AHORN MAGAZINE: The Beauty of the Simple

By Gabriel Fraga de Cal. March 13, 2012


We can easily find references or artistic labels for the past. Nevertheless, and probably due to the fact that self-criticism is always a tricky business, it is not easy to define art in this day and age. In spite of the continuous changes (flashbacks and flashforwards included) imposed on us by today’s world and the complexity of self-contemplation, the online magazine Ahorn dares to hit the Internet with a publication devoted entirely to contemporary photography.

Daniel Augschöll and Anya Jasbar are the creators of this interesting project that aims to place early 21st century photography on today's artistic-geographic map. Ahorn appeared in 2008, and, to this very day, has published 8 issues. Its format presents features of printed journalism; therefore, emulating the past, each issue is released with its corresponding cover.

Ahorn Magazine includes literary criticism, essays on the photographic process and dialogues disguised as interviews about the art of the static image. Also, and maybe this is its most outstanding role, anybody can submit their work and participate in the magazine: Ahorn is, above everything, a community of photographers and a platform for emerging artists. Of course, the editors reserve the right to accept or refuse any project.

It is not so easy to see your work published in Ahorn: it has to be a finished project, uniform and matching the artistic-visual philosophy of the publication. Photographers like Li Wei, Susan Worsham, Irina Rozovsky or Shen Wei have passed the editor’s filter, leaving the magazine at a considerably high level.

We now reach the Million Dollar Question: What is contemporary photography? The truth is that most of the photographic essays published in Ahorn have a lot in common; they look for beauty in every day life without too many technical adornments or philosophical paraphernalia. The message is clear: enjoy the light, the colours, the magical universe that surrounds us and don’t be influenced by the infinite possibilities of the camera. That is, keep it simple, keep it real.

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