Jacqueline Hassink Knihy

The exploration of gender, power, and commodification is at the heart of this work, where Jacqueline Hassink photographs female models at car shows across three continents. Over five years, she captures the unsettling transformation of these women into objects, challenging cultural ideals of beauty. Acclaimed for its thought-provoking perspective, the series prompts a reevaluation of the connection between cars and femininity. Designed by Irma Boom, this limited edition features a foldout poster cover, enhancing its visual impact and artistic value.

Unwired combines two concurrent projects from the Dutch photographer Jacqueline Hassink (*1966 in Enschede), both of which sharpen our eye for an increasingly digitally connected world. In Unwired Landscapes she has sought out places where it is impossible to build a network, where there is pure radio silence, so to speak--remote areas like the Japanese island of Yakushima, the Norwegian group of islands Svalbard known as Spitsbergen, or the uninhabitable volcanic desert of Iceland are caught by her lens, as are artificially created dead zones in urban spaces, such as a Digital Detox Hotel in Baden Baden.Initially, her second project, iPortrait, seems to be the exact opposite of her first. In this project Hassink 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, which interferes with direct contact between human beings.

"Elaborate, abstract images of nature from the temple gardens of Kyoto -- Views from within the Imperial City, in part being shown for the first time -- Hassink (*1966 in Enschede) commenced working on a multipart, enticingly beautiful series in which she examines how the interior and exterior spaces of individual structures permeate or face one another. She took photographs of the surrounding traditional Japanese gardens from within the buildings, placing equal weight on both areas. In two of the temples she was allowed to move sliding rice-paper screens for the purpose of creating new, enormous spatial entities. The moss gardens of Saiho-ji and the cherry blossoms in Haradani-in constitute a further focus of the series. These scenes, which change with the seasons -- Hassink calls them "living sculptures" -- reflect Japanese aesthetics, which see both an artificial likeness of nature as well as representations of paradise in arranged gardens."--Provided by publisher.