Boris Mikhailov . Bücher books
The special thing about Boris Mikhailov as a ‘book maker’ is that he thinks of and develops photography in sequences, in spaces and cuts, in the forms of its montage.
Viewed as a whole, his books and book drafts – which often only exist as one original copy – create a retrospective of a very unique and intimate kind. The artist’s books Krymskaja Fotomanija (Crimean Photomania) and Mountains, each with 128 pages, are shown here in facsimile, accompanied by 80 pages of illustrated text.
Boris Mikhailov is seen as a chronicler of his Ukrainian homeland: the everyday life of the so-called ‘little people’ on the street, on the beach, at dances – anywhere that the politic becomes visible in the private. Drawing on this material, Mikhailov explores both the human condition and the history and decline of the Soviet Union – and the consequences of its fall.
Boris Mikhailov was born in Kharkov, Ukraine in 1938. He uses documentary as well as staging and studio techniques to comment on the Soviet Regime and, latterly, the downfall of the Soviet Union. His work has appeared in exhibitions at the Museum of Modern Art (NewYork), the Stedelijk Museum (Amsterdam), the Kunsthalle (Zurich), and the Sprengel Museum (Hannover).Today, Mikhailov lives and works in both Charkow and Berlin.
Boris Mikhailov: Bücher Books
Structures of Madness, or Why Shepherds Living in the Mountains Often Go Crazy / Photomania in Crimea
(Text in English and German)
Mother Jones' Photographers Pick the Best Photobooks of 2013
Edited by Inka Schube
Essays by Boris Mikhailov
31.50 x 23.50 cm
Illustrated in colour and tritone throughout
First published 2013
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In geology an erratic is a rock that differs in type from those around it, having been carried over large distances by long-vanished glaciers. Harvey-Regan’s eponymous series questions the medium of photography and its ability to extract from contexts and alter perception. Originating in the artist’s desire to liberate himself from the weight of representational imagery - a yearning for abstraction - alongside a converse desire to engage with appearances as only photography can, The Erratics began as a series of large format photographs in the Egyptian desert, capturing chalk monoliths in the most objective manner possible. These images were followed by months of meticulously carving and photographing chalk rocks in the studio, forcing a geometry and line to shape the objects towards the photographic surfaces they eventually become. The Erratics combines these sets of images within a new text work by Harvey-Regan that explores how the processes and concerns within the work might be further expressed and shaped through the act of writing.
En géologie, un bloc erratique est un fragment de roche de taille relativement importante qui se distingue des autres pierres l’environnant parce qu’il a été déplacé, parfois sur de grandes distances, par la fonte d’un glacier.
Le travail éponyme de Darren Harvey-Regan questionne la nature même du médium photographique et trouve son origine dans la volonté de l’auteur de s’affranchir du poids de la représentation. Une soif d’abstraction.
Une série de monolithes de craie situés dans le désert égyptien, pris de la manière la plus objective possible, à la chambre grand format, constitue le point de départ de The Erratics. S’en suivent alors des mois de studio concentrés sur des lignes et des plans, à photographier minutieusement les blocs de pierre.
A ces deux corpus d’images le livre confronte également un travail littéraire de l’artiste qui prolonge sa réflexion sur la forme photographique.
THE ERRATICS . Darren Harvey-Regan
RVB books 2017 / Shortlist for the 2017 PhotoBook Awards Aperture Paris Photo
40 color photographs
Text by Darren Harvey-Regan
The setting is Flint, Michigan. A town infamous for poverty and crime. At the center of this story are two sisters. Claressa is older than Briana by 18 months. Like most people in Flint, the two girls grew up tough. Their dad was in jail for the first half of their lives. Their mother battles with substanceabuse. In a sad sense, a typical Flint upbringing. Except for one difference. When she was 11, Claressa went to the local boxing gym and started training. Ten years later, she is the best female boxer in the World. Rex is about these two sisters in Flint. For most people, being from Flint is like being in quicksand. Generational poverty has taken its toll. There are no jobs. There are no resources. There are no easy solutions. There is no easy way out. Claressa is the exception. Briana is the rule. And while on paper Claressa is the golden child and Briana is the trouble child, it’s more complicated than that. In another town, this might be a different story.
REX . Canepari Zackary
100 b/w and coulors photographs
“State of Nature” shows the extent that natural-disaster protection has become part of the European landscape.
Claudius Schulze traveled about 50.000 km across Europe, photographing seemingly picturesque landscapes from a crane platform with a large-format camera. But each of those idyllic scenes contains imperfections: alpine panoramas are crossed by snow sheds, the North Sea coast is furrowed by breakwaters. In each of the photographs, protective structures rise into the landscape. But these pictures are not about defining the boundary between culture and nature. On the contrary: the photographs demonstrate how much the two spheres penetrate each other.
Brief handling instruction
As this book does not have a solid cover it needs to be inserted into the banderole with the cloth covered spine first.
Claudius Schulze . State Of Nature
30 × 36 cm
172 pages on 2 different papers,
61 color and 13 b/w images
Texts by Oskar Piegsa and Thomas Glade
Graphic Design by -SYB-
Threadsewn softcover with bellyband-like slipcase
"A lyrical meditation on the complex dynamic between humans and the natural world at what may prove to be a critical time for both." — Sean O'Hagan, The Guardian
Nazraeli Press is delighted to present our third monograph by American photographer Lucas Foglia. Human Nature revisits themes established in Foglia’s his previous books, A Natural Order and Frontcountry, but on a broader, global scale.
Foglia grew up on a small farm bordering a wild forest, thirty miles east of New York City. In 2012, Hurricane Sandy flooded his family’s fields and blew down the oldest trees in the woods. On the news, scientists linked the storm to climate change caused by human activity. Foglia realized that if humans are changing the weather, then there is no place on earth unaltered by people.
The average American spends 93% of their life indoors. With this in mind, Foglia photographed government programs that connect people to nature, neuroscientists measuring how time in wild places benefits us, and climate scientists measuring how human activity is changing the air. Many of the scientists included in the book are now facing budget cuts and censorship by the Trump administration.
Human Nature begins in cities and moves through forests, farms, deserts, ice fields, and oceans, towards wilderness. Funny, sad, or sensual, the photographs illuminate the human need to connect to the wildness in ourselves.
Foglia’s photographs are held in major collections in Europe and in the United States, including Art Collection Deutsche Börse, Denver Art Museum, Fotografiemuseum Amsterdam, International Center of Photography, Museum of Contemporary Photography, Museum of Fine Arts Houston, Victoria and Albert Museum, Philadelphia Museum of Art, Pier 24, Portland Art Museum, and San Francisco Museum of Modern Art.
LUCAS FOGLIA . Human Nature
Hardcover, 9.5 x 12.5 inches, 92 pages, 58 four-color plates.
In Museum Bhavan Dayanita Singh creates a new space between publishing and the museum, an experience where books have the same if not greater artistic value than prints hanging on a gallery wall. Consisting of nine individual “museums” in book form, Museum Bhavan is a miniature version of Singh’s traveling exhibition of the same name whose prints are placed in folding expanding wooden structures (her “photo-architecture”), which she likes to interchange at will.
The images in Museum Bhavan—old and new, intriguingly literal and suggestive—have been intuitively grouped into lyrical chapters in a visual story such as “Little Ladies Museum” and “Ongoing Museum,” as well as more specific series like “Museum of Machines.” Following her Sent a Letter (2008), the starting point for this project, the books are housed in a handmade box and fold out into accordion-like strips which Singh encourages viewers to install and curate as they wish in their own homes. The exhibition thus becomes a book, and the book becomes an exhibition.
Dayanita Singh . Museum Bhavan
298 pages, 241 images
Softcover in slipcase
9 x 13.7 cm
Number of items: 10
1. Edition 04/2017
In 1977 William Eggleston released Election Eve, his first and most elaborate artist’s book, containing 100 original prints in two leather-bound volumes housed in a linen box. It was published by Caldecot Chubb in New York in an edition of only five, and has since become Eggleston’s rarest collectible book. This new Steidl edition recreates the full original sequence of photos in a single volume, making it available to the wider public for the first time.
Election Eve contains images made in October 1976 during Eggleston’s pilgrimage from Memphis to the small town of Plains, Georgia, the home of Jimmy Carter who in November 1976 was elected 39th President of the United States. Eggleston began photographing even before he left Memphis and depicted the surrounding countryside and villages of Sumter Country, before he reached Plains. His photos of lonesome roads, train tracks, cars, gas stations and houses are mostly empty of people and form an intuitive, unsettling portrait of Plains, starkly different to the idealized image of it
William Eggleston . Election Eve
212 pages, 100 images
Hardback / Half-linen
33 x 25 cm
1. Edition 09/2017
Yalla Habibi – Living with War in Aleppo gives recognition to people in Eastern Aleppo who have continued their everyday lives with resilience and inventiveness amidst perilous circumstances. The pictures from Hosam Katan’s hometown, taken between 2013 and 2015, capture moments of the conflicting and contrasting experiences and emotions of these people. Anger, joy, grieve, fear, adventurousness, desperation, determination, solidarity, defiance, fatigue, excitement – having to live with war all of these emotions can change in an instant. The book shows people balancing the horrors of war with a sense of normalcy and trying to retain their dignity.
Although the news coverage of the conflict in Syria, and especially from Aleppo, has waned, it is important to keep up the dialog because the conflict is far from being over. »Yalla Habibi (Come on my dear)!« as people would say in Arabic.
The book is dedicated to to the German photographer Anja Niedringhaus, who died in 2014.
Hosam Katan (born in Aleppo 1994) started working as a photojournalist for Aleppo Media Center from October 2012. Between 2013 and 2015, he covered the conflict in Aleppo as a freelance photographer for Reuters as well. His pictures have been published in numerous international magazines. He is currently studying photojournalism at the University of Applied Sciences and Arts in Hannover. The awards he has received include the Ian Parry Special Award 2014 and the Ian Parry Award 2015, the annual Andrei Stenin International Press Photo Contest 2015, the grand price at the IAFOR Documentary Photography Award 2015, the Nannen Preis 2016, a Deutsche Börse Photography Foundation Special Prize for Photography 2016, the PX3 Prix de la Photographie Paris 2017, and the Felix Schoeller Photo Award 2017. He was nominated for the the Bayeux-Calvados Award for war correspondents 2016, and is shortlisted for the Meitar Photo Award 2017.
Hosam Katan Yalla Habibi . Living with War in Aleppo
Hardcover 24 x 32 cm 152 pages 74 color ills. English Available ISBN 978-3-86828-839-1 2017
Anne-Marie Beckmann, Mohammad Khair Hak, Mohammed al-Khatib, Hassan Katan, Hosam Katan, Carsten Stormer
Hosam Katan, Sebastian Moock and Kehrer Design Heidelberg (Loreen Lampe)
Hosam Katan Yalla Habibi Living with War in Aleppo
These images account for the meeting between Julián and the archive that Yuyachkani theatre group disposes for the public at the entrance of Sin título, técnica mixta [Untitled, mixed media], a production that questions the construction of Peruvian historical memory. The archive invites us to delve into newspaper clippings, photographs, school books, artistic images and other documents before entering the room where the scenic action takes place. The entire production examines the Guerra del Pacífico (1873-1889) and the Conflicto Armado Interno (1980-2000), two wars that define Peru’s republican era and reveal the history of the country’s fractures.
Memorial is a series of photocopies marked by the manual manipulation of each of its documents. Traces, decompositions, creases, slippings, glazings, grain degradation, fragments, inversions, double exposure. Its title leads us directly to the process of establishing certain things -events, characters, symbols- that define our shared history. However, this series inquires about the relation between the images of war and the concrete forms taken by two very different kinds of social abstractions: national symbols and money. The former quickly lose their shape, disfiguring the limits of the mental space in which Peru has been represented throughout its history; the latter makes its entrance about halfway through the series –when Túpac Amaru clashes against the dollar–, soon to saturate the entire space of the paper.
“Money was invented so that people wouldn’t have to look each other in the eyes” (Godard, Film Socialisme), in the same way that national symbols seek to ensure the permanence of the imagined community. In both cases they function through misrecognition. That is, as a way of ensuring that, despite what we see and perceive directly, an ideal space where all contradictions are resolved takes place. The map –which here depicts the representational space where we introduce fictions, rather than the actual geographical reality– and the bills –as a daily replacement for the map that places those same fictions in our hands– teach us how to look away from the decomposition of social bonds caused by both wars. Precisely what is addressed throughout the rest of the series.
Images appear amidst the national myth and its monetary form that define what we should disregard in order to sustain the fiction of a country with no fractures. Many of the documents refer to our most recent war, pointing out that the establishment of official narratives and their imagery, where heroes and villains are defined as such, is a process that marks our present. A dispute that remains unfinished –and probably will never be solved– but that, for many, is not really happening. Despite this, both Fujimori and Abimael appear as two personifications of war, where they are confronted less as a contradiction than as a synthesis. One and the other, after all, aimed to become the face of the nation, to be printed on bills that allow us to avoid each other’s eyes. The problem Memorial faces –much like Yuyachkani’s production– is how to imagine a way out of the symbolic conundrum we find ourselves in. A way out that overcomes those social forms of misrecognition (emblems, money) and comes to terms with the contradictions that we share. Perhaps the only thing we really share.
Memorial . Julián Barón
Encuadernación Cubiertas con serigrafías
Páginas Las páginas se imprimen desde archivo descargable
Editorial Julian Barón, KWY
From 2005 to 2009 Antoine d’Agata had spent most of his time in Cracolandia, the crack neighborhoods of São Paulo and Salvador. Doubtless the roughest areas of Brazil.
With 169 images and more than 140 unseen photographs, “Cidade de Pedra” is the most comprehensive document about this period. It reveals the brutality and the intimacy of his experience.
Antoine D´Agata . Cidade de Pedra
228 Pages, 57 Unbound Folds, 169 Photos, 142 Unseen Images + Text in 3 languages: French, Portuguese and English
If the equations of physics, which invisibly enable aircrafts to fly, remain unattainable to most of us, the desire to fly itself however seems firmly rooted in the depths of human subconscious. As Le Corbusier once put it “flying lifts us above mediocracy. Flying is, ultimately, a desperate act of faith”.
In ‘How to fly’ photographer Pedro Guimarães (b.1977) takes us on a poetic journey into the subculture of private aviation. The language he employs takes the disguise of the documentary genre yet what initially appears to be a flight manual quickly reveals Guimarães’ true autobiographical intentions through the use of poetic punctuation.
‘How to fly’ is, after all, a reflection on the inevitable traumatic events of life and describes a series of emergency maneuvers designed to keep oneself alive.
Pedro Guimaraes . How to Fly
96 pages 21 x 26 cm Softcover Offset Print First edition
Edition of 300 (25 of which released as a special edition w/ metal box and print)
Marcelo Brodsky is an Argentine artist and human rights activist who works with images and documents from specific events to investigate broader social, political and historical issues. His understanding of image editing and the particular intervention to which he subjects it, manages to change the viewer's perspective and thus reveal new levels of meaning. In 1968, The Fire of Ideas, Brodsky presents archival images of student and worker demonstrations around the world, carefully hand-checked to deconstruct what underlies the global social turbulence of the late 1960s.
1968. THE FIRE OF IDEAS . MARCELO BRODSKY
No. of pages: 64 p.
Publishing House: RM VERLAG 2017
Translated with www.DeepL.com/Translator
Pierre von Kleist
Concrete Octopus takes off where Kanemura´s 2002 acclaimed Spider's Strategy left. For the first time, Osiris and Pierre von Kleist team up to show Kanemura´s new work done between 2011 and 2013. The cult Japanese photographer proves to be in great shape. With a text by Chris Fujiwara, a film critic living in Tokyo.
It would be strange and misleading, though obviously not wholly inaccurate, to call these photographs “images of the Japan of the present time.” Though they might perhaps have much to say to the social historian, their documentary function is circumscribed by the interest in exploring a visual universe too disunited and incomplete to be recognizable as a cultural or historical form. In these images, the world presents itself with great purity and without provocation or seduction, as though poised in the interval before the repetition of an already forgotten catastrophe.
Osamu Kanemura (b.1964) is a photographer born and based in Tokyo. He has been photographing the city-scapes in his solid monochromes. Since 1992, he has had more than twenty solo exhibitions in Tokyo, New York and other cities. His works have been featured in many exhibitions, including the 1996 'New Photography 12,' The Museum of Modern Art, New York, the 1997 'Absolute Landscape,' Yokohama Museum of Art, the 2004 Rencontres Internationales de la Photographie d’Arles, and the 2006 Venice Architecture Biennale. His 2002 photobook, "Spider's Strategy" is widely known as his major publication.
His photographs are in the permanent collections of the Museum of Modern Art, New York, San Francisco Museum of Modern Art, the National Museum of Modern Art, Tokyo, and Tokyo Metropolitan Museum of Photography, as well as in other public and private collections. He received the New Photographer Prize from the Photographic Society of Japan in 1997, the Ken Domon Prize in 2000, and the Ina Nobuo prize in 2014.
Concrete Octopus by Osamu Kanemura
Pierre von Kleist editions, Lisbon and Osiris, Tokyo
Edited by José Pedro Cortes, André Príncipe and Yoko Sawada
Hardcover, 88 pages, 30x18,9 cm, B/W
Pierre von Kleist
"This enigmatic book is both a puzzle and a delight at the same time. As the photos show anything from a Spanish social event, to a weird woman with a rabbit and a dead rat floating upside down in a green pool. Although difficult to quite see what is going on, we are constantly drawn back in to try and understand the narrative and we are wanting to come back for another view. It gets under our skin, and that is a rare attribute."
Hugo Alcol . Archipiélago
Pages 84 S.
Format 22 × 30 cm
Cover flexibler Einband
Published in October 2017