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Exiles
About Exiles, Cornell Capa once wrote, "Koudelka's unsentimental, stark, brooding, intensely human imagery reflects his own spirit, the very essence of an exile who is at home wherever his wandering body finds haven in the night...."
In this newly revised and expanded edition of the 1988 classic, which includes ten new images and a new commentary with Robert Delpire, Koudelka's work once more forms a powerful document of the spiritual and physical state of exile. The sense of private mystery that fills these photographs--mostly taken during Koudelka's many years of wandering through Europe and Great Britain since leaving his native Czechoslovakia in 1968--speaks of passion and reserve, of his rage to see. Solitary, moving, deeply felt and strangely disturbing, the images in Exiles suggest alienation, disconnection and love. Exiles evokes some of the most compelling and troubling themes of the twentieth century, while resonating with equal force in this current moment of profound migrations and transience.
In this newly revised and expanded edition of the 1988 classic, which includes ten new images and a new commentary with Robert Delpire, Koudelka's work once more forms a powerful document of the spiritual and physical state of exile. The sense of private mystery that fills these photographs--mostly taken during Koudelka's many years of wandering through Europe and Great Britain since leaving his native Czechoslovakia in 1968--speaks of passion and reserve, of his rage to see. Solitary, moving, deeply felt and strangely disturbing, the images in Exiles suggest alienation, disconnection and love. Exiles evokes some of the most compelling and troubling themes of the twentieth century, while resonating with equal force in this current moment of profound migrations and transience.
180 pages, Hardcover
First published January 1, 1988
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302 people want to read
About the author
Josef Koudelka
42 books36 followersJosef Koudelka was born in Czechoslovakia in 1938. He began his career as an aeronautical engineer, and started photographing gypsies in his spare time in 1962, before turning full-time to photography in the late 1960s. In 1968 Koudelka photographed the Soviet invasion of Prague, publishing his photographs under the initials P.P. (Prague photographer). In 1969, he was anonymously awarded the Overseas Press Club’s Robert Capa Gold Medal for the photographs. Koudelka left Czechoslovakia seeking political asylum in 1970, and shortly thereafter he joined Magnum Photos.
In 1975 his first book, Gypsies, was published by Aperture, and subsequent titles include Exiles (1988), Chaos (1999), Invasion 68: Prague (2008), and Wall (2013) and, most recently Ruines (2020). Koudelka has won major awards, such as the Prix Nadar (1978), Grand Prix National de la Photographie (1989), Grand Prix Cartier-Bresson (1991), and the Hasselblad Foundation International Award in Photography (1992).
Exhibitions of his work have been held at The Museum of Modern Art and the International Center of Photography, New York; Hayward Gallery, London; Stedelijk Museum of Modern Art, Amsterdam; Palais de Tokyo, Paris; Art Institute of Chicago; and Museum of Decorative Arts and the National Gallery, Prague. In 2012, he was named Commandeur de l’Ordre des Arts et des Lettres by the French Ministry of Culture and Communication. He is currently based in Paris and Prague.
In 1975 his first book, Gypsies, was published by Aperture, and subsequent titles include Exiles (1988), Chaos (1999), Invasion 68: Prague (2008), and Wall (2013) and, most recently Ruines (2020). Koudelka has won major awards, such as the Prix Nadar (1978), Grand Prix National de la Photographie (1989), Grand Prix Cartier-Bresson (1991), and the Hasselblad Foundation International Award in Photography (1992).
Exhibitions of his work have been held at The Museum of Modern Art and the International Center of Photography, New York; Hayward Gallery, London; Stedelijk Museum of Modern Art, Amsterdam; Palais de Tokyo, Paris; Art Institute of Chicago; and Museum of Decorative Arts and the National Gallery, Prague. In 2012, he was named Commandeur de l’Ordre des Arts et des Lettres by the French Ministry of Culture and Communication. He is currently based in Paris and Prague.
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Displaying 1 - 12 of 12 reviews
April 13, 2018
Incredible black and white photos with emphasis on the ordinary but extraordinary . Life in Europe in last years of the previous century as seen by Koudelka. Not exactly pretty or happy pictures.
August 13, 2016
Super essay by Czeslaw Milosz in the introduction here, but overall I enjoyed Koudelka's Exiles less than his earlier, earthier, work on the Gypsies in Slovakia. Exiles seems a little too arty at times. The earlier Gypsies is also experimental and revolutionary in its own way, but seems more natural and engaged, less interested in making a statement about art than a statement about people.
Whereas the young Koudelka personally got to know the Romani, visiting them in their forced settlements over the course of several years, his work in Exiles seems more distant. Undoubtedly, this is a mark of Koudelka's own experience after he fled Prague in the wake of the 1968 Revolution and wandered over Western Europe. For all that, it struck me less, and while technically more accomplished, conceptually seems more scattered and less compelling than Gypsies. His photos of the Romani were rich because they grew out of extended observation of one group of people.
Fortunately, neither of these books is dry photojournalism or blasé news reportage. Koudelka's universal reach beyond the surface of things toward the soul underneath is masterful, but I was more drawn into his smaller project in Gypsies.
Whereas the young Koudelka personally got to know the Romani, visiting them in their forced settlements over the course of several years, his work in Exiles seems more distant. Undoubtedly, this is a mark of Koudelka's own experience after he fled Prague in the wake of the 1968 Revolution and wandered over Western Europe. For all that, it struck me less, and while technically more accomplished, conceptually seems more scattered and less compelling than Gypsies. His photos of the Romani were rich because they grew out of extended observation of one group of people.
Fortunately, neither of these books is dry photojournalism or blasé news reportage. Koudelka's universal reach beyond the surface of things toward the soul underneath is masterful, but I was more drawn into his smaller project in Gypsies.
February 7, 2025
Koudelka has an uncanny ability to capture the sculptural quality of light, building an architecture of photography through stunning compositions and a tactile exploration of the world - his pictures feel tangible, just there on the other side of the frame. Nobody does it quite like him.
And Czesław Miłosz’s introductory essay is a masterpiece on its own - a moving analysis of exile and creation, loss and rebirth. I felt spoken to in a way little other writing ever has, in limpid, poetic, efficient language.
And Czesław Miłosz’s introductory essay is a masterpiece on its own - a moving analysis of exile and creation, loss and rebirth. I felt spoken to in a way little other writing ever has, in limpid, poetic, efficient language.
May 9, 2012
My favorite living photographer, and my favorite photographic book. I had this out of the library almost constantly when I was a student. Odd, because his work is so different to what mine was at the time.
January 16, 2015
Epic and gracious photography from a deep thinker Josef Koudelka represents important work from the late 20th century.
July 12, 2025
Been wading into the world of photography of late and eagerly brushing up on the classics; Koudelka is a very recent discovery and I was struck by his pretty raw/realistic style, loved it; a lot of his work is freely available online at the internet archive, go check them out!
May 6, 2025
Una gran sensibilidad por el dolor humano y una habilidad extraordinaria para trabajar en contextos complejos
October 16, 2025
CCC Graz 2025
December 29, 2025
4/5:
While I didn't feel too connected with the photography, it was still cool to look at. I found this one cause of recommendations for books like The Wisonsin Death Trip, both having dark, eerie photos. Overall, it did what it needed to do.
- Constant Reader
While I didn't feel too connected with the photography, it was still cool to look at. I found this one cause of recommendations for books like The Wisonsin Death Trip, both having dark, eerie photos. Overall, it did what it needed to do.
- Constant Reader
August 8, 2015
Classic and great book.
March 14, 2016
Haunting black and white photographs.
October 7, 2017
The essay at the beginning of the book (also published here: http://www.americansuburbx.com/2009/0...) is my favorite part.
Displaying 1 - 12 of 12 reviews