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the latest photobooks picks by Der Greif, discover a book from Munich-based queer photographers’ project “Mit Euren Spuren”",[],"h2",{"_key":589,"_type":321,"children":590,"markDefs":595,"style":329},"bf10d468e96b",[591],{"_key":592,"_type":325,"marks":593,"text":594},"dda572deeacf0",[],"",[],{"_key":597,"_type":321,"children":598,"markDefs":603,"style":329},"8f002c00e466",[599],{"_key":600,"_type":325,"marks":601,"text":602},"059c229414160",[],"“In Focus” is Der Greif’s photobook review series, spotlights our picks from the current open call for submissions and our community artists' most recent publications. 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encounters process for the project was a multifaceted endeavor that relied on a combination of institutional networking, community outreach, and digital navigation. Giordano notes that finding participants for such a long-term commitment \"was not the easiest task,\" a challenge that forced the team to remain agile and creative. While some connections were forged through established historical channels, such as meeting Sabrina Berndt via the Forum Queeres Archiv in Munich, other participants were reached through targeted open calls sent to local lesbian organizations and the gay seniors' group Gay and Gray. When traditional outreach stalled, Mara Fischer, the book’s designer, turned to modern social infrastructure, meeting Kornelia Kohler through a dating platform while ensuring it was \"clearly communicated from the very beginning\" that the interaction was for the project. Ultimately, this approach was essential to the project's success, as Fischer observes that the team \"ended up using very different strategies\" to assemble their cohort of participants.",[],{"_key":804,"_type":321,"children":805,"markDefs":810,"style":329},"b475a9d9d337",[806],{"_key":807,"_type":325,"marks":808,"text":809},"b24848d692f50",[],"The difference between the photographers’ approaches reverberates through the work. Giordano knew of Sabrina before they began working together on the project. He had originally imagined working with a gay couple until Sabrina, a renowned Munich-based trans woman asked to be part of it. Fischer, photographing Kornelia Kohler, leaned into a more direct affinity. \"She is a lesbian older woman, so I can relate to that experience in some ways,\" Fischer says. Josef Wolfgang Ohlert already had access to his project partner Richard Grammel, with whom he had already been living for some time as his primary carer.",[],{"_key":812,"_type":321,"children":813,"markDefs":818,"style":329},"e38c110a7b00",[814],{"_key":815,"_type":325,"marks":816,"text":817},"5719c56619c90",[],"What emerged from these encounters is a book of six chapters, one for each photographer and their subject, introduced by name and year of birth. Giordano photographed Sabrina at home, at friends' places, and walking the dog in the streets of Munich. “It felt important to show her more private side,\" he mentions. Fischer, instead, wove images of herself alongside Kornelia’s portraits, in a dialogue bridging the past and present experience. Across all six chapters, archival material is layered onto and displayed alongside the portraits. Some of it has been lent by the seniors themselves; the rest comes from the Forum Queeres Archiv.",[],{"_key":820,"_type":321,"children":821,"markDefs":826,"style":329},"ed222c90f6d1",[822],{"_key":823,"_type":325,"marks":824,"text":825},"0bc42b1b47570",[],"“We received materials from all the protagonists. These included old photos, portraits, and letters. And then we went to the queer archive in Munich, where we found historical material: newspapers, articles about AIDS, and a map of every gay and lesbian bar in the city centre,”– explains Giordano, while Fischer notes that political statements from newspapers were also coming into the combination of materials.",[],{"_key":828,"_type":321,"children":829,"markDefs":834,"style":329},"2e897c9ff9bf",[830],{"_key":831,"_type":325,"marks":832,"text":833},"e7f3aa0e95d20",[],"“We couldn't take anything home from the archive,” – adds Fischer – “so I brought my own scanner. 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Giordano describes the archival layer as the book’s red thread. In “Mit Euren Spuren”, the archive is neither purely decorative nor purely informational, but rather the echo of the legal oppression that conditioned the lives of the protagonists and so many of their generations.",[],{"_key":1020,"_type":321,"children":1021,"markDefs":1026,"style":329},"d4f2669611aa",[1022],{"_key":1023,"_type":325,"marks":1024,"text":1025},"00a6fb060f4b0",[],"When reflecting on the experience of the protagonists of these encounters, Giordano highlights the ‘empowerment’ they felt: the fact that they were given the space to tell their stories. As most of them part of the senior’s queer community of Munich, they are from the same generation and surrounded by people their own age. The project filled that gap between generations in a way bringing them in connection with younger people to share stories and experiences with.",[],{"_key":1028,"_type":321,"children":1029,"markDefs":1034,"style":329},"85762155faea",[1030],{"_key":1031,"_type":325,"marks":1032,"text":1033},"511da47de7a10",[],"“Mit Euren Spuren” returns to Munich at mim – Raum für Kultur for an exhibition during Pride Month the latest iteration of a project that continues to activate itself. Past exhibitions incorporated spreads from the publication directly onto the gallery walls. In others, Traub's filmed interviews, in which photographers and protagonists answer the same set of questions, were installed on facing monitors. Perhaps the project’s most interesting activations took place inside Bavaria's retirement homes, where small exhibitions were accompanied by conversations between makers and protagonists.",[],{"_key":1036,"_type":321,"children":1037,"markDefs":1042,"style":329},"ac111afc5e9b",[1038],{"_key":1039,"_type":325,"marks":1040,"text":1041},"a45f26eb05e30",[],"All photographers are still in touch with their project partners. Giordano still sees Sabrina Berndt around Munich; he and the other participants are sometimes invited to brunch or similar events. “It’s not just the project,\" he says. \"It's, like, friendships.” In this sense, “Mit Euren Spuren” might be less a record of the photographic encounter than its afterlife: the book, in its form, helps preserve this exchange, which seems to run deep in both directions.",[],{"_key":1044,"_type":321,"children":1045,"markDefs":1082,"style":329},"5f91a273b37a",[1046,1051,1056,1060,1065,1069,1073,1078],{"_key":1047,"_type":325,"marks":1048,"text":1050},"f4f246f0450d0",[1049],"strong","Explore more of our community photobooks ",{"_key":1052,"_type":325,"marks":1053,"text":1055},"2b224c10456c",[1049,1054],"52bf4b5f2e9f","here",{"_key":1057,"_type":325,"marks":1058,"text":1059},"c7e8aedca268",[1049],". 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She works at the intersection of art, visual culture and systems of distribution, exploring how culture discourses name exclusion and by whom this is designed. Driven by a personal commitment to understanding the conditions of art contemporary practices, Ilaria has made research into the regional, transnational, and post-national concepts, core frameworks of her curatorial practice.",[],{"_key":1127,"_type":321,"children":1128,"markDefs":1133,"style":329},"a6ce8784bfc6",[1129],{"_key":1130,"_type":325,"marks":1131,"text":1132},"f6c289db0abb0",[],"She was recently curatorial assistant at Lothringer 13 Halle and Goethe Institut Athens for the transnational project “Antifascism: Now.\". 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Far from being neutral, these images contribute to the formation of cultural and territorial identities, reinforcing dominant narratives while also holding the potential to disrupt, reframe, and resist them.",[],{"_key":1334,"_type":321,"children":1335,"markDefs":1340,"style":329},"aa16bb25d12a",[1336],{"_key":1337,"_type":325,"marks":1338,"text":1339},"e82685e159510",[],"Within this context, Der Greif “Local Voices” continues to foreground situated perspectives and collaborative authorship as a way of slowing down image circulation and re-embedding images within their social, cultural, and political conditions. Through an ongoing exercise in co-writing, the project examines how visual practices can counter homogenizing narratives and support more plural, democratic forms of representation by insisting on specificity, locality, and dialogue, foregrounding situated knowledge over dominant or centralized narratives.",[],{"_key":1342,"_type":321,"children":1343,"markDefs":1348,"style":329},"b6255f7751ef",[1344],{"_key":1345,"_type":325,"marks":1346,"text":1347},"59074e3774b00",[],"Svilen Nachev’s work bridges the gap between the gritty realism of post-socialist street photography and a surreal, flash-lit abstraction that seeks the ‘hidden’ within the mundane. By navigating the decaying landscapes of provincial Bulgaria with a modern, inquisitive eye, Nachev captures the dialogue between histories embedded in the surroundings’ aesthetics and the internal search for meaning. In this conversation, we explore the evolution of his aesthetic, from the influence of 1990s MTV culture to his recent explorations of light and color.",[],{"_key":1350,"_type":321,"children":1351,"markDefs":1356,"style":329},"152c433f7e93",[1352],{"_key":1353,"_type":325,"marks":1354,"text":1355},"2ab8ade14e060",[],"Nachev is a contemporary Bulgarian photographer whose work sits at the intersection of documentary reportage and conceptual abstraction. Growing up in a Danube River town during the transitional 1990s, his early artistic sensibilities were shaped by a mix of DIY music culture and the iconic aesthetics of National Geographic and Magnum Photos.",[],{"_key":1358,"_type":321,"children":1359,"markDefs":1364,"style":1365},"792c26d0e8dd",[1360],{"_key":1361,"_type":325,"marks":1362,"text":1363},"3ae4b685b70d0",[],"Ilaria Sponda: Where does your need to photograph come from?",[],"intro",{"_key":1367,"_type":321,"children":1368,"markDefs":1373,"style":329},"6dba54eced78",[1369],{"_key":1370,"_type":325,"marks":1371,"text":1372},"33b5ca9aa9c70",[],"Svilen Nachev: There is a cliché in photography: \"I shoot because I cannot not shoot.\" In a way, that answers where the need comes from. I believe the need for creativity is deeply embedded in every one of us; whether it is photography or something else, I believe a person draws closer to the divine when they create and build. Beyond being an aesthetic and visual language, photography is also a document. I think this role is exceptionally important: to leave a small piece of what once was for future generations. Despite the subjective lens, it remains a point of view and, perhaps, an evaluation of reality.",[],{"_key":1375,"_type":321,"children":1376,"markDefs":1381,"style":1365},"c094f0498c24",[1377],{"_key":1378,"_type":325,"marks":1379,"text":1380},"56aa380dac4e0",[],"IS: I’m curious to know how your background informs your photographic style and subject matter.",[],{"_key":1383,"_type":321,"children":1384,"markDefs":1389,"style":329},"50a75e241174",[1385],{"_key":1386,"_type":325,"marks":1387,"text":1388},"d095f0a533560",[],"SN: I grew up in a small town on the Danube River during the 1990s. It was an exceptionally free place, open to world culture. In a post-socialist society, we all yearned for something new and different. This outcry unlocked a curiosity toward the world in every direction; in a time before the internet, everything we cared about was MTV. I started playing music in my teens and I still play today, but photography eventually took the lead in my life. I’ve realized that every art form we engage with enriches us in different areas and influences our subsequent pursuits. I started shooting in black and white around 2011, but when you shoot in a small town, you run out of locations quickly. Documenting reality eventually turned into an internal search. I began challenging myself, first by moving to color photography, and shortly after (in 2019), I started shooting everywhere and at any time using a flash.",[],{"_key":1391,"_type":321,"children":1392,"markDefs":1397,"style":1365},"2ff1f21a493f",[1393],{"_key":1394,"_type":325,"marks":1395,"text":1396},"e35a0b63e4f70",[],"IS: Who are some of your references?",[],{"_key":1399,"_type":321,"children":1400,"markDefs":1405,"style":329},"f1a4bc9841e5",[1401],{"_key":1402,"_type":325,"marks":1403,"text":1404},"56d0a4fb05e50",[],"SN: My approach is to know as much as possible about the photography that came before me and to learn from it. From my teenage years until now, I’ve been inspired by a vast number of authors, from the classical to the modern. I could say I am a ‘child’ of National Geographic and their aesthetic, specifically from the 1990s, where we constantly saw Magnum photographers in the magazine (though I only realized who they were later). That whole artistic-reportage aesthetic shaped my relationship with the street and my documentary search. Of course, much later, when I became fascinated by the flash, I discovered that tradition as well from Weegee to Mark Cohen, Larry Fink, and Lars Tunbjörk. In my book “The Illusion of Meaning,” which was released very recently, I attempt to combine all my \"fixed ideas\" into a form that merges black-and-white with color photography. 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What's the photography community like in Bulgaria for what you’ve experienced?",[],{"_key":1580,"_type":321,"children":1581,"markDefs":1586,"style":329},"4424bce8b932",[1582],{"_key":1583,"_type":325,"marks":1584,"text":1585},"e79b1d5effeb0",[],"SN: There are many world-class photographers here, such as Penko Skumov, Valery Poshtarov, and many others, but we lack the institutions to legitimize photography and present it to society as a significant art form. I see this as a huge problem, but also a sphere where much work can be done and many opportunities can be found. I particularly appreciate the work done by magazine and podcast Obscura Mag or the studio Radlab Studio, Gallery Synthesis and PUK, a photobook platform funded in 2017 by Nikola Mihov, Tihomir Stoyanov and Rossen Kuzmanov. Photography is the most democratic art; today, everyone is a photographer, but a wide chasm exists between mass taste and ‘good’ photography that is difficult to bridge.",[],{"_key":1588,"_type":321,"children":1589,"markDefs":1594,"style":1365},"54e3f7eaebf5",[1590],{"_key":1591,"_type":325,"marks":1592,"text":1593},"f6b3d2fb42860",[],"IS: Could you talk about the reading, ideas, or research that informed \"Dream of the Flesh\" and its early phases?",[],{"_key":1596,"_type":321,"children":1597,"markDefs":1602,"style":329},"193e73564a8a",[1598],{"_key":1599,"_type":325,"marks":1600,"text":1601},"845e80ac8bd10",[],"SN: In my projects, I always try to mix many different disciplines like philosophy, psychology, religion, etc. In this project, I aimed to unite several smaller projects from my body of work. I began to imagine the title as a beautiful metaphor for human life in general. 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How does your work relate to ‘Bulgarianness’ and the aesthetics of the places you are drawn to – mostly abandoned places and streets?",[],{"_key":1773,"_type":321,"children":1774,"markDefs":1779,"style":329},"1b61ab2b3a3b",[1775],{"_key":1776,"_type":325,"marks":1777,"text":1778},"d9b2298d83690",[],"SN: I simply use the surrounding Bulgarian environment as my stage and tool. 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