Richard Mosse – Candy-Colored Congo

Candy-Colored Congo

Richard Mosse’s three years of photography work in the Congo using discontinued infrared film is haunting, surreal and beautiful, and it’s currently on display at this year’s Venice Biennial and in a book due out this fall under the work’s title, The Enclave. Mosse is increasingly known for bringing the Cold War-era satellite film, Aerochrome, a new popularity. The false-color infrared satellite film was initially used for aerial reconnaissance, showing healthy foliage as pink and red and thereby highlighting camouflage as blue or purple. Here, it is the medium for on-the-ground images from war zones of the Congo. As with the film’s properties that switch one color for another on the spectrum, viewers may become unsure of what they are looking at, and where it fits in the cultural spectrum. Through his lens, a world of sinister machismo is seen in the hues of prom dresses and flowers. Is it an art project or a serious documentary? Either way, the images upend these tidy categories and introduce messy questions about objectivity and aesthetics. In a recent interview for Wired, Mosse discusses how shooting witAerochrome is like taking care of a baby, his “golden” Irish passport, corruption and the role of the artist.

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About Farah Mahbub

Farah Mahbub was born and brought up in Karachi. She attained her bachelor’s degree in fine art, literature and psychology. Being primarily self-taught, she has been working as a professional photographer since 1988. Her photographic journey has taken its course through exploration of various genres, ranging from fine art, commercial, architectural and landscape photography. However for her, personal self-expression is best conveyed through fine art photography, which she continues to explore and dedicate her abilities to. Working formerly in analogue, her present work now is primarily in the digital format. As a practicing artist, Farah’s work has been exhibited in both local and international exhibitions including the 11th Asian Art Biennale in Bangladesh and the Mohatta Palace Museum in Pakistan. Her work has also been published in multiple books most notably Journeys of the Spirit: Pakistan Art in the New Millenium. Farah joined the Indus Valley School of Art and Architecture in 1997 as a faculty member, where she has been ever since. Under her tenure, photography has evolved from a single class into an undergraduate minor spanning the Communication Design and Fine Art and Interior Design departments. Farah recently had her fifth solo show "Baraka Silsila-e-Nisbat" with an accompanying monograph. View all posts by Farah Mahbub

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