Nadav Kander
| Nadav Kander | |
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Philip Dodd 'In Conversation' with Nadav Kander, Flowers Gallery, London 2010
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| Born | December 1, 1961 |
| Known for | Photography, Artist, Director |
| Website | nadavkander |
Nadav Kander (born December 1, 1961) is a London-based photographer, artist and director, known for his portraiture and landscapes. Kander has produced a number of books; had his work exhibited widely; he received an Honorary Fellowship from the Royal Photographic Society in 2015, won the Prix Pictet and a World Press Photo award; and his work is included in the collections of the National Portrait Gallery, the Société Générale, Paris, Pictet & Cie’s Art Collection and other museums and galleries.
Kander was born in Tel Aviv, Israel. His father flew Boeing 707s for El-Al but lost his eye and was unable to continue flying. His parents decided to start again in South Africa and moved to Johannesburg in 1963. Kander began taking pictures when he was 13 on a Pentax camera, which he bought with his Bar Mitzvah money. He states the pictures that he took then and until he was 17, although unaccomplished, have the same sense of quiet and unease that is part of his work today. After being drafted into the South African Air Force, Kander worked in a darkroom printing aerial photographs. It was there he became certain he wanted to be a Photographer. He moved to London in 1986, where he still resides with his wife Nicole and their three children.
Kander is best known for his Yangtze - The Long River series, for which he earned the Prix Pictet Prize. Kander made several voyages along the course of China's Yangtze River, travelling upstream from mouth to source over a period of three years. Using the river as a metaphor the journey begins at the coastal estuary, where thousands of ships leave and enter each day, and moves past renowned suicide bridges, coal mines and the largest dam in the world - the Three Gorges Dam. Further inland we encounter Chongqing - the fastest-growing urban centre on the planet. Kander never photographed further than twenty miles from the river itself. In the shadow of epic construction projects we see workers, fishermen, swimmers and a man washing his motorbike in the river. Dense architecture gives way to mountains in the upper reaches towards the river's Tibetan source - a sparsely populated area where the stream is mostly broken ice and just ankle deep. The photographs are dominated by immense architectural structures where humans are shown as small in their environment. Figures are dwarfed by landscapes of half completed bridges and colossal Western-style apartment blocks that are rapidly replacing traditional Chinese low-rise buildings and houseboats.
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