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 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