Michael Danner: Critical Mass

My artistic works adopt a political and anthropological approach, in which I investigate contested sites and histories. The work takes the form of photographs and moving image, which often include archive material and text and are intertwined into multilayered systems.

 Germany – 

Photographer Photography feature – Michael Danner documents in his body of work Critical Mass the architecture, everyday routine, and security sys- tems of all 17 German nuclear power plants, as well as the ra- dioactive waste repository Asse II and the Gorleben explorato- ry mine. High hopes and deep skepticism have accompanied the use of nuclear power up to the present day. In the euphoric mood that prevailed in the 1950s, everything seemed possible; people took part in an unprecedented economic upswing and found nuclear energy to be a fascinating technology of the fu- ture. But in the 1980s the optimism of the years of boom gave way to a skepticism that was further fueled by the catastrophic nuclear accident in Chernobyl. Anti-nuclear activism has now shaped the political consciousness of a whole generation. And the disaster in Fukushima in 2011 heralded yet a new era in the debate – it seems that a nuclear phase-out in the medium-term is now inevitable. However, the issue of the final disposal of ra- dioactive waste is still unresolved.

DANNER_CRITICAL-MASS_0355

 

Danner’s pictures give us a rare glimpse behind the scenes of the power plants, showing areas that are normally off-limits. His se- ries is accompanied by historical photographs and texts that do- cument the planning and construction phases of the plants and visualize the social tensions. The layout of the book and the cut through the front cover refer to the interaction of the present time and the past and the conflict between nuclear power op- ponents and the authorities.

»Danner’s series of images follows the clear narration of gradu- ally moving from the outside to the inside. We approach the nu- clear power stations from a distance and then are led closer to the buildings, traversing entrance areas fitted with airlocks, stepping into changing rooms and taking detours to offices, canteens, gyms and exercise rooms, medical examination rooms and training rooms, and finally arrive at the control centres. Additional airlocks grant passage into the machine room and, finally, we enter the innermost, arcane area of the reactor itself, the steel ball in which the actual reactor containing the fuel rods is located.«

Susanne Holschbach

Related Posts

Diego Saldiva: Momentos e Maculas

Brazil – Besides being a shelter, the house is as well a home, an emotional and intimate place, a private ...

FotoBookFestival 2014: Photobook Dummy Award Announced

Germany –  Final jury for the FotoBookFestival 2014 Dummy Award were: Deanne Templeton, Cristina de Middel, Todd Hido, Carlos Spottorno, ...

Bertien Van Manen: Moonshine

USA –  Spanning almost three decades, ‘Moonshine’ published by MACK, is a portrait of the American Appalachian folk, a mythologised ...

Douglas Stockdale on Hiroshi Watanabe “The Day the Dam Collapses”

Japan –  First I need to declare that I may be a tad bit biased in my photobook review as ...

Thabiso Sekgala : Second Transition

South Africa –  ‘Second Transition’ is the series of images that I’ve photographed in the areas around the mining town ...

Emaho Foundation’s Emerging Asian Photography Grant Winner Announced

India –  We are delighted to announce that Tsunomu Yamagata has won the Emaho Foundation‘s Emerging Asian Photography Grant 2015 ...

Yoshikatsu Fujii: “Incipient Strangers” – Photographying Family’s Internal Conflicts

Japan –  Siblings can be incipient strangers. Even siblings sharing the same blood can become distant and turn into strangers ...

Cristina De Middel Nigeria

Cristina de Middel: ‘This Is What Hatred Did’ – The Nigerian Escapade

Nigeria –  In the 1960s, a five-year-old Nigerian child’s village was attacked by soldiers. His mother had left him home ...

Douglas Stockdale on Laia Abril “The Epilogue”

Laia Abril (b. 1986 Barcelona, Spain, currently resides in NYC and Barcelona) continues to develop narratives that probe identity issues ...

Showing Slide 1 of 10