Iranian hospitality by Maximilian Mann
Edition: Original print, 10 copies.
Authentication: Numbered certificate signed by the artist, invoice.
Technique: Museum quality fine art print.
Colour: UltraChrome K3 pigment inks.
Media: Hahnemühle, FineArt Baryta 300g paper.
Print: Photo with white surround.
Framing: Mounted on Dibond® with recessed frame, Floater frame.
€ 553.89 – € 1195.54 inc. VAT
Method of payment: Secure card payment via our partner Stripe, Paypal, bank transfer.
Lead time prior to shipping: 7 days for a print, 15 days for a framed print.
Delivery: To your home address or a collection point. Almost anywhere worldwide.
Delivery fee: Free, small charge for certain destinations.
Durability: Colour stability, indoor UV resistance thanks to mineral pigment inks encapsulated in resin projected on a 100% Alpha cellulose backing.
Lifespan: 75 years without deterioration with normal indoor exposure. Results of tests carried out in independent laboratories.
Maintenance: Stable ambient surroundings recommended for the work. Avoid variations in temperature and humidity. Avoid direct sunlight.
Recommended humidity level: 35 to 65%.
Recommended temperature: 10 to 30°C.
Standards and certification: Acid and lignin-free. Standard ISO 9706 long life.
About the artist
Maximilian Mann (1992) grew up in Kassel, Germany. In his photographic work he addresses global environmental issues and the resulting consequences. Maximilian won prizes at the World Press Photo Award 2020 (2nd Prize, Category Environment), Feature Shoot Emerging Photography Awards 2019 (Winner), Felix Schoeller Newcomer Award 2019 (Winner) and the College Photographer of the Year – Award (silver) among others. He was nominated for the Voice OFF Award, the Sony World Photography Awards and the W. Eugene Smith Student Grant among many others. Maximilian Mann is a founding member of DOCKS-Collective.
More about Maximilian Mann
How did you choose your means of expression?
Photography is a very good way for me to meet people and learn from them. Not from a desk, but in real life. I can meet people I would never have met without photography. This has led to an incredible number of great encounters.
How does a work session take shape?
To begin with there is a lot of research. The part involving photography follows. For the work “Fading Flamingos” I went to Iran three times, about 8 weeks in total. Editing and sequencing is also an important part of the work.
Can you explain to me how your work has evolved since starting out?
In the beginning my visual strategy evolved quite naturally. I didn’t think too much about it at first and just started. Over time, I found a visual approach. I still remember the first time I went to the lake. Actually, it was deserted. Completely quiet with no birds or cars. I wanted to convey this silence in the pictures.
Do your origins and culture play a role in the works that you produce?
Of course. I am visually and mentally influenced by my fellow human beings. There is no doubt, even the choice of topics has something to do with experience and education. We are all very much influenced by our environment.
Which events have influenced you most?
I think it is a combination of many events. Photography festivals like Rencontres d’Arles are important to me, but also workshops at universities or just discussions about photo projects, whether in book form or simply online.
What are your sources of inspiration?
Of course, my collective – DOCKS Collective. We work very closely together and support each other in all matters. This creates a lot of trust and inspiration.
Are there any anecdotes that enable the genesis of your work to be understood?
I think the environment is the main topic for my generation. That’s why it was important for me to do a project that deals with an environmental disaster. I was surprised that I hadn’t heard about the issues at Lake Urmia. I wanted to know more about it and in September 2018 I travelled to the lake for the first time.
ON A MORE
Are your works more of a dialogue, a trace or a denunciation?
I always try to talk with the protagonists. I think trust and honesty are extremely important. With my work I do not want to present a finished opinion to the audience, but rather ask questions.
Do you wish to make viewers wonder or do you prefer to question them?
I want to make the viewer wonder. I don’t want to just give simple answers. I want the images to weave themselves into a complex series. It would be best if the audience is more interested in the topic after looking at the pictures.
How would you compare your last work with the next?
Thematically, I would definitely like to continue working on aspects of the climate crisis.
What are your current and future projects?
After my work about Lake Urmia in Iran, I started working on the yurt districts around Ulan Batar in Mongolia. Here, too, the environmental problem and climate crisis are closely linked to the topic. But Corona stopped everything for me. For photographers this is of course a difficult situation. As soon as it is possible to travel again, I will continue with the new project in Mongolia.
Do you have anything else to add? I’ll let you have the last word…
Thank you for the interview and the interest in my work.