Featured libraries include the Sainte-Geneviève library in Paris, France, the all-white Mafra Palace library in Portugal (my favorite), and Trinity College Library, Dublin, Ireland which houses Book of Kells and Book of Durrow.
While mostly in Europe, Listri also captures the Library of Alexandria, once the largest library in the world to the camel bookmobiles seen in Kenya.
Scroll your feed, and I bet one of the pictures that comes up includes the following: a selfie, a coffee cup in hand, someone standing on a rock, riding in a canoe, or feet up in the sand or mountains, etc. It all looks the same!
Of course, similar cliche-looking pictures can be seen on Unsplash, where I often pluck images to share on my blog.
Thankfully we have accounts like @insta_repeat to remind people, especially adventure influencers, of their mimetic desire to copy each other. The creator of the account is an unknown artist of their own, with no intention than to call out the patterns of sameness in the digital space.
The creator of Insta_Repeat is a 27-year-old filmmaker and artist, who wants to remain anonymous. “I’m not trying to be the arbiter of what photos have value and what don’t. I am just making observations about the homogeneous content that is popular on Instagram,” she told Quartz over email. She says she is baffled by how many shots there are of humans in canoes and atop SUVs—but does see the positives in the repetitive nature of Instagram. “I also think there’s an incredible amount of value in emulation both when someone is learning and continuing their craft,” she says. “Improving upon and building upon what has been done…is an important part the evolution of art.”
The art of conformity is real. If at first, we copy, then we deduce, mixing and meshing what others do until we develop our own unique style. That’s a creator’s ambition anyway, to do something novel.
Below are some of the most recent posts from the @insta_repeat account. Make sure to follow along for the latest collages.
The great thing about collage is that, because production is so minimal, you are always close to the vantage point of the viewer. I am often asked why I don’t just get two people, pose them for photographs and splice the shots more accurately, but that misses the point. It’s the imperfect match, the failure of unity, that makes us identify with these beings.
When people say I’m not a real photographer, I tell them I work with the medium rather than in it. In the internet age, it is becoming increasingly difficult to distinguish between the producers and the consumers of images. I see my work as merging these two worlds.
The images are amazing and diverse, ranging from the Italian man who owns the world’s largest collection of colored vinyl records to an owner who collects only Beatles’ White Album records.
Says Paz in an interview with Slate Magazine on capturing the vinyl enthusiasts:
It’s just me and the camera and that’s it. It’s like two friends hanging out listening to records and then I shoot some photos. It builds a very intimate moment between me and my subjects. When they talk about music they lose all their inhibitions. They just really enjoy it.
Vinyl has been having a resurgence the last few years as a reaction to the digitization of everything. As the most famous rock DJ John Peel promptly noted: “Somebody was trying to tell me that CDs are better than vinyl because they don’t have any surface noise. I said, ‘Listen, mate, life has surface noise.”
Vividly-coloured and shaped like stars, ships and castles, several churches in Kerala appear to defy one of the basic tenets of architecture as set by the influential American architect Louis Sullivan – “form follows function”.
But despite being one of the most distinctive photographers of the 20th century, Weiss insists that she is not an artist. “I am an artisan,” she says. “I don’t create anything: I am just a witness of what I see and what interests me, which has always been human beings.”
I’m sure you’ve seen Angela Merkel’s brilliant staredown at Donald Trump across the interweb. The photo was taken by German government photographer Jesco Denzel, who also won World Press Photo of the year in 2017 for the image in Lagos.