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After a bit more obvious trickery (a tea cup full of water and sugar is suddenly empty when overturned), something happens that gives me pause.
The remainder of our experience is devoted to recreating the same seance his wife Bess held atop Hollywood's Knickerbocker Hotel every year on the anniversary of his death (Halloween night) for 10 years. Growing up in the province of Vasterbotten in northern Sweden, a remote town far from the cosmopolitan capital of Stockholm, Elin Berge has always been fascinated by the idea of photographing the clash of cultures in her homeland. At a time when migration is transforming Europe, Berge’s nuanced and subtle documentary style begs us to look more carefully at our own assumptions about immigration and our relationships with other cultures.
Paul Moakley: The Kingdom is part of a two-part project with another book titled Land of the Queens.
In Lapland, this depopulated area with miles and miles of forest, suddenly there was a big Buddha statue placed on a mountaintop, and there were these ceremonies with Thai women dancing through the village, collecting money, singing. When I was in this place and I saw these women in that Buddhist context, even if it was in Sweden, I kind of got into the subject from a different angle. PM: I also really like work that leaves a lot of room for the viewer to make up their own mind.
PM: Do you think the project provides a sense of understanding to people about these cultures coming together? He was an illusionist, one who could notoriously deduce the how and why of any trick after only having seen it once. Did we make a connection with the man who devoted much of his life to debunking the very thing we were participating in? Her curiosity led her to build a narrative through all her projects that questions our assumptions about our relationships to foreign cultures. The Thai women mostly come from the Isaan province in Thailand, a place that has been struggling with poverty and where the future for women might not be that easy. It was 10 years ago when I met a Buddhist monk in an airport in Umea, a village where he wanted to build a Buddhist temple. There are many people that think about men who go to Thailand, and they take a woman, and they go home.

I want to take pieces of the reality and put them together to make a story that makes people reflect on being a human being, thinking about the big questions like life, death and love. In Sweden, people might think men who can’t get a woman need to go to Thailand to be able to find love. I definitely want to make people think about that and show how children are being born and how things become hybrid. Her project The Kingdom is on view at the Sune Jonsson’s Center for Documentary Photography. The girl sitting to the right of Misty is asked to think of someone deceased, someone whom she loved dearly, someone whom she'd love to speak with again. Her project, called Slojor (Veils), examined the lives of young Muslim women, and now her most recent books Land of the Queens and The Kingdom, released last year, explore the phenomena of Swedish and Thai marriages. It’s kind of the average description of these couples, where the woman is just a victim and the man is a bad guy. The combination of your beautiful color palette, with the subject matter, plus there’s a certain distance you give your subjects. Making it a bit universal, maybe instead of distancing people from the subject because it’s disturbing to them.
Everything he did had an explanation—you just had to have the wherewithal to figure it out for yourself. At the same time, the rest of us are instructed to think of someone we love dearly who is still with us, someone who makes us feel safe. Things certainly happened during the spooky ten minutes, with books falling off the wall, the lights going out, and the table itself rising and floating. I wanted to focus on the strength of the women and the courage they must have to be able to take the risk and just leave everything behind and go with a man. I want it to be open and curious, but it’s not my intention to only paint a happy story. The series focuses on Houdini's unlikely, but authentic, transatlantic friendship with prolific writer, Sherlock Holmes creator and true believer Sir Arthur Conan Doyle (Episodes star Stephen Mangan) as they team up to solve unexplained and seemingly supernatural crimes in New Scotland Yard.After our Houdini history lesson, our work begins.

I thought it would be great to have the masculine part of the story and the other country–Thailand.
I think that it’s very important when you work as a photographer to notice or admit the power that you have upon people.
Each of us draws a crystal sight unseen from a satchel, meant to deduce those open to the realm of possibility from those who remain skeptical.
Whatever source of trickery she relied on to determine Bennett's name was truly affecting and clearly touched the women seeking connection with their dearly departed. The projects kind of mirror each other and make a nice unit that gives both perspectives on this phenomenon. I have seen them buy really expensive jewelry, some do plastic surgery or build really fancy houses. Before I can begin to consider whether this crystal knows me better than I know myself, we find ourselves with a problem. One of my colleagues' stones has gone cloudy, which Misty warns means a dark spirit has attached itself to the unlucky soul who drew it from the bag. A spell is performed and the spirit is transferred into egg that, when cracked, is entirely black.
She changes her instruction, telling her unwitting assistant to lower the lid of the wooden box on her hand and to feel around, waiting to draw another slip until she lands on one that truly feels unique. As she describes a larger-than-life man, I watch as the young woman and her mother seated beside her react. After every other adjective, she says "Wow." However she's doing it, Misty has zeroed in on something.
Misty takes the paper from her assistant across the table, hands it the young woman and asks her to open it and verify that it's hers.

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