Friday Swipe: polar bears, masking tape and Copenhagen from the air

These six things have caught my eyes and ears this week or thereabouts.

Nicolas Cosedis

Copenhagen is my favourite city in the world. My Instagram feed is full of pictures of Nyhavn, Christiansborg and Amager Strandpark, but the outstanding contributions by far come from Nicolas Cosedis. Copenhagen is spectacular from the air and Cosedis captures it with flawless airborne photography – and not a drone in sight.

100 Colors

Emmanuelle Moureaux is an architect and artist based in Tokyo. As part of her 100 Colors series and a collaboration with a masking tape brand, she created an installation of 6,000 crisscrossing strips of long, colourful tape. The gradient effect and sheer size of the work provide infinite perspectives, meaning even the photography is a sight to behold.

Prophetic Kingdom

I love weird images, abandoned cultural debris and raw photography of the real world, so Martin Buday’s photographic survey of “unpopulated and pseudo-apocalyptic landscapes” is a home run. Where else would I find a pink hatchback on its roof, a tiny horse where a dog should be, and the orangest doors in the history of architecture?

Kolyuchin Island

Between Alaska and Russia lies Kolyuchin Island. In September 2021, Moscow-based photographer Dmitry Koch visited an unoccupied Russian weather centre there. Unoccupied, that is, apart from the polar bears who moved in last summer. Koch’s photography of the polar bear takeover is phenomenal.


California photographer Andrew Waits is the artist behind Aporia, a collection brought to my attention by Ignant. In seeking to capture the expression of doubt (hence the name), Waits produced a characterful and uneasy black and white series that deals as much in life, light and shadow as it does in the uncertainty at its heart.

Information is food and we’re obese

I have a preoccupation with clickbait and the erosion of culture and discourse. This post by David Perell applies his Paradox of Abundance to news, arguing that the proliferation of the bad shit drives out the good shit. Instead of the demand for quality generating a healthy supply, we’re left to gorge on the produce of journalists who are forced to game algorithms in order to survive.