Overview participating exhibitions
The Sweet and Sour Story of Sugar - The Exhibition
2013
The Sweet and Sour Story of Sugar - The Exhibition
Carl De Keyzer
Following the steady growth in national income, Indonesia is changing rapidly. A new society has arisen on top of the remnants of Dutch colonial structures. Carl De Keyzer documented everything pertaining to sugar in present day Indonesia, from Belgian chocolate stores to old sugar villages in decline. His work manifests the ambiguity between production and consumption, between tradition and modernity, and between the local and global economies.
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Sugar Illustrated
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Sugar Illustrated
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Sugar Illustrated
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Sugar Illustrated
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Sugar Illustrated
The Sweet and Sour Story of Sugar
2012
The Sweet and Sour Story of Sugar
Carl De Keyzer
Carl de Keyzer
With decades of steady growth in national income, the face of Indonesia is changing rapidly. Remnants of the Dutch colonial structures remain visible, but on top of this a new society has arisen. In the production and consumption of sugar this ambiguity between ‘tradition’ and ‘modernity’, between local and global can be observed everywhere in the country. From local sweet markets and traditional sugar factories in Central and East Java to modern consumption patterns in the cities that adapt to the needs of the new middle class.
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Sugar Illustrated (Indonesia 2011)
A bag and dog shaped cake at a chocolate and cake shop in Pacific Place, a shopping mall in Jakarta.
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Sugar Illustrated (Indonesia 2011)
Locals gathered at Alun-Alun Selatan, a large public space just near the palace of the Yogyakarta sultan, Yogyakarta.
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Sugar Illustrated (Indonesia 2011)
A sugar storage warehouse in Asembagoes, Situbondo, East Java.
Congo (belge)
2010
Congo (belge)
Carl De Keyzer
Carl de Keyzer
In Congo (belge) De Keyzer connects this colonial legacy to the chaos and disintegration in the modern Congo. As the backdrop in his photographs, the architectural and infrastructural remains provide a surreal dimension. The ruins in the idyllic landscape and the new uses to which the old structures have been put – with no small effort and invention – wryly symbolise the desperate condition of the country.
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CONGO (BELGE)
In Congo (belge) De Keyzer connects this colonial legacy to the chaos and disintegration in the modern Congo. As the backdrop in his photographs, the architectural and infrastructural remains provide a surreal dimension. The ruins in the idyllic landscape and the new uses to which the old structures have been put – with no small effort and invention – wryly symbolise the desperate condition of the country.
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CONGO (BELGE)
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CONGO (BELGE)
Congo belge en images
2010
Congo belge en images
Carl De Keyzer
Carl de Keyzer
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KMMA Tervuren; photo Flamand, s.d., © KMMA Tervuren
Antelope calf being bottle fed.
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photo Le K[?], 1903, © KMMA Tervuren
Uele, Van Kerckhovenville. Prisoners demolish a termite nest.
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photo F. Michel [?], 1899, © KMMA Tervuren
Eastern Province. The biggest canyon in the valley of Diwundi.
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photo F. Michel, 1897, © KMMA Tervuren
Boma. Sitting of the court.
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photo H. Brepoels, 1928, © KMMA Tervuren
Bookuma. Punishment for adultery: an arrow is driven through the leg into a
wooden block.
The Homage
2003
The Homage
Carl De Keyzer
Carl de Keyzer
'Reality is one great spectrum, you can do with it what you want', says Carl de Keyzer. Starting out as a street photographer searching for the one perfect composition, he now prefers to distil almost theatrical scenes from everyday reality. But his commitment remains the same: getting a handle on great social phenomena such as religion, politics and the news. During Noorderlicht he is showing photographs he made in Russian penal colonies. The colonies are part of the network of 'correctional work camps' that were known in the West as the Gulag. Previously used primarily for confining political dissidents, today the camps accommodate convicted criminals. De Keyzer (b. 1958) began the reportage three years ago when he arrived at 'Re-education colony number 27' in Krasnoyarsk as a workshop instructor. There he saw the cheerful ironwork of the gate, a small wooden windmill, colourful wall murals - all right up his alley.
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ZONA
'Reality is one great spectrum, you can do with it what you want', says Carl de Keyzer. Starting out as a street photographer searching for the one perfect composition, he now prefers to distil almost theatrical scenes from everyday reality. But his commitment remains the same: getting a handle on great social phenomena such as religion, politics and the news.
During Noorderlicht he is showing photographs he made in Russian penal colonies. The colonies are part of the network of 'correctional work camps' that were known in the West as the Gulag. Previously used primarily for confining political dissidents, today the camps accommodate convicted criminals.
De Keyzer (b. 1958) began the reportage three years ago when he arrived at 'Re-education colony number 27' in Krasnoyarsk as a workshop instructor. There he saw the cheerful ironwork of the gate, a small wooden windmill, colourful wall murals - all right up his alley.
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ZONA
Global Detail
2003
Global Detail
Carl De Keyzer
Carl de Keyzer
Tableaux d'Histoire is a project that has already run for some years, in which the frequently honoured Magnum photographer De Keyzer (b. 1958) comments on the concept of 'news' in an unorthodox and ironic manner. During stereotypical 'press events' such as an international summit in Davos or a debutante ball in Paris, he records not what happens in front of the footlights, but the spectacle that takes place on the sidelines, or behind the scenes. The composition, lighting and large format of the photographs refers explicitly to 19th century history painting. Obviously, he only shows or publishes the results much later, when the event itself has long ceased to have any news value.
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TABLEAUX D'HISTOIRE
Tableaux d'Histoire is a project that has already run for some years, in which the frequently honoured Magnum photographer De Keyzer (b. 1958) comments on the concept of 'news' in an unorthodox and ironic manner. During stereotypical 'press events' such as an international summit in Davos or a debutante ball in Paris, he records not what happens in front of the footlights, but the spectacle that takes place on the sidelines, or behind the scenes. The composition, lighting and large format of the photographs refers explicitly to 19th century history painting. Obviously, he only shows or publishes the results much later, when the event itself has long ceased to have any news value.
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TABLEAUX D'HISTOIRE
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TABLEAUX D'HISTOIRE
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TABLEAUX D'HISTOIRE
