Clement Krass lot de 2 livres : Across the Cut. RRB, 2019. " - Lot 44

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  3. Clement Krass lot de 2 livres : Across the Cut. RRB, 2019. " - Lot 44
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Clement Krass lot de 2 livres : Across the Cut. RRB, 2019. " - Lot 44
Clement Krass lot de 2 livres : Across the Cut. RRB, 2019. "The Cut" is an artificial waterway which divides Bristol. The pictures were taken mostly on the South side a few days before the Brexit vote in June 2016. Krass Clement’s new work stems from a short visit he made to Bristol in June 2016. He had been invited to speak at Photobook Bristol and also to discuss a potential future publishing project. He had not planned this book but it developed during his stay. Unlike many of his other works, he started editing and sequencing his images as soon as he returned to Denmark. The time in Bristol coincided with the run-up to the UK referendum on future membership of the European Union. The notion that Britain may leave the EU troubled Krass Clement deeply, and no doubt it influenced his mood and perception as he was taking the photographs. The ambiguities of being left behind, loneliness, feelings of limbo and powerlessness are present in all of Krass Clement’s books and are not place-specific, but nonetheless few show this as powerfully as his images around Bristol’s Cut. "The Cut" is an artificially constructed waterway which was built in the early 19th Century to help to create a floating harbour. It is about 3 kilometers long and divides Bristol, with the traditionally more affluent part being located on the North side. Most of Krass Clement’s pictures were taken on the South side. Belfast. RRB, 2022. In 1991, Krass Clement travelled to Ireland at the invitation of the Tyrone Guthrie Centre, a trip which resulted in Clement’s best known publication ”»Drum«. This work, shot in a single evening on just three and a half rolls of film, has typified Clement’s work ever since. Clement works quickly, moving through spaces as a visitor and an observer, working as unobtrusively as possible. Clement spent several weeks in Ireland applying his philosophy of process to each of the places he visited, most notably »Dublin«, two hours South of Drum village, and published by RRB Photobooks in 2017, and »Belfast«, this time two hours to the North, and published now for the first time. Clement’s process remained the same for his time in Belfast, he moved through the city turning his lens on the faces and landscapes he found there; the children going to school, the shop fronts and the windows of private homes, the moments of open space between buildings. Yet in Belfast, the mood is different, not by design or by a change in approach but by the nature of the subject. Belfast in 1991 had seen decades of conflict, the ceasefire of 1994 still some years away, which, coupled with the decline of the ship building industry and economic policy of the later 20th Century had left great areas of Belfast in urgent need of regeneration. British soldiers wait in the front yards of private homes, children play in derelict-looking streets, Clement moves through them and documents without making judgement; he is not a journalist looking for an angle or a conflict photographer seeking to expose the truth on the ground. In »Belfast«, Clement revisits his work over 30 years on, gathering 114 unpublished images and carefully placing then in sequence, offered without caption or comment. Clement’s work invites the viewer to take his place, to spot the lone figure walking through the scene, and provides space for the photographs to be read.
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