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Dear subscriber, In your hands is yet another exclusive supplement to the regular issue of GUP Magazine. We are very proud to present an interview with the artist Richard Mosse, accomplished with the generous support of Duncan Meeder, owner of Foto Henny Hoogeveen in Lisse, The Netherlands. It makes a lot of sense: GUP Magazine was an early advocate of Mosse’s amazing project set in the Congo, and Duncan Meeder is not only a proactive supporter of our magazine but also has maintained a warm personal relationship with Richard Mosse over the years. As a follow-up to his project Infra, Richard Mosse has continued to work with a wooden large-format camera and Kodak Aerochrome – an infrared film used mainly for military aerial surveillance and Jimi Hendrix album covers, before it was taken off the market four years ago – rendering the Congo a lurid hot pink. In this special, he speaks about his latest, very ambitious and already highly acclaimed project, The Enclave, and allowed us to include some exclusive material of his stunning series. The editorial team GUP Magazine, 2013
The Enclave an interview with Richard Mosse by Erik Vroons
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interview
Throughout 2012, Richard Mosse (1980, Ireland) and his collaborators Trevor Tweeten and Ben Frost travelled in eastern DRC (Democratic Republic of the Congo), infiltrating armed rebel groups. The result of this is The Enclave, a major new multimedia installation covering a war zone plagued by ambushes, massacres and systematic sexual violence. Continuing on the themes (and success) of Mosse’s work Infra, The Enclave is the culmination of his on-going attempt to rethink war photography. richardmosse.com
When and how did your engagement with the Congolese conflict begin? In November 2009, shortly after the opening of a solo show in New York and the finishing of a project, I was looking for a new direction. I was in a strange place in my practice and wanted to break everything I had built. I wanted to do something that would make me feel uncomfortable. Then I learned that Kodak had announced they were discontinuing production of a film called Aerochrome, an old aerial reconnaissance film that sees infrared light. I felt that this film had to be taken to a surprising place, to work the medium against the grain. Congo’s wars emerged in my imagination. I knew very little about them, but after a little research, I found that they were perversely appropriate for Aerochrome. How do you see The Enclave in relation to your project Infra? As a logical continuation or a whole new project? The Enclave is really the culmination of Infra, the final stage of it. The early stages of Infra were a series of anonymous, solitary journeys that I made alone, with a wooden camera, visiting rebel groups deep in the bush. The Enclave is a highly collaborative piece shot on 16mm Arriflex, with a very small team. My knowledge of the place had deepened. The conflict had escalated. The stakes were higher. >>
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