Like . Eduardo Nave
Like is a symptom, a disruption in the ecosystem of visual production. It reveals the existence of a deranged approach to pictorial representation in which more importance is attached to showing our place in the world than to showing the world itself. In a society imbued with the capitalism – the excess, total accessibility and asphyxia – of post-photographic era images, the question arises whether it is any longer possible to experience the excitement of discovery.
Like is a printed image of our age, of this global village in which we live and where the human figure melts into the background like some kind of diluted being: a sign floating on the surface with no order, coherence or identity. And that explains Nave’s determination to move to some new, uninhabited land, perhaps further away than ever and perhaps even outside this reality.
Eduardo Nave (Valencia, 1976). He studied photography in Escola d’Art i Superior de Disseny in Valencia. In 2005 he founded, with 13 photographers, the photography collective NOPHOTO. His works have been exhibited around the world and can be found in numerous private and public collections. His oeuvre is represented by Galeria Pilar Serra (Madrid).
This book has received backing of gallery Pilar Serra, underbau, Control P and Palermo artes gráficas.
Like (2nd edition)
24 x 17 cm. 288 pages Softcover
Best Photography Book of the Year PhotoEspaña 2018 in the national category
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Pier von Kleist
1+1=1 is a mathematical mistake but not necessarily an error of logic: if you add a drop of water to another drop of water, how many drops will you have? In a world where mathematics and economics are now more revered than logic and reasoning, this work tries to be a collection of silent poems on the everyday of anyone anywhere. Poetry as a mean of survival, when all one hears is screams, noises and music you have not chosen. Silence is a blessing and if you add a photograph to another photograph and maybe yet another, how many photographs are you then looking at?
After the highly successful This Business of Living, Blaufuks' 1+1=1 continues his exploration on the experience of time and memory.
1+1=1 by DANIEL BLAUFUKS
1+1=1 by Daniel Blaufuks
Pierre von Kleist editions
Hardcover, 20.5x25cm, 68 pages, edition of 600 books
Pier von Kleist
A deep global investigation that tries to answer as difficult questions as: Do people who are condemned to death really deserve to die? or Does any government believe that it can determine whether a human being deserves to live or die?
Seabird is a book of moments observed by American photographer Bobby Doherty between 2014 and 2018. Doherty makes photographs that get to the point. At first glance, some of the photographs inSeabirdfeel gloriously oversimplified, objects and situations simmered down to their bare constituent elements; the clearest glass on the reddest tablecloth, the wettest dew on the softest leaf. Doherty is quick to embrace both the meaningful and meaningless of everyday life with equal measure: emotive, bucolic landscapes and portraits sit alongside city trash, animals, food and flowers. What comes out in the end feels like a photographic egalitarianism, where the tiny and the huge, the mundane and the sublime, shake hands across pages. Despite his acclaim as a still-life photographer, Doherty is keen to avoid categorisation or to overanalyse his images, placing himself in a lineage of those with a powerful urge to make photographs, consistently and extensively, without concern for cohesion or retrospection. Within this openness,Seabird becomes an identifiably human tapestry of images, suggesting the changing of moods, or the shifting of emotions. In the blink of an eye, the work jumps from Hallmark-greeting-card kitsch to wry juxtaposition, from the stereotypical to the absurd.
Seabird . Bobby Doherty
Published by Loose Joints, 224 pgs, 16 × 24 cm, hardcover, 2018, 978-1-912719-02-0
Homes by Harley Weir shows photographs made between 17 and 28 October 2016 in the migrant and refugee camps of Calais. Taken immediately before and during the clearing of this provisional settlement, Weir’s images bear witness to the humanity and ingenuity of those living there - constructing the domestic and familiar against a backdrop of displacement.
The photographs show us the homes and private spaces of the camp. In the face of oppression and indifference from those most poised to provide assistance, Homes shows a stubborn commitment to the small, personal spaces of humanity within the Calais camp.
Homes was initially published in November 2016 to raise awareness and funds during the brutal dismantling of the Calais camps and relocation of refugees. The initial run of 500 copies sold within five days, raising €10,000 for La Cimade. In 2018, the situation still persists in Calais but under greater conditions of precariousness and violence. Without organised infrastructure, migrants and aid workers are intimidated and harassed by French police, while access to running water, basic sanitation and healthcare are scarce.
With the need to raise visibility of the continued migrant situation in Calais, our re-print of Homes will donate a percentage of proceeds to charities still active in protecting and defending the human rights in the area. This second edition also contains three new unseen images, and is published to coincide with a large-scale exhibition of the work at Brighton Photo Biennial, 28 September–28 October 2018.
Harley Weir (1988, London) is a British photographer known for creating intimate images in both her personal work and acclaimed editorial and fashion career. Recent projects include her first monograph Paintings (Loose Joints 2017), photobook Function (Baron 2018) and solo exhibiton Boundaries (FOAM Amsterdam 2016).
Homes . Harley Weir
Published by Loose Joints, 64 pgs, 28.5 × 22.5 cm, Softcover, 2018, 9780993430336
Higher by John Edmonds is a monograph spanning the first decade of his photographic practice and includes texts by Dr. Aaron Rosen, Durga Chew-Bose, and conversation with Mickalene Thomas.
Shortlisted "Photobook Of the Year" Aperture Paris Photo Book Awards 2018
Higher . John Edmonds
Published by Capricious, 100 pgs, 31 × 22 cm, Hardcover, 2018, 978-0-9974446-8-1
Zen Foto Gallery
“The Mechanical Retina on My Fingertips” is how Suda named his Minox Camera that held him in thrall from 1991 to 1992. The Minox camera is popularly known as a spy camera - It fits in the pocket with a shutter release as light as the blink of an eye. The resulting images developed from 8x11mm negatives are grainy and have a flat perspective. Suda comments that “no other camera ever accompanied my activities so closely.”
In addition to the Minox works which Suda published in his exhibitions during the 90s - “Trance”, “Keelung”, “Family Diary”, “Naked City”, “1987 Taipei City View” and “Before Night Falls”, this book includes more than 400 works selected from over 600 unpublished images which had long been stored in “A Box of Lingering”, as Suda called it.
“The moment” has finally been released.
The Mechanical Retina on My Fingertips
Publisher: Zen Foto Gallery
Book Size183 × 128 × 20 mmPages438 pages, 430 imagesBindingSoftcoverPublication Date2018LanguageEnglish, Japanese, ChineseLimited Edition700
Zen Foto Gallery
MATCH and Company
The very first photobook by legendary Japanese photographer Daido Moriyama, “Japan: A Photo Theater,” is finally available again in a renewed edition.
Originally published in 1968 – the year which also saw the launch of the influential Provoke magazine – the book already demonstrates Moriyama’s trademark visual style. On invitation of Japanese writer Shuji Terayama, Moriyama began photographing members of a traveling theater group, adding shots of dwarf show dancers, strip clubs, street performers, fetuses in formaldehyde containers and other motifs.
This 2018 release is the first to feature English translations of Shuji Terayama’s writings. The book, limited to an edition of 700, is numbered and signed by Daido Moriyama.
Japan, A Photo Theater（English Version）
Publisher: MATCH and Company Co., Ltd., Getsuyosha
2018 reprint edition
Book Size 308 × 228 mm Pages 232 Binding Hardcover, slipcase Publication Date201 8LanguageEnglish, Japanese Limited Edition 700
MATCH and Company
30 years have passed since world’s worst nuclear accident happened at the Chernobyl Nuclear Power Plant (ChNPP) in the former Soviet Union (currently, Ukraine). Photojournalist Kazuma Obara explored Ukraine from February 2015 to April 2016.
Project “30” aims to depict people in Ukraine who have a connection to the explosion; whose lives were altered by the sudden release of atomic energy and subsequent political strife. To depict this, Obara challenged traditional visual representation by creating 3 different types of object: two photobooks and a replica of newspaper. The photobook “Exposure” depicts the first 30 years of life of an invisible girl who suffers ongoing medical problems as a result of the disaster. The images were created by using old Ukrainian colour negative film which was found in the abandoned city of Pripyat. Another photobook, “Everlasting,” captured the commute of the ChNPP’s workers between their hometown and the plant as a metaphor for the cycle of repetition. Decontamination work has been handed down from generation to generation since the accident.
Given the difficulty of dealing with radioactive waste it seems as though this process could go on for ever. Supporting those two photobooks, Obara make the replica of an old newspaper which was found in Pripyat from the time helps to feel the passing of time.
Selfpublish, Edition 86, 2016(sold out)
Editorial RM, Edition 1900,2017/2018
World Press Photo Award 2016, People, 1st Prize
Magnum Graduates Photography Award, Winner
WIRED Audi INNOVATION AWARD, Winner
Photo-eye Best photobooks 2017 selected by Todd Hido
Athens Photo Festival Portfolio Review2015, Winner
Hariban Award, Finalist
Magnum Lens Culture Award 2016, Finalist
What was once called fashion photography finds itself nowadays positioned along a much broader spectrum of intentions and visual cues. Photographers are borrowing from the aesthetics of fashion, moving away from creating glamorous ideals towards telling stories of social and political inclusivity, diversity, identity, everyday life and an ever changing panorama of lifestyles.
In this issue of Foam Magazine, we present the portfolios of 16 photographers, artists and collectives, each adopting distinct and empowering approaches to contemporary fashion photography. We’ve also had the chance to include a number of insightful and inspiring interviews with people from the fashion photography field. Alongside this, we feature a long form interview between curator Zoé Whitley and fashion designer Grace Wales Bonner, discussing fashion and identity. Furthermore, we are pleased to share an interview between Hans Ulrich Obrist, Artistic Director of the Serpentine Galleries, and Tyler Mitchell. They covered optimism, utopias, and how photography can be a way of achieving the impossible. Running throughout are interventions by invited fashion magazines sharing their editorial visions.
Foam Magazine #53: Adorned, The Fashionable Issue
Printed on selected specialised paper
Provoke was first published in November 1968 as a dojin-shi, or self-published magazine. It was originally conceived by art critic Koji Taki (1928-2011) and photographer Takuma Nakahira (1938-2015), with poet Takahiko Okada (1939-1997) and photographer Yutaka Takanashi as dojin members. The subtitle for the magazine was “Provocative Materials for Thought”, and each issue was composed of photographs, essays and poems. After releasing the second and third issue with Daido Moriyama as a subsequent member, the group broke up with their last publication First, Abandon the World of Pseudo-Certainty - an overview edition of the three issues. Provoke’s grainy, blurry, and out-of-focus photographs were initially ridiculed as are-bure-boke and stirred a great deal of controversy, yet it had created a strong impact inside and outside of the photography world during that time. However, today, Provoke has become an extremely rare book and very few people have seen the original.
Published as part of The Japanese Box: Facsimile Reprint of Six Rare Photographic Publications of the Provoke Era*, Provoke's facsimile reprint has its photographic images cropped approximately 3 mm from the edges for bookbinding purposes. The reprint also does not include texts by Takahiko Okada due to copyright reasons. Provoke Complete Reprint by NITESHA maintains the original size of the images and includes all original texts, along with the ones by Takahiko Okada. In addition, the volumes will be accompanied by complete English and Chinese translations of the original Japanese texts as a booklet.
PROVOKE Complete Reprint of 3 Volumes
Photograhs by Koji Taki, Takuma Nakahira, Yutaka Takanashi, Takahiko Okada, Daido Moriyama
Text in Japanese with English and Chinese translations printed separately to accompany the volumes as a supplement
3 softcovers in slipcase
Traveller-photographer Pentti Sammallahti captures the mysteries of nature on his travels and among these, the world of birds. Coastlines, swamps, parks, endless plains, forest clearings, snowy landscapes… In these isolated areas, birds slyly reveal their presence.
Like visual tales, his B&W photographs attest to his extraordinary eye for detail, to light that sculpts spaces, to silent expanses in which a human or animal presence suddenly appears. The experience of the image is twofold: beyond its narrative virtuosity, his use of a two-colour process, with immaculate whites (as in the plumage of his swans or pink flamingos) confronted with deep blacks, creates a play of textures and powerfully renders a world in which birds play a unique role.
This book constitutes one of the two first titles of Des oiseaux(On birds) collection celebrating, through the vision of different artists, their immense presence in a world where they are now vulnerable. Accompanying these photographs, the ornithologist Guilhem Lesaffre showcases the relationship to the seasons that is a fundamental aspect of the life of birds. Where it exists, winter is a major constraint that birds must grapple with and that notably leads to strategies in their search for food and energy economy, or socialising. The author here associates the life of birds in winter with Pentti Sammallahti’s photographs.
DES OISEAUX- PENTTI SAMMALLAHTI
Two versions : English and French
Hardcover, 20,5 x 26 cm
120 pages, 66 B&W photographs
Text: Guilhem Lesaffre
ISBN FR : 978-2-36511-208-6
ISBN ENG : 978-2-36511-215-4
Half traveler and half migratory photographer, as he likes to introduce himself, Bernard Plossu strides along the world since many years. He captures through his lens furtive moments, where birds are flying in huge swarms or caught alone, standing proudly in the middle of a puddle, or gliding high up in the sky, among the peaks. The photographer looks at birds with tenderness and curiosity, a gaze which underlines fantasy and a “surrealistic” approach, as explains the critic Francesco Zanot about his images.
The flight fascinates the photographer, obsessed with the euphoric speed of swallows as well as the hypnotic inertness of large raptors drifting through the wind at high altitude. Plossu’s photographs allow us to see fragments of the world, a world in which birds have reinvested our environment.
The essay by ornithologist Guilhem Lesaffre underlines a fundamental aspect of bird life: migration as brought by Plossu’s photographs to light.
This book, along with the one of Pentti Sammallahti, launch our collection Des oiseaux (On birds) celebrating, through the vision of different artists, their immense presence in a world where they are now vulnerable.
DES OISEAUX . BERNARD PLOSSU
Hardcover, 20,5 x 26 cm
108 pages, 54 B&W photographs
Text (in French): Guilhem Lesaffre
ISBN : 978-2-36511- 189-8
The photographic oeuvre by Martine Franck (1938–2012) has finally been assembled in this comprehensive monograph, the most exhaustive to date, edited by Agnès Sire, artistic director of the Fondation Henri Cartier-Bresson. The work on this book has been undertaken in 2011 with Martine Franck. Through a chronological journey, including many unpublished images, the photographer has conceived different chapters spanning her entire life.
Feminism, social deprivation, the elderly, and Buddhism join artists, writers and landscapes as subjects that are visited and revisited over the years and through various travels to the United States, United Kingdom, Ireland or Asia, scrutinized through the lens of her selfless sensitivity, an eye for form and composition for the woman who wished to “greet the unexpected”. Her celebration of life, the joy of her knowing eye, and her commitment to different causes made Martine Franck a major figure on the international photographic scene.
Two versions : English and French
Hardcover, 23 x 29 cm, 328 pages
300 B&W photographs and documents
Agnès Sire, Anne Lacoste
Interview between Martine Franck and Dominique Eddé
Illustrated biography drawn up by Cécile Gaillard with Aude Raimbault
ISBN FR : 978-2-36511-125-6
ISBN ENG : 978-2-36511-211-6
Copublished with the Fondation HCB
Taking its name from a line in Wallace Stevens’ short poem “The Gray Room,” Alec Soth’s latest book is a lyrical exploration of intimacy. While these large-format color photographs are made all over the world, they aren’t about any particular place or population. Whether made in Odessa or his hometown of Minneapolis, Soth’s new book is fundamentally about intimate encounters in private rooms.
“After the publication of my last book about social life in America, Songbook, and a retrospective of my four, large-scale American projects, Gathered Leaves, I went through a long period of rethinking my creative process. For over a year I stopped travelling and photographing people. I barely took any pictures at all.
When I returned to photography, I wanted to strip the medium down to its primary elements. Rather than trying to make some sort of epic narrative about America, I wanted to simply spend time looking at other people and, hopefully, briefly glimpse their interior life.
In order to try and access these lives, I made all of the photographs in interior spaces. While these rooms often exist in far-flung places, it’s only to emphasize that these pictures aren’t about any place in particular. Whether a picture is made in Odessa or Minneapolis, my goal was the same: to simply spend time in the presence of another beating heart.” - Alec Soth
I Know How Furiously Your Heart Is Beating . Alec Soth
Embossed linen hardback
30 x 33.5cm
Interview with Alec Soth by Hanya Yanagihara
Publication date: March 2019