The Enclave (2013) – a collaboration with cinematographer Trevor Tweeten and composer Ben Frost. Made using 16mm infrared film transferred to HD video. Shown as an installation comprising multiple double-sided screens installed in a darkened chamber. [8] [9] Conrad, Heart of Darkness, p. xxvi and Ian Watts, Conrad in the Nineteenth Century, London: Chatto and Windus, 1980, pp. 276 and 279.

See Laura Mulvey, Death 24x a Second. Stillness and the Moving Image, London: Reaktion Books 2004, pp. 123-143. Mulvey’s delay builds on Neorealist aesthetics. Vincent, Alice (12 May 2014). "Richard Mosse wins Deutsche Börse Photography Prize 2014". The Daily Telegraph . Retrieved 13 May 2014. The great labyrinth of all the photographs in the world’. Roland Barthes, Camera Lucida. Reflections on Photography, London: Vintage Classics, 2000, p. 73. Mosse’s last-minute trip to Moria was the latest segment of a project that has stretched over the past two years and has seen the artist—accompanied by filmmaker Trevor Tweeten and composer Ben Frost—shoot some of the most overcrowded refugee camps in Europe. These include Idomeni, Thessaloniki, Larissa, Elliniko, and Moria in Greece, Ventimiglia in Italy, and the former Tempelhof Airport in Berlin. Mosse has created images as aesthetically stunning as they are technically unprecedented, the photos’ mesmerizing detail and visceral intimacy shifting into a darkly emotional space with prolonged looking. While still only in his early thirties, Richard Mosse has exhibited his work internationally, from Tate Modern to Akademie der Künste, Berlin, and Kunsthalle, Munich. His work has already been collected by several museums, including the Museum of Contemporary Art, Chicago and the Musée de l’Élysée, Lausanne. He is representing Ireland at the Venice Biennale 2013 with The Enclave, an immersive multimedia installation projected onto several screens, and composed of footage shot last year in the Democratic Republic of the Congo using an Arri and 16mm infrared film (transferred to HD), with a soundscape recorded on location. To coincide with the Biennale, Aperture has published his second monograph.If we are faced with the representation of suffering, then the question is how is suffering presented and how does that presentation impact on our responsiveness?14 The limitation of Butler’s framing is its reductive interpretation of conflict imagery as ethical dichotomy of inclusion versus exclusion. Berger asks bigger questions: what is at stake? What other images are so closely related that they cannot be ignored? Pool at Uday’s Palace (2009), one of Mosse’s earlier photographs, lends itself to this mode of analysis: a photograph of a destroyed swimming pool, once belonging to Saddam Hussein’s son; an unremarkable image from an aesthetic point of view, but one which stands out from Mosse’s work for other reasons. No American patriot would have a problem with the photograph. But what is concealed, visually absent, yet present in memory around these ruins of opulence? What does it not say about Iraq, a military intervention which was primarily justified by doctored photos of chemical plants supposedly producing WMDs? Haunting any photograph of Iraq since 2004 is the photographic scoop on Abu Ghraib, thanks to Seymour Hersch, also responsible for the scoop on the My Lai massacre in Vietnam.15 Rancière, The Emancipated Spectator, trans. Gregory Elliott, London and New York: Verso, 2009, pp. 83-105; p. 96 Mosse characterizes his work "as not a reaction against journalism, but rather an artist working in places [where] journalists are working."

Davies, Lucy (14 May 2014). "Richard Mosse: Congo's civil war, Interview". The Daily Telegraph . Retrieved 14 May 2014.a b c d O'Hagan, Sean (23 August 2012). "Photographer Richard Mosse to represent Ireland at Venice Biennale". The Guardian . Retrieved 14 May 2014.

Richard Mosse firmly believes in the inherent power of the image, but as a rule, he renounces shooting the classic, iconic images related to an event. He prefers to account for the circumstances, the context, to put what precedes and what follows at the centre of his reflection,’says exhibition curator Urs Stahel.Seymour, Tom (15 February 2017). "Richard Mosse – Incoming". British Journal of Photography . Retrieved 15 February 2017. In his extraordinary series of essays on Africa, The Shadow of the Sun, Ryszard Kapuciski reminds us that “The richness of every European language is a richness in ability to describe its own culture, represent its own world. When it ventures to do the same for another culture, however, it betrays its limitations, underdevelopment, semantic weakness.” David Harvey, Social Justice and The City, London: Edward Arnold 1973, p. 13. More recently, cf. Spaces of Hope, Edinburgh: Edinburgh University Press, 2000. David Harvey, Social Justice and The City, London: Edward Arnold 1973, p. 13. More recently, cf. Spaces of Hope, Edinburgh: Edinburgh University Press, 2000. How many different ways can we read a photograph of a child holding an assault rifle? The gesture carried by the infrared ‘false-colour’ palette seems to open up this field of potential signification by stepping across a threshold into fiction. Joseph Conrad followed a similar strategy in Heart of Darkness, representing the specifics of a major human rights disaster with a deeply personal and highly aestheticised work of fiction. 2 Richard Mosse in Din Heagney, ‘Elusive enclaves: interview with Richard Mosse for the Foreign Art Office’, August 2011, accessed 17 Sep. 2015. Non-refugees and journalists are rarely, if ever, allowed access to the Moria camp, says Mosse. “The authorities in Greece are ashamed; the conditions are so squalid.” So he climbed a hill nearby to take a huge panorama of the camp, using a special weapons-grade camera, which captures images by detecting thermal radiation.

The choice to exhibit Norfolk’s evocative archive photographs in conjunction with the main exhibition gives a now and then experience, acting as a reminder of Open Eye’s importance as both a venue within the city and the only gallery in the North West dedicated to photography. These two carefully selected exhibitions show the curators passion to deliver an exhibition programme that champions photography as an art form and explores the possibilities of the media. Tipton, Gemma. "Richard Mosse: 'The idea of the artist going it alone is bogus' ". The Irish Times . Retrieved 22 April 2022.Philip Jones Griffiths, Agent Orange. ‘Collateral Damage’ in Viet nam, London: Trolley Ltd, 2003, p. 4.