Janottoschreibertheseanovember2011 doc

JAN O. SC

SOMEWHERE BETW

MAGB

CHREIBER

WEEN THE SHORES

BOOKS

MAGB

BOOKS

SOMEWHERE BETW

TEXT BY RA

MAGB

WEEN THE SHORES

AJESH PUNJ

BOOKS

THE WIDE WOR

I am attached to the cityscape accustomed to the steady han weather; notions of the sea com and a bath. Beyond the stree streams, lakes, rivers, criss-c veins and archeries that nourish

The sea in all its magnificence, o ideas that are as wondrous as t vast blue plate that sits on the ou everything that isn’t land mass sun and for its fundamental vale a loose deer before attempting

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RLD OF WATERS

e by an umbilical cord, rightly d of gravity and the indifferent me in bottled water, flash floods ets and houses, further afield, cross our cities like splintered h our well-being.

on the edge of our land, conjures they prove devastating. Yet this uter skin of our earth enveloping is as integral to our lives as the e it can still, like a tiger cajoling to kill it, become tsunami when

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the earth torments it. Ultimatel is to be utterly respected, dete itself, as an entity in and of itse

The sea in its entirety is a constitutes a vast impossible across the entire earth; the Atla for an immeasurable volume o our countries and continents fo cannot begin to describe what where we only fear to tread in vehicles that allow us to float or moving carpet of deep blue wa

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ly in it separate states the sea ermined by nothing other than elf.

colossal body of water that series of oceans that spread antic and the Pacific, that make of water that is greater than all orced together. It is as if words t constitutes so much of earth, floating vessels and propelled fly on and above this constantly ater.

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‘Beneath the clear surface ref soft influence; extending its tide mountain and isle, round seaHeaven‘s azure smile, the wide Percy Bysshe Shelly, 1820

The sea, this other entity tha omnipresent, unaltered by time has been at the centre of all of o to early industrious profiteering of the explorer and colonizer Ch late 14 hundreds; sea captain private adventures for Elizabeth

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lecting it slide, tremulous with e from the Andes to Atlas, round -birds and wrecks, paved with e world of waters is vibrating.’

at exists beyond our horizons, and by the dynamism of history, ur altering modernity’s. Witness g on the sea, the early voyages hristopher Columbus during the and privateer, Francis Drake’s h I during the 15 hundreds and

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the subsequent clash of the titan of the Spanish Armada and th crossing of the Mayflower from P Massachusetts, USA in 1620, Henry Hudson from the 17th cen (Blackbeard)), in the 18th centur first warships, HMS Warrior in tumultuous sea history of feveris with the First and Second World of armies of men, one upon ano has come in attempting to tame explorative expeditions in pursu sea battles that followed, in their a

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ns with the battle of Gravelands he English fleets in 1588, the Plymouth, England to Plymouth, , the entrepreneurial explorer ntury, the pirate (Edward Teach, ry. In 1860 the launching of the ncluded, leading the way to a sh warfare on the open oceans, d War. Such collective atrocities, other, have shown how far man e the sea; from those very first uit of new lands to the infamous attempted control of existing ones.

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Where such histories reads like shaping and reshaping the se alterations and altercations of o that our own private exposures the expansive oceans, are more art and film, than cold element suggests that romantic poets su The Rime of the Ancient Marin of the Sea, novelist James Fen Herman Melville, Moby-Dick, ha sensory appreciation of the se dynamism of the open waters, a sea-farers. As we grapple wit

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e an explosive box of dynamite, as as an epitaph for so many our modern history. Is it tellingly s to the sea, our relationship to e likely determined by literature, tal exposure to the sea, and it uch as Samuel Taylor Coleridge, ner, and Percy Shelley, A Vision nimore Cooper, The Pilot, and ave collectively determined our ea, our sense of the scale and as they have become our literary th our literature master-pieces

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that immortalize the sea, they written their audience into the s painted protagonists collected Raft of the Medusa.

‘The White Whale swam bef incarnation of all those malicio men feel eating in them, till the heart and half a lung.’ Herman

In Melville’s writing there is an i journey that Ishmael and Queeq whaling voyage, under the capta

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(the authors) have intentionally sea and onto the waters like the d on Théodore Géricault’s The

ore him as the monomaniac us agencies which some deep ey are left living on with half a n Melville, 1851

incredibly sense of the perilous queg make for their place on a aincy of the godlike figure Ahab

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and such literature was reflectiv the 19th century and the elem society with sea voyages, tradin Given such a swashbuckling his limited exposure of the seas, it to the sea than our superficial sun-hats and inflatable dingy’s, seagulls rooting for discarded c flows in daylight and at the end of live and as such has had a m than just our acquisition of coff

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ve of the sea’s significance upon mental influence upon modern ng, exploration and profiteering. story, jarring as it does with our t suggests we owe much more pilgrimages as idle spectators, , collected about the water like crusts. The Sea, that ebbs and of night is the organ, the origin more profound influence upon us fee and cigars.

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Where literature provided the art attempted to visualize its Japanese photographer Hiros the water lay end to end like the horizon and when early Ger painted it in Onada Gegantina aggressive and unreasonable; r and visual dynamism of Katsu The Great wave of Kanagawa, Expressionists had devoured th social upheaval and political un dark somber skies, reflective of of Karl Schmidt-Rottluff; French

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visceral language for the sea, prowess; when contemporary hi Sugimoto photographed it, a sheet of velvet thrown over rman Expressionist Emile Nolde a 1948 it was wholly volatile, recalling something of the verve ushika Hokusai’s seminal work , 1829-32. Where the German he sea as a sharp metaphor for nrest, with crashing waves and Emile Nolde and the woodcuts h impressionists, Claude Monet,

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Paul Cezanne and Alfred Sisle sanitized it, romanticized over i alternative to the stultifying sch the sea epitomized the raw em expressionist tendencies; espe proved a rare opportunity to pa in flux, altering and almost imp The sea has become a potent sy aesthetics and with contempora composite forms that are explo Sugimoto over time, Caribbea Dean’s in Disappearance at S contemporary installation for ar

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y among them, had previously it and even idolized it as a free hool of classicism. For the artist motional platform for emerging ecially for the impressionists, it aint without restrain something possible to capture on canvas. ymbol in art history and modern ary art it is presented as different ored by artists such as Hiroshi an Sea, Jamaica, 1980, Tacita Sea, 1996 and Daniel Buren’s, rt by the sea, De Hann beach,

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Belgium, triennial of contempo that the sea is as significant no and literary scholars in the beg

‘Every time I view the sea, I feel if visiting my ancestral home; I e Hiroshi Sugimoto

Hiroshi Sugimoto like Claude M sea to rest, allowing it to exist a calm, animated or utterly volatile bewitched by it majesty, it con only when we venture to the ed

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rary art, 2009; which all prove ow as it was to those sea farers inning.

a calming sense of security, as embark on a voyage of seeing.’

Monet before him has laid the as its own entity. Whether dead e, the sea holds us all to ransom, ntains us all to the shore. It is dges of earth, as photographer

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Jan Otto Schreiber has diligen between the Shores project, b that we see the magnitude and m entirety. Enveloped in fog, dark this think plate of deep blue is a Rajesh Punj

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ntly done with his Somewhere between Antwerp and Sydney, magnificence of this gargantuan k, animated, calm and clouded, at the centre of everything.

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PLA Gulf of Panama II, 2009

110 cm x 134 cm, Edition of 2+1 AP 60 cm x 75 cm, Edition 11+2 AP

Gatun Lake, 2009

110 cm x 134 cm, Edition of 2+1 AP

Savannah River I, 2009

110 cm x 134 cm, Edition of 2+1 AP 60 cm x 75 cm, Edition 11+2 AP

Savannah River II, 2009

110 cm x 134 cm, Edition of 2+1 AP

North Atlantic Ocean, 2008

110 cm x 134 cm, Edition of 2+1 AP 365 cm x 456 cm, Wallpaper Edition 2+1 AP

South Pacific Ocean I, 2009

110 cm x 134 cm, Edition of 2+1 AP

South Pacific Ocean II, 2009

110 cm x 134 cm, Edition of 2+1 AP

ATES South Pacific Ocean (detail), 2009 110 cm x 134 cm, Edition of 2+1 AP

Limon Bay II, 2009

110 cm x 134 cm, Edition of 2+1 AP

Limon Bay I, 2009

110 cm x 134 cm, Edition of 2+1 AP 365 cm x 456 cm, Wallpaper Edition 2+1 AP

Tybee Roads, 2009

110 cm x 134 cm, Edition of 2+1 AP

Bermuda Triangle, 2009

110 cm x 134 cm, Edition of 2+1 AP

Gulf of Panama I, 2009

110 cm x 134 cm, Edition of 2+1 AP

Hauraki Gulf, 2009

110 cm x 134 cm, Edition of 2+1 AP 365 cm x 456 cm, Wallpaper Edition 2+1 AP

IMPR

Photography Jan Reproductio Writer & Curato Design Christ

www.janottos mail@janottos

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n Otto Schreiber on Etizy Baris or Rajesh Punj toph Giebeler

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