Nuclear power plants are among the most exclusive of spaces, kept under lock and key to guard against disastrous accidents or terrorist attacks. For his series Space and Energy, Zurich-based photographer Luca Zanier gains access into the impenetrable depths of nuclear and coal-fired power stations, cataloging their high ceilings and endless corridors. Through his lens, these plants, which fuel our daily lives, resemble the cold, sterile sets of Stanley Kubrick’s 1968 classic “2001: A Space Odyssey.”
In these power plants and nuclear waste storage facilities, Zanier discoverers an elegant artistry. Much like the duomo of a sacred cathedral, twisting, monolithic ceilings emanate color and light, ascending towards infinity. Though absent of human figures, the space seems to buzz and hum with energy. Marrying the objectivity of the photographic works of artists like Berndt and Hilla Becher with a profound sense of awe, Zanier presents these monolithic spaces as both essential and chilling. Though necessary for modern life, the plants, with their electric shapes and hues, seem vaguely portentous, bringing with them a new—and uncertain— dawn of technological advancement.
1. Katrin I Spectrometer, balance of neutrino
2. Beznau I Nuclear power plant, control room
3. Collombey I Oil refinery
4. Trianel I Coal-fired power plant, interior view of the cooling tower
5. Aarmatt I Interior view of a gas sphere
6. Zwibez III Interim storage for nuclear waste, connecting stairs
7. Beznau III Nuclear power plant, dosimeter
8. Zwilag I Security gate to the storage for low radiation and medium-radiation waste
9. Celestin I Spiral driveway
10. Ferrera II Water Power Plant, Cavern of the underwater surge tank
On the Eve
Chris Jones’s large-scale sculptural work looks fragile even though his subject matter often focuses on objects we presume to be tough, stable — even nearly unbreakable. In his current show at Mark Straus Gallery in New York City, a sports car melts and unravels before our eyes. A motorcycle tempts us to scratch and peel away its layers. Houses disintegrate into heaps of deteriorating objects. Jones works with abandoned and disused materials — old magazines, books, encyclopedias, paper ephemera and even trash — to create papier mache pieces that destabilize our view of the world around us.
Tears of blood and the eternal embrace.
Bangladesh, 24th April 2013
by: Taslima Akhter
This is by far the saddest photo I’ve ever seen.
Fragment, by Matthias Heiderich (Berlin, Gernany)