into four parts, Ballenesque takes readers on a chronological journey through Ballen’s entire oeuvre, including both iconic images and previously unpublished works. Part I explores Ballen’s formative artistic influences and his later rediscovery of boyhood through photography, culminating in his first published monograph, Boyhood, in 1979. Part II charts the period between 1980 and 2000, during which time he released his seminal monograph Outland. Part III covers the years 2000–2013, when Ballen achieved global recognition and his work began to veer away from portraiture altogether. Finally, in Part IV, Ballen reflects on his career. With more than 300 photographs and an introduction by Robert JC Young, this book provides both a new way of seeing Ballen’s work for those who already follow his career and a comprehensive introduction for those encountering his striking photographs for the first time.
Exploring the interplay between photography, drawing, the mind, and the body, this book delves into the author's observations of communities engaging in the act of drawing on windows. The collection of photographs captures a unique realm that blends earthly and otherworldly elements, intertwining physicality with spirituality, and invites readers to reflect on the deeper connections between art and human experience.
Combining poetry and photography, this work evokes haunting visions and deep yearnings for an existence beyond our own. It explores both ancient and contemporary interpretations of the afterlife, creating a thrilling experience that delves into the mysteries surrounding death and what may lie beyond.
Das Museum Tinguely zeigt mit „Roger Ballen. Call of the Void“ eine Ausstellung, die als achte Folge der Serie Danse macabre im Vorraum Bezug nimmt auf Jean Tinguelys Spätwerk „Mengele Totentanz“ (Kehrer 2017). Dabei ist der Ansatzpunkt hier wieder ein anderer – während es bei „Anouk Kruithof. Universal Tongue“ der Tanz oder bei „Bruce Conner. Light out of Darkness“ die Apokalypse war, die den Anstoß zur Gegenüberstellung gab, ist es im Falle von Roger Ballen die verstörende, irritierende Stimmung seiner Fotografien und Installationen. Ballen hinterfragt in seinem Werk die menschliche Psyche und stellt sich selbst wie auch dem Betrachtenden Fragen nach dem Sein und dem Werden. Ballen schreibt dazu: «Meine Ausstellung, der ich bewusst den Titel „Call of the Void“ (Ruf der Leere) gegeben habe, ist ein Versuch, sich mit den meiner Meinung nach zentralen Fragen der menschlichen Existenz auseinanderzusetzen: Woher kommen wir? Weshalb sind wir hier? Und wohin gehen wir, wenn wir sterben? Ich habe zwar keineswegs den Anspruch, mit Antworten oder auch nur Fragen auf diese tiefgreifenden und schwierigen Themen dienen zu können. Ich hoffe aber, dass meine Ausstellung die Wahrnehmung des Betrachters herausfordern und somit einen Prozess der Selbsterkundung in Gang setzen wird, der mit einer Hinterfragung des Selbstverständnisses verbunden ist». Die Ausstellung besteht aus zwei Teilen, die sich aber gegenseitig bedingen und befruchten. Einerseits hängen an den Wänden Fotografien aus den letzten analog aufgenommenen Serien Ballens Asylum of the Birds und Roger's Rats, und andererseits wird das Zentrum des Raumes von einer Hütte beherrscht, eine ärmliche Behausung von Menschen am Rande der Gesellschaft, wie sie oft in Roger Ballens Werk vorkommen.
