Tipp No. 100: “Anthropocene” – Amazing Landscape and Industrial Photography by Edward Burtynsky (Canada)

arts, Insights, Kunst, Movie, Nature

It was a tough decision to select examples of EDWARD BURTYNSKY`s brilliant series of landscape and industrial photography.

Well, I would like to introduce the ANTHROPOCENE PROJECT that includes a collection of remarkable photographic insights to you…

“[We] come from nature.…There is an importance to [having] a certain reverence for what nature is because we are connected to it… If we destroy nature, we destroy ourselves.”
– Edward Burtynsky

Phosphor Tailings Point #4
Near Lakeland, Florida / USA 2012
Saw Mills #1,
Lagos / Nigeria 2016
Imperial Valley #4
California, USA 2009
Lithium Mines #1
Salt Flats, Atacama Desert, Chile 2017
Clearcut #2
Palm Oil Plantation, Borneo / Malaysia 2016


To talk about “Terraforming” of the Earth by mining, urbanization, indus-trialization, industrialized agriculture, deforestation, etc. that is resulting in a reduction of biodiversity, climate changes, equalized biogeographies etc. is a minimization in my view. Let`s face the truth…it is bare destruction.

EDWARD BURTYNSKY is able to capture moments of heart-breaking beauty even within all this destruction. Sometimes it takes a second till you realize the entire scenario. I think, this smart twist contributes to the feeling of disturbance, his work is leaving.


Watching his outstanding landscape photography involuntary leaves you with the impression that our planet is eaten alive — by us.

Deadly injured, covered with open wounds and scars, the Earth still provides us with all resopurces we need to further expand, dominate the creation and grow our population without any rhyme or reason.

Desparation, feeling helpless, and guilty… Let`s begin with changing ourself. I am sure that each one of us knows best where and how he is able to reduce his personal ecological footprint….Right?


Admittedly, I had to look it up….

The Anthropocene is a proposed epoch dating from the commencement of significant human impact on the Earth’s geology and ecosystems, including, but not limited to, anthropogenic climate change. Various different start dates for the Anthropocene have been proposed, ranging from the beginning of the Agricultural Revolution 12,000–15,000 years ago, to as recent as the Trinity test in 1945.
The most recent period of the Anthropocene has been referred to by several authors as the Great Acceleration during which the socioeconomic and earth system trends are increasing dramatically, especially after the Second World War. (wikipedia)

Ähnliches Foto
Anthropocene – The Sinkhole in Guatemala City (image of the ETH Zurich)


Another collaboration from Nicholas de Pencier, Edward Burtynsky, and Jennifer Baichwal, The Anthropocene Project is a multimedia exploration of the complex and indelible human signature on the Earth.

Originally conceived as a photographic essay and the third in a trilogy of films including Manufactured Landscapes (2006) and Watermark (2013), the project quickly evolved to include film installations, large-scale Burtynsky High-Resolution Murals enhanced by film extensions, 360° VR short films, and augmented reality installations.

Embracing and developing innovative techniques, the trio embarked on an epic journey around the world (to every continent save Antarctica) to capture the most spectacular evidence of human influence, while taking time to reflect on the deeper meaning of what these profound transformations signify. The result is a collection of experiences that will immerse viewers in the new world of the Anthropocene epoch, delivering a sense of scale, gravity, and impact that both encompasses and moves beyond the scope of conventional screens and prints.

The project includes:

  • a major travelling museum exhibition at the Art Gallery of Ontario and National Gallery of Canada before it will travel to Manifattura di Arti, Sperimentazione e Tecnologia (MAST) in Bologna in Spring 2019;
  • a new release of Edward Burtynsky photographs;
  • a feature documentary film;
  • immersive interactive experiences in augmented and virtual reality;
  • an art book published by Steidl;
  • and a comprehensive educational program.


IN THE NEWS (09th Jan. 2019): ANTHROPOCENE won $100K Rogers Best Canadian Film Award – Congratulations!


Edward Burtynsky (born February 22, 1955) is Canadian photographer and artist known for his large format photographs of industrial landscapes. His work is housed in more than 60 museums including the Guggenheim Museum, the National Gallery of Canada, the Reina Sofia Museum in Madrid, the Tate Modern in London, the Bibliothèque Nationale, Paris and others.

Burtynsky received his BAA in Photography/ Media Studies from Ryerson University in 1982, and in 1985 founded Toronto Image Works, a darkroom rental facility, custom photo laboratory, digital imaging and new media computer-training centre catering to all levels of Toronto’s art community.

Early exposure to the sites and images of the General Motors plant (the workplace of his father) in his hometown helped to formulate the development of his photographic work. His imagery explores the collective impact we as a species are having on the surface of the planet; an inspection of the human systems we’ve imposed onto natural landscapes. 

Edward Burtynsky won several well-known prices & awards (e.g. Officer of The Order of Canada in 2006) and received several honorary doctorates.

Furthermore, he is an active lecturer on photographic art, who is welcome in various notable galleries, universities and libraries.

His images appear in numerous periodicals each year including Canadian Art, Art in America, The Smithsonian Magazine, Harper’s Magazine, Flash Art, Blind Spot, Art Forum, Saturday Night, National Geographic and the New York Times.

For further details, please feel free to visit his website that contains more galleries of awesome photos, an overview of his publications and EDWARD BURTYNSKY`s event calendar:


Poem No. 153: “The Pilgrimage” by George Herbert

Gedichte, poems, Reisen, Travel, Zen
The Camino de Santiago

The Pilgrimage

I travell’d on, seeing the hill, where lay
My expectation.
A long it was and weary way.
The gloomy cave of Desperation
I left on th’ one, and on the other side
The rock of Pride.

And so I came to fancy’s meadow strow’d
With many a flower:
Fain would I here have made abode,
But I was quicken’d by my hour.
So to care’s copse I came, and there got through
With much ado.

That led me to the wild of Passion, which
Some call the wold;
A wasted place, but sometimes rich.
Here I was robb’d of all my gold,
Save one good Angel, which a friend had ti’d
Close to my side.

At length I got unto the gladsome hill,
Where lay my hope,
Where lay my heart; and climbing still,
When I had gain’d the brow and top,
A lake of brackish waters on the ground
Was all I found.

With that abash’d and struck with many a sting
Of swarming fears,
I fell, and cry’d, Alas my King!
Can both the way and end be tears?
Yet taking heart I rose, and then perceiv’d
I was deceiv’d:

My hill was further: so I flung away,
Yet heard a crie
Just as I went, None goes that way
And lives: If that be all, said I,
After so foul a journey death is fair,
And but a chair.

Poem No. 152: “The Journey” by Mary Oliver

Gedichte, poems

One day you finally knew
what you had to do, and began,
though the voices around you
kept shouting
their bad advice –
though the whole house
began to tremble
and you felt the old tug
at your ankles.
“Mend my life!”
each voice cried.
But you didn’t stop.
You knew what you had to do,
though the wind pried
with its stiff fingers
at the very foundations,
though their melancholy
was terrible.
It was already late
enough, and a wild night,
and the road full of fallen
branches and stones.
But little by little,
as you left their voices behind,
the stars began to burn
through the sheets of clouds,
and there was a new voice
which you slowly
recognized as your own,
that kept you company
as you strode deeper and deeper
into the world,
determined to do
the only thing you could do –
determined to save
the only life you could save.

Poem No. 126: “Frühlingsglaube – Spring Believes” by Johann Ludwig “Louis” Uhland (Germany, 1787 – 1862)

Gedichte, Nature, poems
Flowers bloom at the Huasco region on the Atacama desert, some 600 km north of Santiago on November 27, 2015. A gigantic mantle of multicolored flowers covers the Atacama Desert, the driest in the world, with an intensity not seen in decades, an effect caused by the El Niño phenomenon, which alters weather patterns across the Pacific basin.


Die linden Lüfte sind erwacht,
(The gentle breezes are awoken,)
Sie säuseln und weben Tag und Nacht,
(They whisper and weave day and night,)
Sie schaffen an allen Enden.
(They create in all ends.)
O frischer Duft, o neuer Klang!
(Oh fresh fragrance, oh new sound!)
Nun, armes Herze, sei nicht bang!
(Now, poor heart, don’t be anxious!)
Nun muß sich alles, alles wenden.
(Now all must change.)
Die Welt wird schöner mit jedem Tag,
(The world becomes prettier with every day,)
Man weiß nicht, was noch werden mag,
(One does not know, what yet will be,)
Das Blühen will nicht enden.
(The blooming doesn’t want to end.)
Es blüht das fernste, tiefste Tal:
(The farthest, deepest valley blooms:)

Nun, armes Herz, vergiß der Qual!
(Now, poor heart, forget the agony!)
Nun muß sich alles, alles wenden.
(Now all, all must change.)

Poem No. 133: “Sweet Independence” by an Unknown Author

Gedichte, poems, Uncategorized

every day, take our lives for granted
walking, running, unaware of strife
sometimes without any real purpose
never looking seriously at life

trying to look good in the worlds view
helping people in faraway lands
a blind eye, our societies curse
those less fortunate, our own homelands

trying to live in a world of normal
was only by chance I found her out
close by don’t even know she exists
deserves so much more without a doubt

never reaches out to ask for help
day in day out calmly carries on
each task commits a painstaking chore 
struggling her best, dexterity gone

no matter how hard she finds each step
determination wills itself heard
full independence raises its head
quiet, unobtrusive her preferred

Poem No. 128: “Aus einem April – About April” by Rainer Maria Rilke (1875 – 1926)

Gedichte, Nature, poems
Wieder duftet der Wald. 
(The forest smells again.)
Es heben die schwebenden Lerchen
(It raises the floating larks)
mit sich den Himmel empor, der unseren Schultern schwer war; 
(which were so heavy on our shoulders, upwards into the sky;)
zwar sah man noch durch die Äste den Tag, wie er leer war,- 
(indeed, one saw through the branches the day, how it was empty,-)
aber nach langen, regnenden Nachmittagen 
(but after long, rainy afternoons)
kommen die goldübersonnten 
(come the gold, sunny)
neueren Stunden, 
(newer hours,)
vor denen flüchtend an fernen Häuserfronten 
(before which the far house fronts flee)
alle die wunden Fenster furchtsam mit Flügeln schlagen. 
(all the sore windows, fearful with wings’ attack.)
Dann wird es still. Sogar der Regen geht leiser
(Then it is still. Even the rain goes softer)
über der Steine ruhig dunkelnden Glanz.
(over the stone’s peaceful, darkening shine.)
Alle Geräusche ducken sich ganz
(All sounds hide away)
in die glänzenden Knospen der Reiser. 
(in the shiny buds of the bushes.)

Poem No. 128: “Mai-Lied – May Song” by Johann Wolfgang von Goethe (1749 -1832)

Gedichte, Nature, poems
Wie herrlich leuchtet
(How masterfully shines)
Mir die Natur!
(nature on me!)
Wie glänzt die Sonne!
(How the sun gleams!)
Wie lacht die Flur!
(How the mead laughs!)
Es dringen Blüten
(Blossoms push)
Aus jedem Zweig
(From every bough)

Und tausend Stimmen
(And a thousand voices)
Aus dem Gesträuch
(From the undergrowth)
Und Freud’ und Wonne
(And joy and bliss)
Aus jeder Brust.
(From every breast.)
O Erd’, o Sonne!
(Oh earth, oh sun!)
O Glück, o Lust!
(Oh happiness, oh love!)
O Lieb’, o Liebe!
(Oh love, oh love,)
So golden schön,
(So golden pretty)
Wie Morgenwolken
(Like morning clouds)
Auf jenen Höhn!
(On the hill!)
Du segnest herrlich
(You prosper masterfully)
Das frische Feld,
(The fresh field)
Im Blütendampfe
(With the breath of flowers)
Die volle Welt.
(The whole world.)
O Mädchen, Mädchen,
(Oh girl, girl,)
Wie lieb’ ich dich!
(How I love you!)
Wie blickt dein Auge!
(How gazes your eyes!)
Wie liebst du mich!
(How you love me!)
So liebt die Lerche
(So loves the lark)
Gesang und Luft,
(Singing and air,)
Und Morgenblumen
(And morning flowers)
Den Himmelsduft,
(The sky mists)
Wie ich dich liebe
(How I love you)
Mit warmem Blut,
(With warm blood)
Die du mir Jugend
(That you [give] me youth)
Und Freud’ und Mut
(And joy and courage)
Zu neuen Liedern
(To new songs)
Und Tänzen gibst.
(And dances.)
Sei ewig glücklich,
(To be forever happy)
Wie du mich liebst!
(How you love me!)

Poem No. 118: “Still I Rise” by Maya Angelou

Gedichte, poems
Flamenco Dancer

You may write me down in history
With your bitter, twisted lies,
You may tread me in the very dirt
But still, like dust, I’ll rise.

Does my sassiness upset you? 
Why are you beset with gloom? 
‘Cause I walk like I’ve got oil wells
Pumping in my living room.

Just like moons and like suns,
With the certainty of tides,
Just like hopes springing high,
Still I’ll rise.

Did you want to see me broken? 
Bowed head and lowered eyes? 
Shoulders falling down like teardrops.
Weakened by my soulful cries.

Does my haughtiness offend you? 
Don’t you take it awful hard
‘Cause I laugh like I’ve got gold mines
Diggin’ in my own back yard.

You may shoot me with your words,
You may cut me with your eyes,
You may kill me with your hatefulness,
But still, like air, I’ll rise.

Does my sexiness upset you? 
Does it come as a surprise
That I dance like I’ve got diamonds
At the meeting of my thighs? 

Out of the huts of history’s shame
I rise
Up from a past that’s rooted in pain
I rise
I’m a black ocean, leaping and wide,
Welling and swelling I bear in the tide.
Leaving behind nights of terror and fear
I rise
Into a daybreak that’s wondrously clear
I rise
Bringing the gifts that my ancestors gave,
I am the dream and the hope of the slave.
I rise
I rise
I rise.