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Ca l'Isidret Edicions
Graffiti is an urban movement which has its origins in the ′70s in the city of New York, US. In it, young people went out t the streets to paint their names all around the city, the more times the better, with the purpose of proving their existence in a world which denied it through economical and social mechanisms.
Therefore, graffiti is an exercise for the exaltation of the ego, very much like that that we can continuously see in the social networks or in the ways of modern advertising.
This work talks about graffiti as a metaphor of the competition of the self, be it individual or collective, of companies or anonymous people, and dealing with visual and sound noise that this constant battle of the self-affirmation in front of the other causes.
This project also shares its title with that by Brassai in 1930. In that work there is a research of the unconscious part of a particular time through what he found in the streets and its walls. Graffiti takes this mechanism as the beginning and adds the most superficial and aesthetical present part in it.
Antonio M. Xoubanova
GRAFFITI . ANTONIO M. XOUBANOVA
Co-published with RVB
383 images in color
14,3 cm x 21,5 cm
Total edition of 1500 copies
Collector’s edition of 50 copies
Designed by David Mozzetta
Printed in Venice, Italy
Published in September 2021
Ca l'Isidret Edicions
In his first major artist book, Sydney-based artist Luke Le reroutes notions of diarism and the impromptu to broach new aesthetic and philosophical terrains. As a kind of open letter to a former life in Melbourne, the book forms both an intensely personal gesture and a wider provocation toward the subjectivities and assumptions that underpin photography itself. These raw, intuitive images created from scans of degraded Risograph prints are at once rooted in – and free of – place. Their dynamic gaze veers toward specificity, but never quite lands. Amidst the noise of their gritty, fine grain, Le’s images leave as many questions as answers.
Luke Le . What Are You Looking For?
Shortlist Paris Photo–Aperture Foundation PhotoBook Awards 2021
Publisher Perimeter Editions
170 p, ills colour & bw, 17 x 26 cm, pb, English
This publication includes work by more than 70 photographers. Each submitted a photograph which did not fit into any of their projects, but remained compelling for them nonetheless. Using the 1978 text Brief Notes on the Art and Manner of Arranging One’s Books by George Perec, Hans Gremmen embraced the challenge of sequencing these 70 disparate images resulting in a truly unique object. The images included in OUTS create new relationship pairings that are printed using gold ink on black paper, an ode to honoring these outliers.
17 x 24 centimeter / 140 pages / colour and gold on black / softcover / edited by Kelli Connell / text and design: Hans Gremmen / design: Hans Gremmen / isbn 9789083165806
Ron Jude, Melanie Schiff, Cecil McDonald, Jr., Carolyn Drake, Delaney Allen, Pixy Liao, Daniel W. Coburn, Geert Goiris, Jo Ann Callis, John Divola, Joshua Lutz, Christian Patterson, KayLynn Deveney, Joshua Dudley Greer, Lise Sarfati, Alec Soth, Eirik Johnson, Andrea Modica, Justin James Reed, Lisa Kereszi, Bryan Schutmaat, Barbara Diener, Carlos Javier Ortiz, Amy Stein, Kenneth Josephson, Irina Rozovsky, Tina Barney, Terry Evans, Alex Webb, Bob Thall, Rebecca Norris Webb, David Taylor, Mark Klett, Tim Davis, Mike Slack, David Hilliard, Melissa Ann Pinney, Yann Gross, Shane Lavalette, Elinor Carucci, Doug DuBois, Jim Goldberg, Tod Papageorge, Susan Meiselas, Mark Steinmetz, Alex Prager, Fred Huening, Jay Wolke, Laurie Simmons, Paul Shambroom, Brian Ulrich, Erik Kessels, Richard Renaldi, Birthe Piontek, David Rothenberg, Natalie Krick, Shawn Bush, Colleen Plumb, Pieter Hugo, David Johnson, Jason Vaughn, Kristine Potter, Jon Horvath, Katharina Bosse, Joy Drury Cox, Amy Elkins, Andres Gonzalez, Guillaume Simoneau, Mimi Plumb, and Ed Panar.
The Eriskay Connection
Mastering the Elements is a photographic research on the scientific exploration and conquest of nature from the beginnings of alchemy until the present day. As history shows, scientific findings often have profound implications for society and the lives of individuals. On the other hand, the underlying research is not per se unbiased, but subject to its respective social and historical environment as well as to varying commercial and political interests. Consequently, ethical questions not only around the direction and objectives of modern-day research, but furthermore about the boundaries for the deployment of scientific results should be part of a broader social discourse.
In her work Jana Hartmann addresses various topics that have captivated the curiosity of researchers throughout history and in which the borders of scientific understanding continue to be pushed ever further. Examples being the concept of matter which today is advanced by quantum physics or the pursuit of prolonging human life, reenergized by discoveries in the fields of biogerontology and transhumanism.
The artist took her selectively framed photographs from scientific experiments, natural history exhibits, studio models, and nature itself. By juxtaposing them with excerpts from alchemical writings, scientific papers, and ethical viewpoints, she initiates an intriguing interdisciplinary dialogue between multiple narrative perspectives – the visual artistic, the allegorical alchemistic, the philosophical and the scientific.
About Jana Hartmann
Jana Hartmann lives and works in Frankfurt am Main (DE). She was trained in visual arts as a visiting student of the Master of Arts program at Cranbrook Art Academy in Bloomfield (US). In 2017 she received a scholarship from the Istituto Europeo di Design in Madrid (ES). Hartmann’s work is inspired by contemporary scientific and philosophical questions, and focuses on exploring the relationship between human and nature by studying research publications and engaging with scientists. Since 2012 Hartmann’s work has been shown in numerous international art shows. Mastering the Elements is Hartmann’s first published photo book.
Mastering the Elements . Jana Hartmann
Shortlist Paris Photo–Aperture Foundation PhotoBook Awards 2021
230 × 312 mm | 240 p
EN | Hardcover
concept and photography Jana Hartmann
editing Jana Hartmann
Nicolas Polli editing and translations
Jana Hartmann Joachim Sell
design Nicolas Polli
lithography Murat Cetin Nicolas Polli production
MAS Matbaa (TR)
Alfred Ehrhardt Foundation Berlin
Hessische Kulturstiftung Wiesbaden
Kulturamt Frankfurt am Main
The Eriskay Connection
Batia Suter's work intuitively situates found images in new contexts to provoke surprising reactions and significative possibilities. This volume follows on from the first Parallel Encyclopedia, published in 2007. Underlying themes of Suter's practice are the "iconification" and "immunogenicity" of old images, and the circumstances by which they become charged with new associative values. "In my work, I collect groups of images based on various themes and characteristics, and I investigate how they can manipulate each other, depending on where and how they are placed. In the process of making this book, narrative lines unfolded before my eyes as I shifted images around." Design: Roger Willems.
Parallel Encyclopedia #1 . Batia Suter
592 pag. 15.5 x 20 cm 2021 2ª edition
A striking new photographic voice engages with street portraiture to create dark, interior psychological spaces exploring the relationship between public and private lives.
British artist Jet Swan’s first monograph collects together the last three years of the artist's engagement with members of the public through impromptu studio spaces, such as an empty shopfront inside a commercial mall in Scarborough, northeast England, and a repurposed community hall in Ramsgate, Kent, where the artist lives and works.
Swan balances the public identities nurtured and maintained by those who pass through her studio against darker, intimate photographic spaces, contrasting private and tactile images of the body with photographs that skirt around the margins of conventional staged portraiture. With a new text in response by acclaimed poet Rachael Allen.
Jet Swan . Material
160pp, 190 × 242 mm, 100 photos
Clothbound silkscreened hardcover
Poetry by Rachael Allen
September 2021 - US orders shipping in late October
Jet Swan (b.1990) grew up in North Yorkshire. Her work moves between the parameters of documentary and classical portraiture. She lives and works in Ramsgate, Kent.
In Southeastern Turkey, just kilometres from the Syrian border, is Sirkhane: a mobile darkroom which travels from village to village teaching children how to shoot, develop, and print their own photographs. Led by Serbest Salih, a young photographer and Syrian refugee, the darkroom is founded on a fundamental belief in photography as a universal and therapeutic language, and encourages children living in the area — many of whom are themselves refugees from Syria and Iraq — to experiment with the medium as both a form of play and a means of understanding the world around them.
In these images, produced by the project’s young participants, the city of Mardin and the vast Mesopotamian plain beyond become a backdrop to the miraculous dreams, games, and discoveries which play out within the space of the frame. In occasional moments, the war nearby is hinted at: a fighter plane enters the frame of an otherwise clear sky; a child peers out from inside a UNHCR box. But rather than reiterating scenes of suffering and trauma, these images depict their environment afresh through the unmistakable, wonder-filled gaze of a child: a vision punctuated by surprise and play, in which friends and family are captured mid-flight, upside down, leaning out of windows, and whimsically disguised.
Full of laughter and joy, i saw the air fly is testament to the unfailing resilience of the imagination, the healing power of photography, and the enchanting perspective of childhood.
All proceeds from this publication will go to the Her Yerde Sanat-Sirkhane non-profit.
i saw the air fly . Sirkhane DARKROOM
OTA bound paperback with flap
(Texts in English, Arabic and Turkish)
14.5 x 21cm, 160 pages
This book is my loving story with an amazing group of teenagers in Havana's suburbs, which started in 2018. The images of those young girls and guys are mixed with colorful still-lifes from the neighborhood La Vibora which became my nest in town. Cuba is in total crisis nowadays but the energy of those young persons could be the roots of pure happiness and resilience, no matter what happens in their dying country. It is also an intimate journey with universal connections, a space for dreams and new joy.
CHAMPÚ is printed on glossy magazine paper, resulting in a sprawling and flexible publication of 208 pages that is not just documenting a particular youth but tries to reflect a flowing beauty. A short story written by Oriss, one of the young girls of the group, is part of this book.
Champú . Vincent Delbrouck
21 x 29,7 cm (8,27 x 11,69“)
208 pages / 170 illustrations
Offset printing on glossy 170g paper
Edition of 800 copies (with 25 unique collector's copies coming with a print)
Languor is an ode to NYC’s Central Park. With the pandemic at hand and the history of Seneca Village in mind, Smallwood created photographs of tentative comfort and appreciation as an examination of nature, home, tranquility, and escape.
This body of work earned Smallwood the 2021 Aperture Portfolio Prize. Read more about Languor in The Guardian.
Languor . Donavon Smallwood
Edition of 1500 copies. 11.5x14 inches. 56 pages. 35 tritone plates on uncoated paper. Open spine binding with silkscreen printed cover.
PRESALE — SHIPS EARLY NOVEMBER.
The Fondazione MAST in Bologna presents the catalogue of the first-ever anthological exhibition of Irish artist Richard Mosse, during the summer of 2021. Mosse explores the possibilities of documentary photography today, between the recording of reality and art. Over 100 large-format photographs capture the great visual impact of his early work in Iraq, on the US-Mexico border, in the Balkans, the Infra project taken in the Democratic Republic of Congo, the imposing Heat Maps of refugee camps on the route to Europe, and finally, to his most recent works shot in the Amazon rainforest.
Richard Mosse. Displaced | Migration Conflict Climate Change
J. Kavanagh ; Ivo Quaranta ; E.a.
Publisher Corraini Edizioni
202 p, ills colour & bw, 21 x 27 cm, pb, Italian/English
The Mexicanas is a play of double series and double exposures; a play whose board is reminiscent of an old-fashioned, variegated diaporama.
The first of these series, dating back to early 2015, consists of images that seem to come out of a collector’s cupboard for old photographs: lost scenes from travelogues that may have gone through too many hands, too many moves; over-exposed, piled, untied from any specific time or space. Images of Mexico City, as charming in their surface effects—veiled, dyed, perforated, overlapped—as seemingly unwarranted.
Thus, more than views, these images are above all modest exercises on the obstruction of the gaze: fabrics, velvet foldings, raffia curtains and unfurled canvases interposing one screen after another; branches and trees that may rather be looms or laces; veils that are also crystals, reflections and textures.
After this parade of gauzes, clichéd images come and go before our eyes to the rhythm of a postcard trolley spinning in a flea market: rusty gringo cars and hotel facades; street cake stands and billboards showing charro characters; deco-style illustrations of refined women and cheap plastic miniature ballerinas; the v-neck of a pachuco shirt, Chinese lamps, double-brimmed straw hats, the long feather of a pheasant.
But there is more to it. Also, there are images that seem to be late for a date: closed gates made of iron, raw canvas awnings secured by ropes that may be part of a dismantled urban camp, or a police unit crossed, in the foreground, by a figure on horseback that is just about to disappear. And finally—as an intruder in this series coming to announce the following—we find the headless body of a woman; her hands at the height of her hips, the fold of her skirt yellowished by celluloid chemicals.
It all starts with a mental image: an orange that bleeds. Tainted with the aesthetics of the Japanese counterculture and the Aztec rituals of human sacrifice as a form of poet ics, and where cannibalism presents itself as a sign to demonstrate contempt for exasperation, Liza Ambrossio mixes performance, space intervention, videos, installations, practices of psychological manipulation, science fiction, eroguru, and witchcraft.
Liza Ambrossio (b. 1993) is a multi-disciplinary artist who lives and works between Spain, France, and Mexico. Her first book The rage of devotion was considered one of the most interesting photo books of the year 2018. Her work has been exhibited internationally, and has received important awards and grants, among them the PHotoEspaña Descubrimientos, the Prix de Voies Off in Arles, and the Prix pour la photographie Musée du quai Branly.
Liza Ambrossio Blood Orange . Naranja de sangre
Hardcover 18,5 x 23 cm 124 pages 77 color illustrations
ISBN 978-3-96900-037-3 2021
Texts: Liza Ambrossio
Design: Liza Ambrossio, Daniel Fernandez, Kehrer Design