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The Amazon is much more than a river. It is the visible appearance, infinitely rich in analogies, of the reality of things. This seems obvius, when poetic languages intervenes to describe reality, the latter loses its documentary sharpness and is converted into a creative fantasy, especially in the specific sense that the river embodies the ironic and sombre essence of the universe.
I have contemplated this river and its affluents in small doses, and small steps, because like a bashful child, it only showed its epidermis; this I found irritating.
But traveling so sedately meant that all that surrounded me remained hidden until the river itself disgorged all its "splendours" along its various stretches: globetrotters, beggars, preachers, drunken aborigines, ruined foremen, minor politicians, lumberjacks, monks, soldiers, melancholic prostitutes... I find it strange that the beautiful image of this river, is in reality a beautiful imperfection. And Fordlândia, Henry Ford's attempt to transform the jungle into a fantasy of the american Mid West, is the perfect imperfection: a perfect failure of the American Way of Life.
Fordlândia 9 . JM Ramírez-Suassi
9 b&w and 72 color plates offset
9,4 X 11,62 inches (24 X 30 cm)
Edition of 350 numbered copies
After the loss of her mother the artist experiences the interruption of her own timeline on one end while having to fulfill her own role as a mother to the other end. In that end, motherhood in Dede’s universe is not connected only to warmth or joy but to cold, ice surfaces that need to stand the pressure of an overheated world.
‘Mayflies’ dramatises the creative process of mourning. Through multiple chirographic mutations of the imagery, the experience of loss in intertwined layers is represented throughout the work. Faces and bodies lingering in the shadows between conscious and subconscious in an attempt to let themselves be inert as Marcel Proust advices:
The treatment of the images has been done by using chemicals, wax, fire or by painting on negatives or prints.
The artist experiencing her own slow fading from the world, wants to add herself in the mourning matter, bringing the universal issue to her own small cosmos. her interference in the images makes them contain "her" into each piece.
Opposed to how photographic prints are usually handled with care, caution, touched only with gloves, in a museological-archival-ish way, that makes the photo print something "solemn", the techniques the artist uses to produce her final pieces of work are violent ones, that give the impression that she leaves on them the imprint of her own body as a proof of her existence.
Dimitra's violence turns the photo object into a vulnerable and somehow ill-varnished object.
Dimitra Dede (born in Greece) is a London based visual artist working mainly with photography. She studied photography and holds a postgraduate diploma in New Media.
Her practice combines painting and the use of chemicals with photography. The making of the imagery is based on an intuitive process. Her subject matter quests the connection between space and time, memory and displacement, loss and longing, life and the Absurd. Her work has been presented in galleries and festivals both in Europe and in America (Center for Fine Art Photography - Fort Collins, Black Box Gallery-Portland, Brighton Photo Biennial, Les Rencontres d'Arles, Unseen Festival Amsterdam etc.).
Mayflies . DIMITRA DEDE
PUBLISHED BY VOID.
‘Mayflies' is Dimitra’s first book. It was shortlised at the Unseen Dummy Award 2018 (Unseen Festival, Amsterdam).
22,5 x 32 cm
500 numbered copies
"The town is quiet, the streets are empty. But if you take the road into the backwoods, you’ll start to hear some noises. A branch snaps and there are voices, laughing. A few lights are on at one house and a fire burns behind a barn. And if you relax your eyes you can see that there are people all around. The folks who live further out don’t follow the same rules. They have their own idea of what the night is for.
Dylan Hausthor and Paul Guilmoth listen to the people who tell them stories of birth and death and their photographs are remnants of those who live along a little creek that floods on the same day each spring. This book is the result of many days in and around the stream and a testament to the power of the myths that fuel the towns in the distance."
— Vivian Ewing
‘Sleep Creek’ is a landscape filled with trauma and beauty. It’s a place where animals are only seen when they’re being hunted and humans balance between an unapologetic existence and an abyss of secrecy. These images manipulate a landscape that is simultaneously autobiographical, documentary, and fictional: a weaving of myth and symbol in order to be confronted with the experiential. Following the rituals of those within it, ‘Sleep Creek’ is an obsession between the subject and the photographer — a compulsion to reveal its shrouded Nature.”
Dylan and Paul have been working together since 2011 but they only started making ‘Sleep Creek’ in 2016, when they lived together in a cold house on Peaks Island, a small island only accessible by boat off of the coast of Maine. They gave themselves the boundary of the island as a perimeter to make photographs. It began as a traditional interest in place—a documentary of a piece of land and stories of its inhabitants, but as the work began to expand they let their thoughts cross-pollinate with those outside the island, namely their families and the lands that we were raised on.
“There’s something deeply personal about many of these images, but we hope that there is something more universal in the intensity of the characters and their interactions with the land.”
— Paul Guilmoth & Dylan Hausthor
‘Sleep Creek’ is entirely shot in New England, for the reason that this was the only region that the artists knew. Even though the place holds a strong regional identity, Paul and Dylan didn’t want the work to represent or speak to a regional identity but to use the region as a backdrop for more unhindered ideas of story, myth, and character.
Even though ‘Sleep Creek’ blurs the borders of reality and fiction, the intention of the artists was never to confuse, but rather to build a place from the ground up, leaving little remnants of the place they initially set out to document. Their impulse to contort “place” had to do with the inevitable ways the exterior world affects one’s interior landscape and experience of it. There are no beginnings, middles, or ends in their experiences of the world, nor a hard line between the experienced and the directed.
That said, they do believe there is something specifically inspiring about the simultaneous history and youth of this part of America. In their own words: “Colonialism is apparent everywhere, every square foot of woods has been tainted by something human, and every pond is always covered with algae. There is anonymity in all of their characters, akin to the faceless identity of small-town New England”.
PAUL GUILMOTH & DYLAN HAUSTHOR
Paul Guilmoth and Dylan Hausthor are a collaborative artist duo based in the woods of the Northeast. Their practice is primarily focused on photographic and bookmaking art; occasionally questioning the boundaries of both. They co-founded the publication studio Wilt Press in the winter of 2015 and together make work that centers around the myth of place and the complexity of image-based narrative.
BY DYLAN HAUSTHOR & PAUL GUILMOTH,
PUBLISHED BY VOID.
17 x 21,5 cm
The Saxons of Transylvania documents a fading civilization with a mix of archival images, new photographs, illustrations and storytelling. In their second book photographed in Romania, Martínez + Sáez focus on ethnic German Saxons returning to Transylvania to preserve their distinct culture and heritage built over eight centuries. Indigenous to the region, their conflicted story is told through legend and history, and with current texts, revealing an uncertain future for what is now a dispersed group of people.
New settlers arrived in ‘the land beyond the forests’ beginning in the mid-12th century. According to legend, a Pied Piper lured local children away from the German town of Hamelin; they disappeared into a mountain and travelled underground until emerging from a cave in Transylvania where they settled into seven cities. The tale is believed to be inspired by the colonization of Central European territories by King Géza II of Hungary, when young Germans were led to Transylvania to fortify border towns. The skilled ‘Saxons’ built a productive society there and for generations lived peacefully alongside Hungarians, Romanians and Roma, while nurturing their specific identity.
In the 20th century wars and communism uprooted the people. During World War II they served in three armies (for Romania, Germany and Hungary) and became both victim and executioner. In 1945 more than 70,000 Transylvanian Saxons were apprehended by Soviet occupiers and deported to labour camps in Siberia. The new pro-Soviet government of Romania suppressed their historical rights and confiscated properties.
After the fall of communism in 1989, around 90% of the Saxons who remained fled Transylvania within a few months. Half a million people migrated to Germany and Austria, or to North America in search of a new life, and the deserted medieval villages their ancestors founded began to deteriorate. Now that very few Saxons remain in Transylvania, their history and legacy are in danger of disappearing entirely.
Today some who left Romania have returned in search of their roots and are working to preserve their heritage. This book highlights some of the last Saxons’ own stories surrounding their identity, memory, traditions and life experience.
Texts by Pascual Martínez + Vincent Sáez, Marlene Stanciu, Günter Czernetzky, Karl Hann, Uwe Hann and Alex Herberth
Design by Tiffany Jones, Pascual Martínez + Vincent Sáez
Published with financial support granted by the Romanian Cultural Institute.
The Saxons of Transylvania
Pascual Martínez + Vincent Sáez
FIRST EDITION Trade Hardcover, 17 x 23 cm portrait, 152 pages
Section-sewn binding with cloth-covered spine; mixed art papers with deckled foredge;
tip-in and foil on cover; 3 interior tip-ins
108 photographs and illustrations; 7 texts
Published November 2019 | ISBN: 9781999446833
"La serie '17 18 19' está sacada de una bolsa de película negativa recuperada de una planta de reciclaje en las afueras de Pekín en 2010. La bolsa contenía un archivo de más de 15.000 negativos en blanco y negro rayados, rodados en uno de los centros de detención de la ciudad entre 1991 y 1993".
17 18 19
Thomas Sauvin mantuvo los negativos presentados en esta serie sin escanear durante casi una década. Aunque el artista estaba intrigado por el contenido, el riesgo de escanear el material oficial de China podría poner en peligro el (para entonces) Proyecto Silvermine. Por esta razón, este material siempre fue editado por el artista en su forma negativa en bruto. Se mantuvo de esta manera en el libro presentado.
17 18 19' es un viaje de investigación sobre la práctica de aquellos fotógrafos del departamento de policía y su estética, práctica y comprensión de la fotografía, la composición y la dirección de arte.
¿Quiénes son esas personas? ¿Cuáles son las historias que hay detrás de cada artículo? ¿Por qué 17 18 19 19? Son preguntas que el lector tiene que resolver. Como si el libro fuera una prueba en sí mismo. Poniendo al lector en el lugar del investigador.
"La sensibilidad visual y social del autor ofrece un notable testamento, poéticamente presentado, de los destinos humanos, el significado archivístico y la contemplación social".
- Prof. Slobodan Dan Peich, Estudios Culturales Comparados, Historia del Arte y de las Ideas
17 18 19' fue creado en una colaboración entre Thomas Sauvin y Void.
Durante la estancia del artista en la Residencia Convento (Portugal) - en septiembre '19 - el libro fue editado, diseñado y listo para ser impreso. Lo que ocurrió a principios de octubre '19, en el MAS, Estambul.
Está magníficamente impreso con tinta metálica de plata sobre papel negro. Y no fue una decisión estética al azar. Las páginas negras permiten que las fotografías se impriman en negativo. Y la tinta de plata metálica vincula el "17 18 19" a su génesis: el Proyecto Silvermine. La plata y los negativos, que antes se desechaban en China, ahora se reciclan en forma de libro.
Desde 2009, el coleccionista y artista francés Thomas Sauvin se ha embarcado en una aventura insólita: rescatar negativos desechados de una planta de reciclaje en las afueras de Pekín que estaban destinados a la destrucción. Emprendiendo uno de los proyectos de archivo más grandes e importantes de China, compra por kilos, quitando bolsas de arroz llenas de miles o rollos de negativos babosos, polvorientos y rayados. Una vez examinadas de cerca, las imágenes se seleccionan, digitalizan y clasifican de forma consistente. Hoy en día abarca más de medio millón de fotografías anónimas que abarcan el período comprendido entre 1985 y 2005, reconstruyendo así una gran parte de la historia de la fotografía analógica popular en China. Este archivo coherente y en constante evolución nos permite aprehender los negativos de diferentes maneras. Constituye una plataforma visual para las interacciones interculturales, a la vez que impacta en nuestra memoria colectiva del pasado reciente.
17 18 19 . THOMAS SAUVIN
PUBLICADO POR VOID.
15 x 20,5 cm
Edición de 750 ejemplares
Impreso con tinta de plata sobre papel negro
Texto de Holly Roussell, en inglés y chino
Made over the course of 10 years, ‘Oyster’ is a visual diary compiled by Marzocchi as clues to understand his absent parents. At times bordering on frustration and violence, his images express his search for a ‘culprit’, a cause for his dysfunctional childhood environment. Using archival and original imagery, the artist ransacks the past to build a presence in a process of forgiving and letting go, as a quest to find love and healing.
Marzocchi had reevaluate his whole family history from the point of view of an adult. And close a circle. Like an Ouroboros.
“This work represents my experience in recovering and understanding my parents, their life and their relationship with me. I never knew them well because they split when I was 6 years old, and they both died young. Drugs, addictions, jail and dysfunctional environment, these were constant elements. This work is focused on dealing with and replacing all the doubts and fears that I had. Exorcising the pain and searching for love.”
The "Ouroboros" is an important symbol to Marco and his work. It relates to evolution. To being reborn. The influence of his parents on his life and how it reflects back to the way he views his parents. To Marzocchi, everything is connected.
The symbol guided many of the design concepts presented in ‘Oyster’. every book connects to each other. There are 480 different covers. Every snake is a cover of a book and the back cover of the next. Turning the 480 books into a singular piece.
‘Oyster’ is a 84 page Leporello book. This form allows the reader to have a free and non linear read of the publication. It allows a circular reading. Again, an Ouroboros.
Marco Marzocchi's photography is the search for people, atmospheres and places of the past that mix with the present in order to define it and make sense of it. It is beauty in everyday simplicity and in those small details that hide joy, fear, or pain, elements that combine like in a poem.
His work alternates impulsiveness and rationality, both in shooting and editing. But nothing is casual. Everything is traced back to a narrative that is both introspective and open to the outside world.
A succession of questions and answers and yet more questions, to give meaning to deep dynamics, to facts from the past, to love, to photography itself.
OYSTER . Marco Marzocchi
13,8 x 16,2 cm
500 numbered copies
500 unique covers available
Books will be sent following an order decided by Void’s team
Please, understand it is impossible to choose number or cover artwork.
The book is the result of Pietro Paolini's travels to Bolivia, Ecuador and Venezuela between 2009 and 2014, documenting the landscape and daily life in the countries of the new Latin American socialism during the presidencies of Evo Morales, Rafael Correa and Hugo Chávez.
Thanks to the photographic instrument, the artist has captured and described the existential realities of these nations by constructing a true visual novel: a story that represents all of life, in all of its historical, social, economic, anthropological and political implications.
Buscando a Bolivar
Author: Pietro Paolini
Binding: Hardback / Clothbound
Measurements: 24.5 x 29.5 cm
Language: Bilingual (ENG-ESP)
Year of publication: 2019
In February 1993, Peter Watkins’s mother walked from Zandvoort beach into the North Sea to her death.
The Unforgetting is the artist’s long-term exploration of trauma, loss, and shared familial memory, all woven into a series of works that have been created over a number of years, and now for the first time come together in the form of a book.
At its core, the project explores the tragic loss of his mother to suicide following an intense period of mental instability and institutionalization.
The personal charge with which these images are made remains disguised, however, encouraging a dialogue between the universal and the highly personal – a photograph of cans of Super-8 withhold the images they contain; ceremonial glasses appear transparent and emptied of liquid; and the reoccurring motif of suspension and weightlessness comes to counteract the anchored and definitive quality of the still life works.
These object assemblages have a totemic and monumental appearance. Isolated from a greater whole, their reimagining through the representational capacity of photography moves them into the realm of the associative, the artefact, and positions them as fragments of evidence.
Wood is present throughout and points to the Germanic, the folkloric, of growth and of time itself, both passing and splitting.
These works are universal in their stoic unwillingness to disclose their deeply personal roots; but woven beneath their surfaces are the stories and narratives that come to constitute the biography of the departed.
This series finds its core, therefore, in the interplay between presences and absences – the absence of the mother, and the traces of her life explored in states of Unforgetting.
THE UNFORGETTING - PETER WATKINS
Edition of 500
88 pages + booklet
Designed by CH-RO-MO
WINNER OF THE SKINNERBOOX BOOK AWARD 2019
First published in 1987 to critical acclaim, the seminal American Prospects has been likened to Walker Evans’ American Photographs and Robert Frank’s The Americans in both its ability to visually summarize the zeitgeist of a decade and to influence the course of photography following its publication. This definitive edition of American Prospects contains sixteen new pictures, most of which have neither been published nor exhibited. Freed from the size constraints of previous editions, Sternfeld includes portraits and portraits in the landscape which elucidate the human condition in America. The result is a more complex and rounded view of American society that strongly anticipates Sternfeld’s “Stranger Passing” series (1985–2000) and links the two bodies of work.
Joel Sternfeld . American Prospects
152 pages, 71 images
Hardback / Clothbound
38 x 30 cm
1. Edition 11/2019
Thames & Hudson
Stephen Shore is one of the most influential photographers of our time, acknowledged especially for his pivotal role in the rise of colour photography in the 1970s. Less familiar is the wide range of his experimentation with various cameras, formats and modes of dissemination – from amateur and vernacular forms early in his career to digital technologies today.
Encompassing the entirety of Shore’s career, and including over fifty images published in this book for the very first time, Stephen Shore: Solving Pictures allows for a fuller understanding of the artist’s singular vision and uncompromising pursuit of photography’s possibilities.
Stephen Shore . Solving Pictures
Format:Hardback with tipped on colour plate to front board (without jacket)
Size:22.9 x 26.7 cm
Publication date:23 November 2017
Thames & Hudson
In John Gossage’s words this is a book “with a particular context, of photographs to settle the feeling that I did not understand about my home. To do that I set out, starting in 2003, to see what clarity my pictures might bring.” And so came into being these photos of scenes, things, minor events and the look in the eyes of the young, all taken in everyday non-iconic places throughout his travels across America. Gossage’s ongoing look at his country within these pages is like a dance: rhythmic, redeeming, restorative, intuitive; but tentatively hopeful. “I would like to believe all of it,” he writes, “that we will be saved, but on Connecticut Avenue there is graffiti that says ‘Where is Lee Harvey Oswald when we need him?’ All I can hear is the faint echoing gun shots coming from Wounded Knee.” To be continued…
John Gossage . Jack Wilso's Waltz
144 pages, 69 images
Hardback / Clothbound
24 x 29 cm
1. Edition 11/2019
3,238 projects, by 1,619 authors, born between 1983 and 2001, coming from 69 different countries. A total of 3,457 images. The 2020 edition of the Foam Magazine Talent Issue contains a selection of 20 artists from a fascinating pool of submissions. A wide spectrum of themes, techniques and approaches that once again lets us say — yes, photography is very well alive and in very good health. As it is alive, it is changing, evolving, creating ramifications and cross-pollinating. Most importantly, as the access to opportunity increases, the panorama becomes more and more fertile — and it’s beautifully blossoming.
The Talent Issue this year is even more special: for the first time in the history of Foam Magazine we are releasing two different covers, one with an image by Kamonlak Sukchai and the other by Alba Zari. These two wonderful images represent the extremes of the very broad spectrum in image making that we had the honour of exploring while browsing the submissions of the Talent Call. We also present a conversation between Mariama Attah and Ghanaian artist Eric Gyamfi, who was part of the Talents 2019 and then winner of the Paul Huf Award 2019. While we were almost ready to print, we received fantastic news: for the second time, Foam Magazine has received the award for Best Magazine of the Year by the Lucie Foundation, announced during a gala at the Carnegie Hall in New York!
Foam Magazine #55 Talent (2020) | Cover Alba Zari
CONTRIBUTING PHOTOGRAPHERS AND ARTISTS
Aàdesokan, Sofia Borges, Adji Dieye, Rahima Gambo, Eric Gyamfi, Karla Hiraldo Voleau, Benoît Jeannet, Tommy Kha, Luther Konadu, Simon Lehner, Matthew Leifheit, Alexandra Lethbridge, Elsa Leydier, Douglas Mandry, Pat Martin, Philip Montgomery, Camillo Pasquarelli, Anastasia Samoylova, Simone Sapienza, George Selley, Micha Serraf, Hashem Shakeri, Gao Shang, Kamonlak Sukchai, Dustin Thierry, Guanyu Xu, Yorgos Yatromanolakis, Ali Zanjani, Alba Zari
Mariama Attah, Henri Badaröh, Iatã Cannabrava, Brian Curtin, Christa Dee, Marcel Feil, Brad Feuerhelm, Allen Frame, Anahita Ghabaian Etehadieh, Taco Hidde Bakker, John Hilliard, Kim Knoppers, Mirjam Kooiman, Russet Lederman, Diane Lima, Shaka McGlotten, Elisa Medde, Marc Mouarkech, Azu Nwagbogu, Iheanyi Onwuegbucha, Jaime Lowe, Liz Sales, Aaron Schuman, Shamita Sharmacharja, Diane Smyth, Valentine Umansky, Leslie Wilson, Duncan Wooldridge
Foam Magazine has been awarded several prizes for both its high-grade graphic design and the quality of its content. Most recently, Foam Magazine was awarded Photography Magazine of the Year at the Lucie Awards 2017 and 2019.
Foam Magazine is an international photography magazine published three times a year by Foam Fotografiemuseum Amsterdam.
The annual Foam Magazine Talent Issue and the related Talent Programme are supported by the Deutsche Börse Photography Foundation, the Niemeijer Fund and the VandenEnde Foundation. Foam Magazine is sponsored by Igepa Netherlands BV, supplier of excellent paper.
Printed on selected specialised paper