Richard Mosse: Infra

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O'Hagan, Sean (15 February 2017). "Richard Mosse: Incoming review – shows the white-hot misery of the migrant crisis". The Guardian. London . Retrieved 15 February 2017.

Aperture Foundation and Pulitzer Center on Crisis Reporting are publishing a monograph of Richard Mosse’s Infra, with an introduction by Adam Hochschild, which will be available to view at the gallery for the duration of the exhibition. Conrad, Heart of Darkness, p. xxvi and Ian Watts, Conrad in the Nineteenth Century, London: Chatto and Windus, 1980, pp. 276 and 279.On his journeys in eastern Congo between 2010-11, Mosse photographed rebel groups constantly switching allegiances, fighting nomadically in a jungle war zone plagued by frequent ambushes, massacres, and systematic sexual violence. These narratives urgently need telling but cannot be easily described.

Artificial and human intelligence, low resolutions and boids: 20 years of Random International in AmsterdamVincent, Alice (12 May 2014). "Richard Mosse wins Deutsche Börse Photography Prize 2014". The Daily Telegraph . Retrieved 13 May 2014. The Enclave: A Powerful Documentary on The Congo Shot Entirely on Infrared Film". petapixel.com. 2 June 2013 . Retrieved 13 April 2021. Rancière, The Emancipated Spectator, trans. Gregory Elliott, London and New York: Verso, 2009, pp. 83-105; p. 96 The ineffable refers to a philosophical term with roots in Romanticism and the aesthetic of the sublime. Jacques Rancière argues that today’s understanding of the sublime in contemporary art derives from Jean-François Lyotard’s misreading of Kant in The Inhuman (1991), for whom the inability of the faculty of the imagination to picture or fathom what it has been shown gives way to the moral imperative to understand through the higher faculty of reason.34

Now on show at Italy’s Fondazione Mast, ‘Displaced’ is Mosse’s first anthological exhibition, consisting of more than 70 large-format photographs and two large-scale video installations. Rather than fictionalising the place, an element of fiction – or at least ‘non-reality’ – is introduced by Mosse into the filmic realm. This shift is not achieved by manipulating his work on a computer, or by scripting his content, but rather by the artist’s selection of a particular set of tools and materials. Emma Sumner finds darkness and light in a pair of photographic exhibitions depicting the horrors of war…For centuries, the Congo has compelled and defied the Western imagination. Richard Mosse brings to this subject the use of a discontinued military surveillance technology, a type of color infrared film called Kodak Aerochrome. Originally developed for camouflage detection, this aerial reconnaissance film registers an invisible spectrum of infrared light, rendering the green landscape in vivid hues of lavender, crimson, and hot pink.

In his interview with Art Review, Mosse draws together the sometimes "entwined" history of Ireland and of the Congo, where peacekeeping troops have been sent since the sixties and where, in that same decade, occurred the greatest loss of Irish life. Mosse was still a teenager when the father of his best friend died with a bullet to the head while working with the UN in Congo. The Enclave (2013) – a collaboration with cinematographer Trevor Tweeten and composer Ben Frost. Made using 16mm infrared film transferred to HD video. Shown as an installation comprising multiple double-sided screens installed in a darkened chamber. [8] [9] Mosse’s work in The Congo has been eye-opening. He considers himself an artist who happens to work where many photojournalists also spend their time, and so his ultimate goal is to capture beauty in the midst of all the devastation.Watts, ibidem, pp. 276 and 279. Edward Said rescued Heart of Darkness from being instrumentalised as a trope for the ineffable and alterity. Edward Said, Representations of the Intellectual: The 1993 Reith Lectures, New York: Vintage Books, 1994; Abdirahman