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Mondlane Hottas
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Norbert Schoerner is a German photographer and filmmaker.
Based in London since 1989, he spent the early 1990s experimenting with layered imaging and digital post-production, primarily in The Face. His work has since been published in NY Times magazine, Vogue and Another Magazine. His advertising campaigns have included Comme des Garçons, Swarovski, Shiseido, Prada and Lacoste.
Schoerner´s book The Order of Things was published by Phaidon in 2002. He has collaborated with Jake and Dinos Chapman, and contributed to books such as The Impossible Image: Fashion Photography in the Digital Age (Phaidon, 2000), Apocalypse (Royal Academy, London, 2000), Hell (Jake and Dinos Chapmann, Saatchi Gallery, 2003), and Beauty in Vogue (Condé Nast, 2007). He created a photographic essay for the Artangel commissioned Victoria & Albert Museum project The Concise Dictionary of Dress (Violette Editions, 2010).
In 2011 Dazed & Confused Magazine´s 20th anniversary publication featured one of Schoerner´s editorial collaborations with Alexander McQueen, Dazed & Confused Book: Making It Up As We Go Along (Rizzoli, 2011). A monograph titled Third Life was published in August 2012 by Violette Editions.
His forthcoming book Nearly Eternal is a collaboration with Steve Nakamura, scheduled for publication by Claire de Rouen Books in November.


Schoerner´s photographic and multi-media works have been featured in numerous groups shows as:
Photo50 (London Art Fair, 2010), You Dig the Tunnel ? I´ll Hide the Soil (White Cube, London, 2008), Cities: People, Architecture and Society (La Biennale, Venice 2006), I Shot Norman Foster at the Architecture Foundation (London, 2005) and JAM: Tokyo- London (Tokyo Opera City, 2002)
Solo exhibitions have been held at Comme des Garçons (with The Face, Aoyama, Tokyo, 1996), Chapman Fine Arts (London, 2001), SDLX (Tokyo, 2004) and Museum 52 (London, 2004). In 2005, Schoerner had a mini-retrospective at the Photo festival in Hyères, France for which he created The Court, an interactive and site-specific interpretation of the very notion of "retrospective".