Romain Jacquet-Lagrèze Documents Life at the Top of Hong Kong’s Soaring Architecture

Amid the frenzied bustle that is city life, it can be difficult—and even dangerous—to stop and observe what happens above street level. For French photographer Romain Jacquet-Lagrèze, though, looking to the upper floors of residential buildings and commercial towers in Hong Kong has revealed an astonishing ecosystem.

In his new book, Echoing Above, Jacquet-Lagrèze documents the trees, birds, and men who occupy the city’s sky-high dimension. “Hong Kong’s unique density has made the city grow vertically, and I have been inspired by the different aspects that this density brings, from an architectural point of view and also how it has shaped the relationship between men and nature in this city,” he tells Colossal.

With the South China Sea wrapping three sides and a vast territory devoted to public parks, the region has been largely immune to the horizontal sprawl that characterizes many urban areas. Instead, locals have built up and up, their residences soaring high above the ground.

As mentioned in PetaPixel, Jacquet-Lagrèze typically scouts locations on walks around Hong Kong, where he’s lived for nearly a decade. Kowloon—once home to the legendary walled enclave—is his favorite place to shoot as the vibrant architecture, laundry hanging from windows, and signs of wear bear traces of the people who have left their mark on the city. He’s especially drawn to workers who might dangle off a facade or drill holes amid bamboo scaffolding, in part because they require patience and focus to spot.

Jacquet-Lagrèze’s photos juxtapose balconies and window air-conditioning units with natural life, including the opportunistic Chinese Banyan that sprouts from many roofs. Birds typically eat its small figs and drop the seeds across the city, allowing the hardy trees to sprout amid even inhospitable concrete. “They can thrive and reach very large sizes until it becomes dangerous for the building and has to be taken down,” he says, noting that it seems there’s always one being rooted out.

Despite its ubiquity, this cycle of growth and transplanting happens so far overhead that, from street view, it can easily go unnoticed. “I find it beautiful to see how the presence of trees, men, and birds are taking turns above our heads, like an echo in a concrete canyon,” the photographer adds. His images also capture the interplay of light of shadow as entire sides of buildings are blanketed in darkness, reminding us of how little sunlight reaches the ground floor.

Echoing Above and other books are available on Jacquet-Lagrèze’s website, and some of this photo series will be on view this month at Blue Lotus Gallery in Hong Kong. Find much more on Instagram.

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Explore an Incredible 108-Gigapixel Scan of Johannes Vermeer’s Most Famous Painting

One of the inimitable joys of visiting an art museum is being able to view paintings up close—to see their textures, frames, and the way the surface interacts with the light. But even if you had the opportunity to step past security wires and get within inches of an original canvas, you’d still never be able to see the work quite like the new, 108-gigapixel scan of Johannes Vermeer’s “Girl with a Pearl Earring” (1665).

The Mauritshuis has documented its most famous acquisition in unprecedented detail with the help of lens company Hirox, which has produced a video microscope capable of capturing the tiniest speck of paint with astonishing clarity. The outfit was also involved in an earlier reproduction of the same painting, creating an image composed of 10 billion pixels.

This high-tech collaboration brings a 17th-century masterpiece to life with an interactive site inviting visitors to examine every micro detail. The new image is more than ten times as large as its predecessor—108 gigapixels translates to 108 billion pixels. A standard computer screen ranges from around four to six million pixels in its entirety. As Kottke notes, the resolution is very high, too, at 1.3 microns per pixel. (A millimeter is 1,000 microns.)

Hirox, in tandem with a company called Tuur, produced a beautiful video and virtual tour. A three-dimensional tool for exploring the topography of the surface highlights Vermeer’s mastery of light, like reflections in the sitter’s eyes, the folds of her head scarf, and the minimal dabs of white paint on the titular pearl.

This virtual exploration offers art historians and enthusiasts alike a chance to experience “Girl with a Peal Earring” like never before, regardless of where you are. But if you’re in The Hague, it’s also on view in the permanent collection of The Mauritshuis.

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This Artist-Run Archive Preserves Endangered Photographic Negatives in a Celebration of Lagos

During a trip to Lagos in 2015, Karl Ohiri noticed something alarming. The British-Nigerian artist observed how long-running photography studios in the city were destroying their archives—sometimes incidentally, sometimes purposely—as they shuttered or moved out of the city into quieter village settings. And as a generation of photographers shifted to digital methods, film began to literally disappear.

Ohiri was moved to remedy this phenomenon, so he struck up relationships with local photographers and began acquiring endangered negatives “in an attempt to ensure that this precious cultural heritage was not lost over time,” he says in a statement. The Lagos Studio Archives project was born.

“The initiative’s main aims are to collect, preserve, and present the imagery of a generation of photographers that captured the style, humour, and aspirations of everyday Lagosians,” a statement says. Its mission revolves around spotlighting otherwise hidden narratives in one of Africa’s biggest hubs, “whilst further expanding dialogues around West African photography, culture, and the legacies of the diaspora.”

Ohiri, along with his partner, Finnish-British artist Riikka Kassinen, conceive of Lagos Studio Archives as a means of preserving and showcasing the wealth of history, culture, style, and daily life in Nigeria’s former capital. Formally organized in 2016, the archive has developed and exhibited images internationally at venues like the Museum of Modern Art in New York and South London Gallery

“The project was initiated out of a growing concern that on a long enough timeline, a void would be created where large sections of Lagosian history would be lost and unable to be retrieved,” Ohiri and Kassinen say. “This vacuum could lead to gaps in representation within mainstream Nigerian culture that could have serious repercussions for present and future generations of Nigerians trying to gain a deeper understanding of their heritage and culture.”

To date, the archive houses negatives saved from more than twenty studios, consisting of thousands of images. “Through conversations with
photographers from the analogue era, the project has engaged in dialogues that explore the importance of preserving photographic archives as an integral part of shaping collective identity,” the artists say.

Currently based in Helsinki, Ohiri and Kassinen’s individual practices explore relationships between lived experiences within contemporary society and socially engaged dialogues around heritage and culture. As the pair develop images in the collection, distinct series and themes organically emerge.

The color images shown here are part of an initiative titled Archive of Becoming, which focuses on deteriorated negatives, primarily of studio portraits. As a result of humidity, mold, heat, and other elements, the photos develop with psychedelic colors, dissolved emulsion, and blank areas.

“By resurrecting these images from negatives and displaying them in their new context, the works speak of the sad state of some of the negatives,” the duo says. “However, it also talks about a certain beauty that can be found in decay that expresses the passing of time and the unpredictable life of images.”

Another body of work focuses on a husband-and-wife team who ran Abi Morocco Photos, which operated between the 1970s and 2006. The studio captured a wide array of fashionable portraits in black-and-white that celebrate myriad nearly-lost visual narratives of Lagos around the turn of the 21st century.

Ohiri and Kassinen describe the archive as an intersection between an artist-run project and a social entity, centered around the “idea of collective responsibility in preserving heritage and culture as a form of activism that starts with the individual.” Explore much more on Instagram, where you can follow updates about exhibitions, newly developed photos, and a forthcoming book focused on the work of Abi Morocco Photos. (via WePresent)

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Frank Kunert’s Uncanny Photos Chronicle a Surreal Miniature World

It’s hard to imagine a welcome mat being rolled out at the entrance to a Secret Service compound, let alone a table for two perched atop a diving platform in the middle of winter. But for Frank Kunert, these unsettling scenarios happen practically every day, albeit on a very small scale.

Kunert’s photographs (previously) capture a range of structures and interiors that for myriad reasons, feel just a little bit “off.” Whether it’s a racetrack’s snack stand interrupting one of the running lanes, a solo dining table stuck out in the snow, or an idyllic yet impossibly narrow apartment complex, the artist’s hand-built miniature sets explore where familiarity and the uncanny meet.

Tapping into the absurdities of everyday life, Kunert plays with architecture, quotidian objects, customs, and our associations with home or public spaces. His elaborate models appear realistic enough at first glance, but upon closer inspection, we notice things that challenge our sense of scale and material, like chalk lines on a racetrack or powdered sugar-like snow.

Kunert meticulously designs the lighting, furniture, wall coverings, and outdoor settings to give the impression of a reality turned sideways—sometimes literally. His compositions possess a dark, ironic undertone, prompting us to pause and suspect, for example, whether what’s on the other side of the nondescript door labeled “FUN” is actually as advertised. People are never present, but we can imagine customers having just left a restaurant or a homeowner sitting just inside a closed door.

Kunert is currently working on a series titled Dreams Come True, some images from which are shown here, which will be compiled in a book or exhibitions down the line. And later this month, Hatje Cantz releases a new monograph, The Best of Frank Kunert, now available for pre-order. Explore more on the artist’s website and Instagram.

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