A tree uprooted, a horizon speckled with birds frozen in the sky like ...

The Frioul archipelago is located in front of the gulf of Marseille, ...

In 1972, at the age of 26, Gilles Peress photographed the British ...

My mother moved to her new partner’s place with me in the middle of ...

Sin Velázquez o Blake no podríamos hablar de Picasso o Bacon,los ...

After the monograph on his work as a whole, this book is devoted to ...

The true story of a mother's love for her daughter, inscribed in the ...

A story of a young and lost person trying to feel free and find love. ...

TTP is a series of photographs made from the window of Hayahisa ...

From 1988 to 1991 Dawoud Bey made a series of portraits of African ...

"Escape velocity" is the minimum speed that an object needs to escape ...

Syrma is a star in the constellation of Virgo located 69.8 light ...

On 13 March 2020, home confinement was ordered due to the pandemic ...

On 26 July 2020 Alex Llovet landed with his wife and two daughters in ...

Baylón. Madrid en plata gathers a selection of black-and-white works ...

After leaving Portsmouth, New Hampshire, the city where he was born ...

This body of work started around early March 2020. I felt the urge to ...

A tree uprooted, a horizon speckled with birds frozen in the sky like spatters of black ink in an etching; the hands of a faceless woman entangled like claws, displaying on her fingers an endless rosary of rings; a snowman, an oily pond, a crashed car turned to the sky like a defenceless tortoise, ... Valverde exhibits in his photographs the laurels of a true poet or a Roman general after the battle: widening with his shots the limits of his own territory, of the insufficient reality of the days, drawing with lights and shadows the line of a frontier perhaps dreamt of.

Border . Ernesto Valverde

140 pages
20.5 × 30.5 cm.
103 photographs
Design: Ramón Pez
Edited by: Ernesto Valverde and Ricky Dávila
Printing: Estudios Durero

The Frioul archipelago is located in front of the gulf of Marseille, and it comprises four islands: Ratonneau, Pomègues, If and Tiboulen. Frioul is an archipelago in space and in time: these islands have been the scenario of apparently unrelated events that make up a mysterious constellation.

In 1516 king Francois I ordered a fortress to be built on the island of If, which was then used as a prison in the XVII century. Its most famous inmate was Edmond Dantès, the protagonist of Alexandre Dumas’s The Count of Monte Cristo.

 Inside one of its cells, it is still possible to see a hole Dantès made in a wall in an attempt to escape. On the 24th of January, 1516, the first rhinoceros to be ever seen in Europe was unloaded on Ratonneau. The animal was being shipped to Pope Leon X, and Francois I, king of France, hurried there to admire the beast. On its way to Rome the ship ran into a violent storm and sank. Albrecht Dürer later made a woodcut of it from a sketch that was sent to him.

On the 31st of July, 1944, Luftwaffe pilot Horst Rippert shot down a P-38 Lightning, which fell into the waters of the archipelago together with its unfortunate pilot, Antoine de Saint-Exupéry. A bracelet bearing his name was found by a fisherman in his net while fishing near Pomegues decades later. Ghost Stories is a series of photographs which is meant to weave together all of these events, occurred in the same space but at different times.

This project has received the Premi Mallorca de Fotografía Contemporània 2019 award.

Ghost Stories . Federico Clavarino

Coedition: Consell de Mallorca
Text by Federico Clavarino
Design: underbau
Trilingual edition: English/ Spanish/ Catalan
24 x 19 cm.  192 pages.  Hardcover
isbn: 978-84-09-30307-6

In 1972, at the age of 26, Gilles Peress photographed the British Army’s massacre of Irish civilians on Bloody Sunday. In the 1980s he returned to the North of Ireland, intent on testing the limits of visual language and perception to understand the intractable conflict. Whatever You Say, Say Nothing, a work of “documentary fiction,” organizes a decade of photographs across 22 fictional “days” to articulate the helicoidal structure of history during a conflict that seemed like it would never end—where each day became a repetition of every other day like that day: days of violence, of marching, of riots, of unemployment, of mourning, and also of “craic” where you try to forget your condition.

Held back for 30 years and now eagerly anticipated, this ambitious publication takes the language of documentary photography to its extremes, then challenges the reader to stop and resolve the puzzle of meaning for him or herself.

Each copy accompanied by Annals of the North, a text-and-image almanac to Whatever You Say, Say Nothing, also published separately by Steidl.

Gilles Peress . Whatever You Say, Say Nothing

1960 pages, 1295 images

Two clothbound hardcovers and an otabind brochure packed in cardboard boxes, housed in a tote bag
37.5 x 25.5 cm

English

ISBN 978-3-95829-544-5
1. Edition 05/2021

My mother moved to her new partner’s place with me in the middle of the forest called „Bremerhof“ when I was about 14 years old. I really didn’t get along with my stepdad. Not because he wasn’t my real dad or anything, but simply because we were as different as two persons can be. I also have to admit that it probably wasn’t easy for him either. He cared about money and things being organized while the only thing on my mind was skateboarding. We were completely talking at cross-purpose and both of us felt misunderstood like little boys all the time. My poor mother…

One year later my half brother was born, Jascha. It felt awkward to me. Everything felt awkward to me at that time. I wasn’t sure how I was supposed to interact with him. About three years later I moved out and was happy to be on my own.

After a while my mother broke up with my stepdad, so she moved with Jascha to an old farmhouse 200 meters away. I really liked Jascha but the few times I was visiting weren‘t enough to get to know him. He once told me that one day he will own a kiosk in order to make a living, which really impressed me. I gave him a skateboard but he wasn’t too much into it and always left it outside in the rain.

When I was visiting I always took a few pictures of Jascha, but only around easter in 2020 I really started to follow him around and to document him. And it was crazy because only then I realized how good it felt to spend time with him and that my camera was the best excuse for that. His company allowed me to be completely careless and childish. Although he cares more about other beings than anyone else I have met so far. All these things that he loves felt so similar to me. Like, there is nothing that gets him as excited as his chickens. What skateboarding was for me, is tennis for him (wich I don’t really get, but whatever). And somehow he is such a sensitive person, wich doesn’t make things easy, especially as a boy. My mother often says that she is going through the exact same things with him as she already did with me.

Thank you, Jascha. I’m happy that my mother got together with your father when I was one year older than you are now. Honestly. I’m proud to be your brother.

– Josh

Josh Kern . Räuber

Signed

Publisher Eigensinn
Year 2021
Cover Softcover
Language English
15 x 20 cm (closed)
240 pages
One Insert
Linen Cover
Open stetch binding

About Josh Kern

Josh Kern was born in 1993 in Kaiserslautern, Germany. He’s currently studying at the University of Applied Sciences and Arts, Dortmund and working towards his Bachelor's Degree in photography.
His first photo book „Fuck Me“ (dienacht Publishing, 2018) was about his friends, his daily life and his state of mind back then. His second book „Love Me“ (Eigensinn Publishing, 2020) was about the same subject, only expressed through note- and scrapbooks. He’s currently finishing his third book „Räuber“ (Eigensinn Publishing) wich is about the relationship between his little brother and him.

Sin Velázquez o Blake no podríamos hablar de Picasso o Bacon,los gigantes en los que me he aupado son Ortiz Echagüe, Masats, García Rodero,Chamarro o Hara.  Es el legado de estos extraordinarios fotógrafos el punto de partida de Fuchina y no el fin del trabajo. Pues aunque se hable de las fiestas patronales de un pueblo, estas resultan ser el telón de fondo para el eco del silencio que me hace apretar el botón de disparo.

Fuchina .  David Salcedo

Fuchina es un cuaderno de la Kursala.
Textos: Rafa Badía
Edición: Alejandra Franch y David Salcedo
Traducción: Ruben Chapela
Impresión:Impresum
Diseño: Rubio & Del Amo
Preimpresión: Impresum

Tamaño: 16 cm x 5 cm x 23,5 cm
Número de páginas:88
Fotografías: 57
Encuadernación:Rústica cosida con hilo, portadas con solapas y sobrecubierta.
Papeles:Interiores sobre papel Gardapat Kiara de 150g.
Para la portada se usa papel Fedrigoni Constellation Snow E34 fiandra de 280gr.
Para la sobrecubierta, Fedrigoni Imitlin Rosso Tela 125gr

After the monograph on his work as a whole, this book is devoted to Masahisa Fukase's emblematic series on his two cats, Sasuke and Momoe, combining iconic and unpublished photographs.

In 1977, Fukase turned his lens towards his new companion: Sasuke. Surrounded by felines since childhood, he decided with the arrival of this new kitten to make it a photographic subject in its own right, fascinated by this lively creature named after a legendary ninja. To his dismay, Sasuke disappears after ten days and the photographer puts up a hundred posters of his lost cat (the ones on the cover of the book) in his neighbourhood. A person brings him back his cat but it is not Sasuke, but he welcomes him with the same affection. A year later, he takes in a second cat, nicknamed Momoe, who will also enter the frame. Fukase never tires of photographing their games, which become a veritable field of limitless visual experimentation. As is often the case in his work, this is a form of projection of the photographer into his subject. The cat, a faithful companion who never leaves his side, takes the place of his wife, the eternal heartache, later represented by the emblematic fleeing crows.

His cats were the subject of several books during his lifetime. Tomo Kosuga, director of the Fukase archives, has delved into this corpus of images in order to conceive this work as the culmination of a series of publications dedicated to his felines.


Sasuke . Masahisa Fukase

Publication date: 24 June 2021

Available for pre-order on our website
Version :  English

Hardback, 18.5 x 26 cm

123 B&W photographs

192 pages

The true story of a mother's love for her daughter, inscribed in the history of the end of the World War II and its aftermath, told by a grandson, in whose life its elements sound echo like.

The end of the WWII. Polish-German borderland. A young German woman falls in love with a Polish guy. Back then, this kind of relationship between enemies was prohibited: both of them could be killed, if that would be discovered. Moreover, she gets pregnant and is hiding her pregnancy. After the war, she is imprisoned in the camp for Germans. She gives birth to the author’s mum but, because of her poor conditions, is not able to raise her and has to give her away.

The European borders were changed after the WWII by the decision of a few key political figures and almost all Germans were expelled (the largest forced migration in history). The woman, hoping to be reunited with her daughter, decided to stay but had to gain Polish nationality. For her, as ex-German, life in Poland was extremely difficult. She lived in the shadow of guilt and memories of what had happened in Poland during the WWII. All her family had been expelled. And it took many years for her to be with her daughter together again.

Tomasz Laczny: “The story of my grandmother is a story about losing identity, family, and country in the face of traumatic historic events. It represents the situation of many people and nations finding themselves struggling with finding their own identity after the war in the shadow of Nazism.Ironically, the story of my grandmother unfolds some similarities with my own. Living abroad for many years I experienced disconnection and isolation and struggled with finding my new identity. Also, there is the story of the absence of my daughter who I haven't seen for almost 3 years now.”

Erna Helena Ania . Tomasz Laczny


Photographs: Tomasz Laczny
Book design: Aneta Kowalczyk

Winner of the 2020 BUP Book Award

Cover: soft, Favini Refit Wool Black (includes 15% wool fibres)
Inside: Munken Pure Rough, Fedrigoni Nettuno Nero  
Format: 155x225 mm
Number of pages: 102
Number of photographs: 43
Number of graphics: 42
Number of inserts: 7
Language version: English

Print run: 900 copies
Printing & binding: Argraf, Warsaw, Poland

Publication date: May 2021
Publisher: BLOW UP PRESS
ISBN: 978-83-952840-7-6

A story of a young and lost person trying to feel free and find love. An emotional exploration of the human condition. An effort to understand how we express freedom, intimacy, closeness; how we seek true connection with the inner self and the other.

"For me, photography is the missing dot that connects what is deep inside us and we cannot understand or describe, with the world. A connection that transcends and moves through spacetime, in unpredictable, mysterious and non-linear ways. A link between reality and love.

I believe we take pictures because our inner self wants to reconnect with the cosmos. We want to feel close to people, places, objects and as the time goes by, we recognise in them a part of ourselves. With photography, we reveal ourselves to the unknown, while preserving a link to the real.

This work depicts my innermost states of fear, desire, affection. Standing between life and death."

Ilias Georgiadis

OVER STATE . Ilias Georgiadis

For me, Ilias’ work pushes boundaries, but ultimately not for stylistic or purely ‘aesthetic’ reasons. It's forceful and courageous, raw in its technique, unflinching in its intimacy… but essentially I believe it's made with and is about, love.
ADAM COHEN

 
In his beautiful debut book, Ilias tells us where he stands, who he is today. He shows vulnerability, mistakes, imperfections, an anxious need of being recognised, seen, loved. Take a seat in the back of his car and find out where he will lead you. Have an intense, mysterious journey and good luck.
LORENZO CASTORE

Photographs: Ilias Georgiadis  
Book design: Aneta Kowalczyk

Cover: soft, upcycled leather paper (100% recyclable and biodegradable, with 25% of leather residues instead of wood tree pulp)
Format: 200 x 260 mm
Number of pages: 92
Number of photographs: 59
Language version: English

Print run: 400 copies

Publication date: September 2019
Publisher: BLOW UP PRESS
ISBN: 978-83-952840-3-8

From 1988 to 1991 Dawoud Bey made a series of portraits of African Americans in the streets of various American cities. Using a large format tripod mounted camera and a unique positive/negative Polaroid film that created both an instant print and a reusable negative, he asked a cross section of the populations of these communities to pose for him, creating a space of self presentation and performance in the streets of the urban environment. As part of every encounter, Bey gave each person a small black-and-white Polaroid print for themselves as a way of reciprocating and returning something to the people who had allowed him to make their portrait. Defying racial stereotypes, the resulting portraits reveal the Black subjects in all of their psychologically rich complexity, presenting themselves openly and intimately to the camera, the viewer, and the world.
Includes an essay by Greg Tate.

Street Portraits . Dawoud Bey

Buy Signed Copy

Embossed hardback with two tip-ins
24 x 28.5cm, 120 pages

ISBN 978-1-913620-10-3
April 2021

TTP is a series of photographs made from the window of Hayahisa Tomiyasu's eighth-floor student apartment in the German city of Leipzig. His southfacing view encompasses a public park with a ping pong table, which is the focus of his deadpan pictures. Each image is similarly composed, while the times of day, the seasons and the visitors to the table change. As we turn the page the function of the table mutates, from a tischtennisplatte (table tennis table) to a sun bed, a skate obstacle, a laundry counter, a kids' climbing frame, a work-out meeting spot, and a refuge from busy streets, among numerous other uses. Thanks to Tomiyasu's sustained curiosity, we observe the habits, humour and idiosyncrasies of human behaviour at the foot of this humble table.

Hayahisa Tomiyasu was born in 1982 Kanagawa, Japan. After studying photography at Tokyo Polytechnic University, he moved to Leipzig, Germany to study under Peter Piller. He currently lives between Leipzig and Zurich, where he now teaches.

Hayahisa Tomiyasu  . TTP

First edition Third  printing / Signed

Awards

First Book Award Winner 2018

Thread-sewn paperback with clear PVC jacket

260 pages

20 cm x 27 cm

Publication date: May 2018

ISBN 978-1-912339-24-2

"Escape velocity" is the minimum speed that an object needs to escape the gravitational influence of an astronomical body and continue moving without having to make another propelling effort.


Alex Llovet takes another look at his closest surroundings, stopping this time to notice living things and objects in search of his freedom.

 

In his own words: "Everything tends to escape from that which determines its freedom. Freedom as the ability to decide, an essential quality that defines the nature of things, in other words, their identity. I talk about speed but also about time and distance, since speed is just the time it takes to travel a certain distance. And I decide to flee from a linear narrative, jumping between events that happened millions of years ago and others still to come, between places as remote as the universe and others as close as home. And during the process I realize that we live trapped between two periods of time that do not belong to us, tirelessly traveling between them. The past reminds us of who we think we are, and on the future we project who we’d like to become. Past and future, the two pillars on which our identity is built. And in this constant coming and going we pursue our escape velocity, sometimes consciously, sometimes simply via our instinct to survive. We escape with our actions and with our imagination. We escape from the unknown, from the incomprehensible, from what scares us. We escape from a wound, from guilt, from a memory. We escape from an idea, a destiny, from expectations. We escape to determine a path for the present, the only place where we can really long to be free."

The Escape Velocity . Alex Llovet


Specifications
First edition: 230 copies
Photographs & texts: Alex Llovet
Design: underbau
Pre-press: Eduardo Nave
Printing: Estudios Durero
19 x 26 cm
56 images
112 pages
Printed case
Wire-o binding
Texts in English & Spanish
Publication date: January 2020