Published by Hatje Cantz. Text by Nadav Kander, Will Self.
Nadav Kander (born 1961) is a recipient of the renowned Prix Pictet and one of today's most successful photographers. Upon learning of the existence of two "closed" cities on the border between Kazakhstan and Russia, he decided to visit them. For Dust he photographed the desolated landscapes of the Aral Sea and the restricted military zones of Priozersk and Kurtchatov, which did not appear on any map until well after the end of the Cold War. Long-distance missiles were secretly tested in Priozersk, and hundreds of atomic bombs were detonated in the so-called Polygon near Kurchatov, until the program ended in 1989. The bombs were exploded in a remote but still populated area, and covert studies were made of the effects of the radiation on the unsuspecting inhabitants. Kander describes how the ticking of the Geiger counter on his belt while he photographed served as a foil against the aesthetic allure of the ruins.
Nadav Kander (born 1961) is an Israeli-born, London-based artist, director and photographer, internationally renowned for his landscapes and portraiture. His latest photographic series, Bodies, consists of nudes painted white against a black backdrop, their faces tuned away from the viewer. Accessories are minimal, as is the aesthetic; yet, at the same time, the arrangement makes the sitters’ mostly voluptuous bodies seem baroque. Despite the abundance of flesh on display, however, the images lack a superficial sense of the erotic; the white makeup and lack of eye contact function as barriers, and the massiveness of the limbs recalls the work of Hans Bellmer and Lucian Freud. Like Bellmer and Freud, Kander presents us with a simulacrum of sensuality, questioning our images of the human body as well as the concept of beauty itself.
Published by Hatje Cantz. Introduction by Kofi A. Annan. Text by Jean-Paul Tchang, Nadav Kander.
The Yangtze river flows 4,100 miles across China, traveling from its furthest westerly point in the Qinghai province to Shanghai in the east. The river is embedded in the consciousness of the Chinese, and plays a significant role in both the spiritual and physical life of the people. Using the river as a metaphor for constant change, Nadav Kander (born 1961) has photographed the landscape and people along its banks from mouth to source. "After several trips to different parts of the river, it became clear that what I was responding to and how I felt whilst being in China was permeating into my pictures," he records; "a formalness and unease, a country that feels both at the beginning of a new era and at odds with itself."