A detailed account of the press’s resistance to publishing Haeberle’s photographs in Seymour M. Hersch, ‘The Massacre at My Lai’ in John Pilger (ed.), Tell Me No Lies. Investigative Journalism and Its Triumphs, London: Jonathan Cape, 2004, pp. 85-119. Richard Mosse wins 2017 Prix Pictet photography award". Financial Times, 4 May 2017. Retrieved 5 May 2017 Hilde Van Gelder, ‘The Theorization of Photography Today: Two Models’ in Elkins, Photography Theory, pp. 299-304.

Infra offers a radical rethinking of how to depict a conflict as complex and intractable as that of the ongoing war in the Congo. The results offer a fevered inflation of the traditional reportage document, underlining the tension between art, fiction, and photojournalism. Infra initiates a dialogue with photography that begins as an intoxicating meditation on a broken documentary genre, but ends as a haunting elegy for a vividly beautiful land touched by unspeakable tragedy.Originally created to detect targets for aerial bombing, Kodak Aerochrome film registered a spectrum of light beyond what the human eye can see, rendering foliage in vivid hues of lavender, crimson and hot pink. Aperture Foundation and Pulitzer Center on Crisis Reporting are publishing a monograph of Richard Mosse’s Infra, with an introduction by Adam Hochschild, which will be available to view at the gallery for the duration of the exhibition.

While sheltering in place, I’ve been thinking of thoughtful and interesting ways to stay in touch. Visual storytelling comes to mind. So for the time being, I’m revisiting favorites, including artists, recipes, images, and people. I look forward to your comments! For the Same in opposition to Levinasian Other, see Alain Badiou, ‘Return to the Same’ in Ethics. Essay on the Understanding of Evil, London and New York: Verso, 2012, pp. 25-27. Richard Mosse Catalogue. Curve Publications. London: Barbican, 2017. With an interview between Mosse and Alona Pardo, and a text by Anthony Downey. Prix Pictet 2017: Richard Mosse wins prize with heat-map shots of refugees". The Guardian, 4 May 2017. Retrieved 5 May 2017 One month ago, the renowned Irish, New York-based photographer Richard Mosse booked a last-minute flight to Lesbos. The Greek island, home to the notorious Moria refugee camp, had been hit by a snowstorm. Mosse had witnessed the squalid, overcrowded conditions at Moria a year prior, and the thought of Moria’s inhabitants braving snow and freezing temperatures compelled him to return and document the refugee crisis there again.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. Infra offers a radical rethinking of how to depict a conflict as complex as that of the ongoing war in the Democratic Republic of Congo. The images initiate a dialogue with photography that begins as a meditation on a broken documentary genre, but ends as an elegy for a land touched by tragedy. Geoff Manaugh, ‘Leviathan: An interview with Richard Mosse’, BLDG BLOG, 21 December 2009, , accessed 26 November 2011. Issues such as othering, intrusion and dehumanisation loom over these works, and Mosse has previously told CR that he feels they “revealed something about how our governments represent and therefore regard the figure of the refugee”. Still from Incoming #27, Mediterranean Sea, 2016. Image couresty SVPL

Infra," Richard Mosse's first book, offers a radical rethinking of how to depict a conflict as complex and intractable as that of the ongoing war in the Democratic Republic of Congo. Mosse photographs both the rich topography, inscribed with the traces of conflicting interests, as well as rebel groups of constantly shifting allegiances at war with the Congolese national army (itself a patchwork of recently integrated warlords and their militias). For centuries, the Congo has repeatedly compelled and defied the western imagination. Mosse brings to this subject the use of a discontinued aerial surveillance film, a type of color infrared film called Kodak Aerochrome. The film, originally developed for military reconnaissance, registers an invisible spectrum of infrared light, rendering the green landscape in vivid hues of lavender, crimson and hot pink. The results offer a fevered inflation of the traditional reportage document, underlining the growing tension between art, fiction and photojournalism. Mosse's work highlights the ineffable nature of current events in today's Congo. "Infra "initiates a dialogue with photography that begins as an intoxicating meditation on a broken genre, but ends as a haunting elegy for a vividly beautiful land touched by unspeakable tragedy. Sekula, in ‘In Conversation with Benjamin H.D. Buchloh’, in Sekula, Performance Under Working Conditions, Sabine Breitweiser (ed.), Vienna: Hatje Cantz, 2003, p. 46. The great labyrinth of all the photographs in the world’. Roland Barthes, Camera Lucida. Reflections on Photography, London: Vintage Classics, 2000, p. 73. Incoming, Curve Gallery, Barbican Centre, London; [14] [15] Le Lieu unique, Nantes, France, 2019. [16]

Book Launch: Vestige

Joel Snyder ‘The Art Seminar’ in James Elkins (ed.) Photography Theory, London and New York: Routledge, 2007, p. 134. Mosse first learned of the camera through fellow photographer Sophie Darlington, who help him gain access to the U.K. facility that developed it. “You walk in the door and there’s a cruise missile on the left, and a virtual war simulator on the right,” he recalls. He went to the roof for a demonstration of the camera and was able to see two men who had been invisible to the naked eye welding far away. “You could see the light of the welding flame reflected on one man’s beer belly,” Mosse recalls, “It was just such an extraordinary new image that I’d never seen before. It was so crisp.” In addition to the incredible optical zoom, the camera uses medium-wave infrared, so it’s able to cut through heat haze. “It diffuses light; it shoots nice straight lines—that’s how it can see people from very far,” he explains. His images depict in hyper-vivid color the landscape of war and those who live within this world of violence and upheaval.