All the books are interesting, here is our selection of the month
Authors from all over the world sign the books for you
From the best creators to your home
‘Obscuria de Profundis’ was developed from 2016 to 2020. It is a search for visual answers to the riddle of existence. Tolo uses everyday objects that correspond with allegorical objects in the cosmos. They illustrate the path that the species have traveled from its origin to the present time. Looking for the resolution of the oldest enigma, that of existence:
What are we?
Where do we come from?
Where are we going?
It remains the main reason that moves the species to continue. From the dark path to the light of knowledge.
Parra's photographs are mixed with found images to create a visual dialogue between eras and matter. Attempting to answer, though fiction, those real questions.
“It seems that the only certainty is that man was born on earth but his future is the stars, the universe and the uncertainty of knowing himself lonely in this unknown dimension.”
— Tolo Parra
Tolo Parra . Obscuria de Profundis
24 x 32 cm
“It’s a wonderful, very personal work, almost an elegy. Details from life, not of theory. Perhaps this is old fashioned, but 'true to life' is still, to my mind, the highest accomplishment.”
- Emmet Gowin
“With a profoundly tender eye and an unerring acuity of detail, The Locusts reminds of this - that while life is, life goes away.” - Katrin Koenning
“Turning the pages is like moving through tall grass at dusk, a mix of trepidation and wonder. “
- Jack Woody
“The scenes look very surreal. The pictures were taken with a sympathetic and intimate eye. The perspective of the people and the landscapes are incredibly exquisite.”
- Takayuki Ishii, Taka Ishii gallery
The Locusts is the first monograph by photographer and publisher Jesse Lenz. His images transport the reader to rural Ohio where his children run wild in the fields, build forts in the attic, and fall asleep surrounded by lightsabers and superheroes. The microcosmic worlds of plants, insects, animals, and children create a brooding landscape where dichotomies of nature play out in front of his growing family. The backyard becomes a labyrinth of passages as the children experience the cycles of birth and death in the changing seasons. The Locusts depicts a world in which beautiful and terrible things will happen, but offers grace and healing within the brokenness and imperfection of life.
Jesse Lenz (1988, Montana) is a self-taught photographer and multidisciplinary artist. As an illustrator he has created images for the most well-respected publications around the world, including TIME, The New York Times Magazine, Newsweek, Rolling Stone, and many others. He is the founder and director of Charcoal Book Club and the Chico Hot Springs Portfolio Review. From 2011-2018 he also co-founded and published The Collective Quarterly and The Coyote Journal. He lives on a farm in rural Ohio.
The Locusts . Jesse Lenz
Pre-Order this title. Releasing November, 2020.
Embossed linen with tip-in image
9.75 x 12.25
The intimate portrait of a city on the brink of a change. Istanbul, as you never seen it before.
With the book “Güle Güle” (“goodbye” in Turkish) we’ll take you on a surprising journey through the immense city of Istanbul, rapidly changing, bursting of energy and contrasts.
Gentrification, the marginalization of the poorer classes, the increasing discrimination of homosexuality, the massive migratory influx of Syrian refugees and the Kurdish community issue are just some of the realities behind the subjects portrayed.
The project is mainly organized in diptychs, with a constant dialogue between the images. Reality is deconstructed and reconstructed, favouring a free interpretation.
Photographs have never been altered or retouched to enhance what we believe being immediacy and straightforwardness, coherent with the approach we had while doing this work.
Photographs are the result of our multiple relations with people and places, a fascinating humanity and visually striking and unexpected situations and scenarios.
Jean-Marc Caimi & Valentina Piccinni
Photographies : Jean-Marc Caimi & Valentina Piccinni
Texte : Brad Feuerhelm
format 21 x 30 cm, cousu
104 photographies couleur
Langues : français / anglais
Sortie fin mars 2020 (sortie en librairie reportée à fin du confinement)
The Güle Güle project was presented this year as a dummy-book and received multiple awards:
Special mention Kassel dummy-book award
Shortlisted at Luma Rencontres Dummy Book Award, Arles, France
Shortlisted at Photoboox Awards – Photolux
Special mention Premio Marco Bastianelli
Winner at Sony World Photography Award in the discovery category
Winner of Gibellina PhotoRoad Prize
Finalist at Voies Off Screening Nights
Finalist at Warsaw Photo Days
On 20 February 1980, Jaime Tovar was kidnapped by the FARC (Revolutionary Armed Forces of Colombia) and forced to wander for months through the rainforest on the border of the Colombian Amazon. His son Luis Carlos, author of this book, was only a few months old when the events took place. The guerrillas sent a Polaroid to the relatives of the captive as a proof of life. This project is based on the search for that uncertain photograph, but it reflects a process of unhiding that transcends the event; a poetic exercise that speaks to us of our contingency and finiteness, which points to the legacy as the only way to survive. The absence of this fetish photography activates a performatic visual essay that resorts to the mechanisms of appropriation and collage to take autobiographical and documentary photography out of their conventional frames.
The Book My Father's Garden by Colombian artist Luis Carlos Tovar proposes the idea of post-memory as an exercise in imaginative reconstruction of life experience, as a generational therapy that gives voice to the marginalised and produces new empathies with the past.
Jardín de mi padre . Luis Carlos Tovar
Aperture PhotoBook Awards 2020 - Shortlisted
Co-published with the Musée de l'Elysée
Design by Nicolas Rouvière
Texts by Luis Carlos Tovar, Joan Fontcuberta, Lydia Dorner, Tatyana Franck, María Santoyo, Cristina Lleras
Author: Luis Carlos Tovar
Size: 19,8 x 28 cm
Year of publication: 2020
Fruta de Época #3 [Seasonal Fruits], is the third of a series of visual diaries by Pedro Guimarães. This time Pedro focused on what he calls "the architecture of the poor".
Four issues will be released in total. Together with the release of the fourth issue, a hardcover will also be released thus allowing all issues to be easily bound together in one volume.
Pedro Guimarães . Fruta de Época - 3
edition of 50, numbered and signed by the author
Printed on Coral Ivory 80g
Cover: translucent red tracing paper
Bound with omega staples
28,5 x 20,5 cm
Pierre Von Kleist
Julião Sarmento has been taking photographs for more than forty years. From early on, his technical and lyrical control of the medium allowed him to develop a personal style. His photographs cover a wide variety of interests: people, places, gatherings, travels, animals in or out of zoos, cars, experiments on light...
Café Bissau is the ultimate tour de force in Sarmento's archive. Raw, spontaneous zeitgeist infused images stand side by side with more careful constructed series in an elegant edit. Medium format, 35mm, colour, black and white, digital and analogue photographs flow harmoniously in the artist atlas.
Café Bissau is Julião Sarmento's most ambitious photobook to date, a surprising contribution to the medium.
Café Bissau . Julião Sarmento
Hardcover, 22x28cm, 128 pages, 99 images
Pierre Von Kleist
Pierre Von Kleist
Ballad of Today seems like a long walk through a city, at first hesitant, then accelerating. In bright daylight, at dusk, in the dark, in the gloom of the night, along many different cross paths, that lead up to the alluring yet simultaneously repellent glare of the business district and down the dark suction of the sewers.
The city André Cepeda immerses himself in is Lisbon. In 2017 he moved with his family to Lisbon from Porto, after early years in the Netherlands and his youth in Coimbra, with sojourns in Belgium. He wanders, creeps into his new city, digs himself into it, pushes himself off, searches, questions and combs through it - less in a descriptive way, less in the form of an overview, more as if he wanted to pierce the body of the city with his camera, punch holes into it, rub against it, sharpen his senses and his thinking in its complexity.
The result is a haunting ballad of a city, a ballad of the city as a system, of society today, of our individual and collective existence. After his earlier books with Pierre von Kleist editions Depois, Rua Stan Getz and Rien, he redoubles the intensity of his approach and hones his visual language in Ballad of Today.
The book is published on the occasion of an exhibition with the same name at MAAT Museum in Lisbon, curated by Urs Stahel, that also signs a text and the sequencing of the book.
Ballad of Today . André Cepeda
Pierre von Kleist editions / MAAT - Museum of Art, Architecture and Technology
Edited by Urs Stahel
Hardcover, 22x27,5 cm, 160 pages, colour and black and white
Text in English, German and Portuguese by Urs Stahel
Pierre Von Kleist
Heaven is a Prison by Mark McKnight is an exploration of intimacy with and within the austere terrain of Southern California’s high desert.
In Heaven is a Prison, McKnight describes a queer otherworld that is at once utopic and purgatorial – occupied by a solitary pair of copulating, Sisyphean protagonists that appear both liberated and bound by their intimacies and the severe expanse in which they are depicted.
Divided into chapters, the poetic sequences in this book oscillate between the literal and the figurative, between distance and communion, and between violence and affection. Claustrophobic, horizonless landscapes are coupled with images of ethereal clouds and tangled bodies that are simultaneously sculptural, shrewd, and tender.
Through his synonymous description of landscape and body, McKnight suggests metaphor, pointing at both as vehicles – towards transcendence, bondage, beauty, and abjection – while also revealing them as two sides of the same coin.
Heaven is a Prison is the recipient of the 2020 Light Work Photobook Award, given annually to an artistic project that deserves international attention.
Mark McKnight is a Los Angeles-based artist who has exhibited and published work throughout the United States and in Europe. Recent solo exhibitions include Mark McKnight (Aperture Foundation, 2020) and in this temporarily prevailing landscape (Klaus von Nichtssagend, 2020). His work has been written about in Aperture, Art in America, and BOMB Magazine. Mark is the recipient of the 2019 Aperture Portfolio Prize, the 2020 Light Work Photo Book Award, and a 2020 Rema Hort Mann Emerging Artist Grant. He is currently represented by Klaus von Nichtssagend, New York and Park View/Paul Soto, Los Angeles.
Mark McKnight . Heaven is a Prison
Published by Loose Joints,
132 pgs, 35 × 25 cm,
Little Big Man
A strictly limited edition of 500 copies. Save for some, nearly all the photographs here have not been published or publicly exhibited prior to this publication. It is not rare for pictures to remain unnoticed for a long time because innumerable photos are often kept in our digital devices without ever being seen again. Keizo Kitajima travelled to Eastern Europe in 1983 to take these pictures as a photographer and not as a tourist, yet for these to have remained unseen despite his initial intention to exhibit them, involves a specific if strange operation which bears directly on the question " when does one become a photographer?" This publication, in fact, provides an answer: only after 35 years did Kitajima become a photographer of these sites.
In other words, 30 years or so were necessary for these photographs to become publishable. The gap of years generates the distance absent when he took the photos. These images are just as distant to him now as they are to us. He was physically present in Berlin, Warsaw, and Prague when he took these pictures from 1983 to 1984. This distance in time prevents anyone from possessing these views as their own, including Kitajima. The photographer who might claim that these were taken just yesterday cannot possibly exist because of the amount of time that has lapsed. Kitajima spent 35 years to tease out this gap between the mechanical and personal gaze. We should read his career as a constant struggle with this gap. His early activities, including the “Photo Express Tokyo” magazine where he published snapshots using flash to increase contrast, was meant to get away from those viewers whose emphasis on the "having seen" and “being there” obscured the mechanical gaze. This flight underwrites his trips to Okinawa and New York, as well as the ones he took to Eastern Europe and the Soviet Union on the verge of collapse.
Keizo Kitajima was born in 1954 in Suzaka (Nagano Prefecture), Japan. He began photography at an early age; his discovery of the precursory works of Nobuyoshi Araki and Daidō Moriyama marked his teenage years. He was an original member of the Workshop Photo School. Like Moriyama, Kitajima developed an interest in the creative potential of photography’s reproducibility, but he took the notion of transformation in a very different direction, focusing on the layers of reproduction in his own work rather than the degeneration of cultural media. Kitajima’s photography is haunted by an obsession: identity, or rather the opposite; what Kitajima himself calls un-identity.
Keizo Kitajima . European Diary
Little Big Man
Book Size 174 × 270 mm
Pages 363 pages
Binding Softcover, slipcase
Publication Date 2019
Limited Edition 500
Little Big Man
The walk speaks of silence and tells that history with capital letters cannot be told. That it is made up of little stories, which reaffirm and contradict each other, which come and go in time, changing. Adapting to the time and place in which they are told or keeping quiet in which they cannot be told.
I realised that there was part of my country's recent history that I had not been told at home, on the streets or in public education. It is in my attempt to get to know this part of Spain's recent history, and in the continuous walls that I find myself, that this project arises. After more than 4 years of research and image taking, assuming that I am neither a historian nor an anthropologist, I understand that it is not my job to write history. I am a photographer and as such I want to generate images that can create in the spectator similar emotions to those that have occurred to me when walking this path, that lead him to want to know something of the stories that I hide (that they hide from us) and finally that a reflection is made on the whys of silence and the whys of denial.
I photograph places loaded with history, where apparently nothing happens. The images of these places are accompanied by texts that tell what has happened there. These texts are silenced. In this way, all the information that could give us both image and text remains in a latent state, hidden and will not be revealed, as an analogy of the current situation. In the texts, the story that will remain visible, will try to mislead the spectator by proposing a parallel narration, but with echoes that allow us to reach the theme that they hide. The reader will have to find in them a path to the story. This project intends to be a contribution to a debate that Spanish society needs to have, bringing to the public space the stories that until now have only been told in private spaces.
el paseo . David García
14 x 23 cm
Paperback sewn to the thread
Photography and text: David García.
Edition: David García & Fosi Vegue.
Design: Three Graphic Types.
Pre-printing: La Troupe.
Translation: Pelayo Pérez de Ayala.
Printing: Estudios Durero.
From 2012 to 2019 Mark Steinmetz took photos on the streets of Berlin. This work now comes together in the book Berlin Pictures, published by Kominek Books in 2020. The hard and soft sides of Berlin are portrayed in poetic and floating images like only Mark Steinmetz can do.
Berlin . Mark Steinmetz
Pre Order, ships in December 2020
Hardcover. 80 pages.
43 Duplex images. Print over board
This publication gathers Sergio Larrain’s photographs made during his stay in London during the 1958-1959 Winter including half of new images – not published in the first edition published by Hazan in 1998. A selection enlarged by the Chilean photographer himself.
In London, Larrain constitutes his first important series during the four months of his residency supported by the British Council. Surprisingly, these photographs taken as he was wandering in the city have been scarcely reproduced in the press. An essay specially written by Roberto Bolaño for these images in 1998, shed light on the corpus along with a text by Agnès Sire relating the origin of this emblemati
Londres 1959 . Sergio Larrain
Hardcover, 18,5 x 24,5 cm
95 B&W photographs
Limited edition available