Unwired combines two concurrent projects by Dutch photographer Jacqueline Hassink (born 1966), both of which address our increasingly digitally connected world. In Unwired Landscapes, she seeks out those few remaining places where it is still impossible to broadcast a network: remote areas like the Japanese island of Yakushima, the Norwegian group of islands Svalbard known as Spitsbergen or the uninhabitable volcanic desert of Iceland, or artificially created dead zones in urban spaces, such as a Digital Detox Hotel in Baden Baden. Her second project, iPortrait, seems to be the exact opposite of her first: it portrays people immersed in their smartphones in the subways of big cities such as New York, Paris, London, Moscow, Shanghai, Seoul and Tokyo. Here, she reveals the other side of digital networking, showing how it intensifies alienation between people.
Dutch photographer Jacqueline Hassink (born 1966) recently commenced working on a multipart series called View, Kyoto, in which she examines how the interior and exterior spaces of individual structures permeate and face one another. She took photographs of traditional Japanese gardens from within Kyoto's Buddhist temples, placing equal weight on the interior and exterior spaces. In two of the temples, she was allowed to move the sliding rice-paper screens, allowing her to create new, enormous spatial entities. The moss gardens of Saiho-ji and the cherry blossoms in Haradani-in constitute another part of the series. These scenes, which change with the seasons—Hassink calls them "living sculptures"—reflect Japanese aesthetics, which see arranged gardens as artificial likenesses of nature as well as representations of paradise.
The financial crisis of 2009 shook the global economy to its very foundations. But has anything changed at the centers of power since then? Do executive suites look different than they used to? And what do they actually look like? In The Table of Power (1996), Jacqueline Hassink (born 1966) captured images of desks and conference-room tables at the largest multinational corporations in the world, and created one of the most important photo books of the twentieth century. With The Table of Power 2, Hassink takes a new look at the headquarters of the 50 banks, insurance companies and corporations that Fortune magazine lists as the most powerful players on the market today, such as Shell, BP and Volkswagen. With scientific precision, Hassink presents the desks and tables of deserted, soulless rooms, and composes a portrait of the emptiness at the heart of power. Edition of 1,o00 copies.
Published by Chris Boot. Edited by Frits Gierstberg. Text by Els Barents.
Since 1993, Jacqueline Hassink has been using photography to work methodically and precisely with the themes of globalization and economic power. Her first major series, The Table of Power (1993-95) involves photographs of the boardroom tables of Europe's 40 largest multinationals. Other series include Female Power Stations: Queen Bees (1996-2000), about the business and domestic environments of the world's leading women executives, and Car Girls (2002-07), about the manifestations of power in the world of global car fairs. The Power Book, the first survey of Hassink's photography, presents the best of her photographs from America, Europe, the Middle East and Japan in chronological order and accompanied by more than 100 pages of notebook pages and sketches, illuminating the thinking behind the work.
PUBLISHER
BOOK FORMAT Hardcover, 13.5 x 10.25 in. / 164 pgs / 254 color.
PUBLISHING STATUS Pub Date 6/30/2009 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2009 p. 155
PRODUCT DETAILS ISBN 9781905712076TRADE List Price: $60.00 CAD $70.00
Jacqueline Hassink: View, Kyoto
Jacqueline Hassink: The Table of Power 2
Jacqueline Hassink: The Power Book