A master of colour-saturated images, Harry Gruyaert has roamed the ...

‘Private Scenes’ presents the entire eponymous series for the first ...

There will be two of you reorganizes and adds to the original 133 ...

In the winter months, our planet slowly drifts towards the furthest ...

Adrianna Ault was raised in New Orleans where a 350 mile levee system ...

The Amazon Rainforest—often referred to as ‘Lungs of our Planet—has ...

In 2011, Maria Sturm began to photograph the lives of young people ...

Hyperborea presents unforgettable visual tales of life in the ...

Recognised as a pioneer of colour photography, Alex Webb is able to ...

The starting point of El recinto circular is my fascination with the ...

"Ánima" has something of magic but also of tragedy. The rhythm and ...

In The North Fork, Trent Davis Bailey looks to a remote river valley ...

How do we create safety and empathy through the act of portraiture? ...

Canadian artist Hudson Hayden's photographic practice crafts a ...

Indian artist Abhishek Khedekar's experimental docu-fiction follows a ...

Mountain of Salt is an expansive series of text-based collage works ...

Steve Harries explores the force and fragility of our environment. In ...

Standing on the property line between two apartment buildings with ...

A master of colour-saturated images, Harry Gruyaert has roamed the world searching for the perfect light for more than forty years. His very intuitive and physical sense of place immerses the spectator in a world that borrows simultaneously from the cinematic universe and from that of the painter. Dissolving the boundaries between the exterior and interior, Between Worlds offers just such a sensory immersion.

No matter the setting, the country or the era, Gruyaert deploys a luminous alchemy suspended in time. Where are we? It doesn’t matter: in Gruyaert’s world, the pleasure of getting lost reigns.


Between Worlds . Harry Gruyaert

English

Format: Hardback
Size: 23.5 x 29.0 cm
Extent: 144 pp
Publication date: 28 October 2022
ISBN: 9780500025758

‘Private Scenes’ presents the entire eponymous series for the first time, revealing a new dimension in the work of Masahisa Fukase (1934–2012): the artist struggling with his medium.

The series is made up of photographs in which the artist inserts himself, comprising two sets: “Letters from Journeys”, with images taken in 1989 in various cities around the world, and “Private Scenes ’92”, which focuses on his daily life in Tokyo.

In the latter, each print is now enhanced with colour paints, becoming a unique work. It bears witness to Fukase’s questions about his own practice at the end of his life and the place of the photographer in his work, when subject and object overlap. Japanese edition.

Masahisa Fukase . Private Scenes

Author     Jordan Alves
Publisher     Akaaka
ISBN     9784865411676
192 p, ills colour & bw, 24 x 19 cm, hb, Japanese

There will be two of you reorganizes and adds to the original 133 panoramic images of the New Jersey Meadowlands commissioned by Okwui Enwezor for Documenta 11 in 2002.

The black and white photographs were installed at Documenta as a wall grid, but are here restored to the sequence in which they were taken during a year of meandering walks. The NJ Meadowlands have long been at the core of Ashkin’s visual imagination.

In the accompanying text, “There will be two of you,” an enigmatic incident at the landscape’s symbolic center promises a redemptive allegory it cannot deliver.

Michael Ashkin . There will be two of you

240 x 280 mm | softcover Japanese Binding | 128 pages | English | isbn: 978-90-833459-0-1 / orders will be shipped after 13 November

In the winter months, our planet slowly drifts towards the furthest reaches of its orbital path around the Sun who exerts just enough gravitational force to coax Earth back around one more time, lest we’re launched outward into the Solar System, starless and adrift. A steady shower of millions of individually designed crystal sculpted snowflakes create a soft temporary encasement enclosing trees, poles, wires, streets, hills and houses inside pillowed layers below.

During some of those nights there is a heightened sense of stillness and quiet all around, as if the world itself was placed on mute. The title “Winter Nights, Walking” is a reference to a celebrated photography project by the American artist Robert Adams entitled “Summer Nights, Walking”, which was made in the the city of Denver in the American West. While the project could be seen as a nod to Adams, Panar’s intention for “Winter Nights, Walking” is to make a Pittsburgh-specific project that highlights the unique qualities of the recent winter seasons in this region, with an eye towards the changing climate and the recent dark winters of the Covid-19 pandemic. Through the motif of wandering the city alone at night, Panar invites viewers to walk with me and consider the familiar space of the city in its uncanny delight.

Ed Panar . Winter Nights, Walking

220 x 260 mm | hardcover| 112 pages | English | isbn: 978-90-833459-1-8 / Co-Published with Spaces Corners

Adrianna Ault was raised in New Orleans where a 350 mile levee system controls and holds back flood waters. This project began as Ault attempted to better understand the landscape surrounding the city, but evolved over the course of 5-years to encompass her changing family, journeys they took and the processing of grief. The levee became a metaphor for the barriers built in an attempt to ward off inevitable decline, and the onslaught of time and nature.

“I discovered how the surrounding city's waterways exposed the land to a constant state of vulnerability. The physical landscape is parallel to an emotional landscape rooted within the culture of New Orleans and its people.”

Ault began photographing in 2017 and the final images in this new book were made in 2022. Alongside photographs of the landscape of New Orleans and the Hudson Valley, she photographed her children, and her mother’s final car journey from Rhinebeck, NY to her mother’s home in New Orleans, LA. The act of making photographs allowed Ault to see and process the world in a different way, with a quietness and slowness—and in this she found sanctuary.

Adrianna Ault . Levee

21 x 28 cm
112 pages
750 copies
Open Spine Hardcover
ISBN 978-618-5479-29-9


Adrianna Ault (b.1972) is an American photographer raised in New Orleans, LA. Her practice is deeply motivated by a desire to explore change within grief, time, and the abstraction of memory. 'Levee', published by Void, is her debut monograph. She lives and works in the Hudson Valley of New York.

The Amazon Rainforest—often referred to as ‘Lungs of our Planet—has long been idealised as a dense, green expanse and a pristine sanctuary inhabited by isolated tribes. Terra Vermelha, the culmination of 10-years’ work by photographer Tommaso Protti, presents an alternative portrait of the region. Depicting fields ablaze, the dark river as a conduit for cocaine trafficking and urban areas plagued by violence—the images in the book depict a dystopia, dispelling such romanticised notions.

‘Terra Vermelha’, which means ‘red earth’, opens with visions of a paradise lost. Protti’s photographs show rural areas transformed by deforestation, where land conflicts are commonplace between cattle ranchers, landless peasants and environmental activists. The images in the book journey on to urban areas and shantytowns where Protti was given access following police operations to document the rising violence, mainly related to the drug trade. Further photographs show the hold of evangelical religion on the region, the impact of the COVID pandemic, and the construction of new towns and recently expanded cities such as Altamira, famous for both its hydro-power dam and for being Brazil’s murder capital in 2017.

The book eschews a traditional narrative format to present a nightmarish vision of the impacts of intersecting social and environmental crises. Protti’s uncaptioned black and white images often have a sense of movement and imply events unfolding both before and after the frame. Many images were taken fleetingly at night, leading the viewer blindly around the region.

Tommaso Protti . Terra Vermelha

21 x 27,8 cm
224 pages
1500 copies
Softcover with dustjacket
ISBN 978-618-5479-00-8


Tommaso Protti is an Italian-born photographer who has been based in Brazil for almost a decade. He has dedicated himself to long-term projects focusing on themes such as crime, the environment, and rural conflict. His work has been featured in global publications and exhibited worldwide.

In 2011, Maria Sturm began to photograph the lives of young people from the Lumbee Tribe around Pembroke, Robeson County, North Carolina. Through the process of documenting their lives, Sturm began to question her own understanding of what it means to be Native American. Her new book ‘You Don’t Look Native to Me’ combines photographs with interviews and texts to preconceptions and show Native identity not as fixed, but evolving and redefining itself with each generation.

Pembroke is the tribal seat of the Lumbee Tribe of North Carolina, the largest state-recognised tribe east of the Mississippi River. Although the Lumbee Tribe is state-recognised, they are federally unrecognised and do not have a reservation nor receive financial benefits from the federal government. The Lumbee name was voted for in 1952 to unite all tribes in the area in an attempt to gain federal recognition. Their tribal status remains one of the most debated in the United States.

Sturm’s photographs, at first glance, appear to depict the daily life of an archetypal American community. On closer inspection elements of hybridity between heritage and contemporary life are revealed—a street named ‘Dreamcatcher Drive’, a ‘Native Pride’ baseball cap with feathers, Halloween fangs on a Tuscarora child in regalia—in the town where nearly 90% of the population identify as Native. The protagonists of Sturm’s photographs present themselves as individuals with their own unique identities and shared culture. The presence of Native symbolism—on street signs, pictures on walls, on cars, on shirts and as tattoos—shows how a stereotypical image is often presented back to them. The book’s title ‘You Don’t Look Native to Me’ is borrowed from a quote familiar to many residents of Robeson County and encapsulates the discrepancy between their identity and preconceptions of others.

You Don't Look Native to Me .  Maria Sturm

22 x 29 cm
112 pages
500 copies
Hardcover
ISBN 978-618-5479-30-5


Maria Sturm (born 1985, Romania) studied photography at the University of Applied Sciences Bielefeld, Germany and at the Rhode Island School of Design as a Fulbright and DAAD scholar. Her work has been published in the New York Times, the Guardian, The Atlantic, der Spiegel and Zeit Magazin amongst others.

Hyperborea presents unforgettable visual tales of life in the Siberian Arctic that photographer Evgenia Arbugaeva knew when she was growing up in Tiksi, a town on the shore of the Laptev Sea in the Republic of Yakutia. Her work discloses both the fragility and beautiful desolation of the land and those who inhabit it, and her rigorously composed photographs glow with rich otherworldly colour, bristle with the raw vibrancy of the climate and exhibit the quiet intensity of lives borne out in seclusion and extremes.

This beautifully produced photobook contains a decade of work, with photographs selected from across the full range of Arbugaeva’s series and extensive travels across the Russian Arctic coast and to connect with people living in these remote and inhospitable places. The photographs that she brings back from her long-term visits convey a world where everything seems connected: humans and nature, the sky and the land. An elemental space of deep solitude and slower pace of life. Her images invite us to contemplate a territory that has been a place of longing and imagination for many, which is now under existential threat from a multitude of environmental changes.

With an introduction by Piers Vitebsky, four texts by Arbugaeva to supplement the images, and a specially commissioned map to provide a sense of where Arbugaeva’s work is located, Hyperborea is a future collectible for all photobook fans and an introduction to a global audience of a very special talent in the world of photography.

Hyperborea  . Evgenia Arbugaeva, Piers Vitebsky
Stories from the Arctic

Format: Hardback
Size: 21.5 x 28.6 cm
Extent: 112 pp
Illustrations: 45
Publication date: 12 October 2023
ISBN: 9780500026229

Evgenia Arbugaeva is a Russia-born, London-based photographer, a National Geographic Society Storytelling Fellow, and a recipient of the ICP Infinity Award and the Leica Oskar Barnack Award. Her work has been exhibited internationally and appeared in such publications as National Geographic, Time and The New Yorker magazines among others.

Recognised as a pioneer of colour photography, Alex Webb is able to juxtapose gesture, colour and contrasting cultural tensions into a single beguiling frame, resulting in evocative images that elevate fractured and multilayered meanings. His book Dislocations, first published in 1998 as a limited edition accordion book with Canon Laser prints (then considered state of the art), brings together pictures from the many disparate locations over Webb’s oeuvre, meditating on the act of photography as a form of dislocation in itself.

Spurred by the pandemic, and its world of closed borders and disrupted travel, Webb reconsidered the impossibility of creating this series of images: the result is this reimagined edition of Dislocations, which includes new photographs taken in the twenty-five years since the original. This characteristically exquisite book brings a fresh perspective to Webb’s expansive catalogue, and speaks to the palpable sense of dislocation in our time.

Alex Webb . Dislocations

Format: Hardback
Size: 26.5 x 30.0 cm
Extent: 128 pp
Illustrations: 75
Publication date: 2 November 2023
ISBN: 9780500027325

Alex Webb has been a full member of Magnum Photos since 1979. His work has been shown widely, and he has received numerous awards, including a Guggenheim Fellowship in 2007.

The starting point of El recinto circular is my fascination with the capacity of our mind to generate images without conscious or rational intervention, especially when we meditate, get distracted, become absorbed, or in a state of sleep; and the residual relationship that those images may have with reality.

I set out to represent the idiosyncrasies of these unconscious thoughts and visions through the use of the particular codes with which they operate: fragmentation, repetition, the loop, time jumps, images as echoes of other images, stairs that lead nowhere, landscapes as mental places and elements that disappear and appear transformed into something else. The resulting series - made up of photographs I took in Iceland, photographs I have taken in the last few years and images found in antique shops - shows how not only those visions or unconscious mental processes can alter the inherent meaning of an image or element through symbols, but also the photographic edition itself; that dialogue that is established between different images.

In a way, it is the purpose of translating a somewhat intangible experience into images, constantly keeping in mind that mental state in which seeing and not seeing or thinking and not thinking becomes uncontrollable; in which we want to see something, but it escapes us, or is blurred, or is hidden; or in which we want to stop seeing something, and it appears to us again and again.

The reference with which I articulate the project through the title is a story written by Jorge Luis Borges in 1940, The Circular Ruins, where a man arrives at some ruins in the jungle -the circular enclosure- with the supernatural purpose of creating another man in dreams. A magical project for which he only had to sleep and dream, and which concludes with the realization that he was also a man in the dream of another man who dreamed him.

As in Borges' story, this overlapping that speaks of reality within the dream and the dream within another dream is the sensation on which my work gravitates, a series of images where time has somehow been suspended. Without a possible narrative, what remains is the confusing sensation that what we see seems not to be real, but unconscious. The images thus function as sediments without a spatial or temporal connection that, dragged by a river, end up finding themselves in another place or accumulating in a crevice.


Recinto Circular . Laura San Segundo

Fotolibro40 Comunidad de Madrid 2023 award

Publication / Book
Project Coordination Photobook 40  Jesús Micó
Edición / Publisher Dirección General de Promoción Cultural / Dispara
Coordinación Comunidad de Madrid / Madrid Regional Government Coordination
Madrid Regional Government Coordination / Alicia Nieto Fernández
Texto / Text Thursday, the weather and the dream. / Eduardo Brito
Translation / Translations / Blanca Martín-Calero (PT/ES) Sara Veiga (PT/EN)
Design / Graphic Design / underbau
Preimpresion / Pre-press / Eduardo Nave
Printing / Printing / Artes Gráficas Palermo
Encuadernación / Binding / Méndez

The typography used in this book is
Simoncini Garamond and it has been printed on
Munken Pure and Wibalin Natural Ruby (endpapers).
The typeface used in this book are Simoncini
Garamod and it has been printed on
Munken Pure paper and Wibalin Natural Ruby (endpapers).


128 pages
16,5 X 22 CM
700 Copies
Cloth-covered hardcover + stamping
ISBN (Community of Madrid)
978-84-451-4077-2
ISBN (Dispara) 978-84-942245-6-0
DL PO 500-2023

"Ánima" has something of magic but also of tragedy. The rhythm and the narrative take us from the almost unknown to make death visible. It is a rounded work, very fine and that stirs us... (Semíramis González)

 This photobook is composed of two large photographic series made up of 41 images whose thematic axis is the analogy between the tradition of the pig slaughter and its parallelism with the magical belief of the "Santa Compaña". Through this work, the author proposes an encounter between some notions related to superstition and Galician customs in order to draw a new imaginary where a new relationship between our folklore and a non-anthropocentric humanism, respectful of the dignity and rights of animals, is possible. As in her previous publications (Bestiae and El 2%), the artistic practice of Ruth Montiel Arias goes hand in hand with activism in defense of animal rights and the environment. As in her previous works, Ánima combines a powerful visual poetics with a singular documentary vocation, in search of the interest and reflection of the audience through a very visually articulated exhortative discourse that seeks the transformation of any person who approaches its pages. As the artist herself explains when addressing her themes, she is interested in "our relationship with the natural space and its consequences, both those that affect individuals and the space itself from the political, social, symbolic and even generational spheres".

In this sense, Ánima deepens our relationship with animals and investigates visually how our beliefs are also an instrument of exploitation over them. This artistic work thus focuses on the notion of tradition and how it legitimizes questionable acts, not only on the part of a growing part of society, but also of some of the people directly involved in this activity, who are no longer resigned to maintaining the secular mandate of slaughter; as the author herself was able to verify during the realization of this photographic project.

Susana Monsó, philosopher and co-founder of the Asociación Filosofía de la Mente y el Comportamiento Animal and member of METIS and SWIP-Analytic Spain, collaborates in Ánima with a text as an epilogue where, together with Ruth Montiel Arias, she closes the circle of necessary questions raised by this publication.

Ánima . Ruth Montiel Arias

Print run of 250 copies.
Sizes: 270 mm x 200 mm.
80 pages photobook.
16 page text publication.
Natural Rough Sand Paper 120 gr.
Cover
80 gr. PopSet dust jacket.
Hardback binding sewn with visible thread.
Edition: X. Lois Gutiérrez Faílde and Ruth Montiel Arias
Texts: Susana Monsó and Ruth Montiel Arias
Translation: Carme García Conde and Annie Ornelles
Design: Ruth Montiel Arias.
Printing: Agencia Gráfica & Imprenta Galicia 1932.
Language: Galician, Spanish, English.
First edition published by Alauda Negra in Galicia, 2023.

In The North Fork, Trent Davis Bailey looks to a remote river valley in western Colorado. A Colorado native himself, the artist was drawn to the vastness of his home state, its rich agrarian history, and the assorted characters who inhabit the Western Slope. He was especially curious about his extended family who used to live there — an aunt, uncle, and cousins — who he hadn’t seen in nearly 20 years. Describing his childhood memories of them, he says: “They lived in a large tent at the base of a mountain. Their backyard had three ponds and a garden where they grew their own food. Beyond that was a dense forest of scrub oak and juniper trees where I imagined coyotes, black bears, and mountain lions lurked.”

Bailey marveled over his cousins’ world, but due to a falling out between his father and his uncle, he only visited the North Fork a few times as a child. In 2011, Bailey returned to the valley and for the next seven years he used photography to piece together his experience of the North Fork and its inhabitants.In due time, he not just found his extended family, but he rekindled ties with them while forging his own place within the local community. Then one fateful day, while foraging for mushrooms, he met his now wife with whom he has two children.

Collectively, the photographs in this book are informed by that backstory, but they also go well beyond it: conjuring up their own associations of place, food, kinship, and wonder.

The North Fork . Trent Davis Bailey

Signed

with an essay by Rebecca Solnit and a poem by David Mason

Edition of 750 copies. 12.5 x 10.2 inches. 96 pages. 48 color plates. Paper-over-board slipcase. Softcover with thread-stitched signatures and rough linen. Designed by Victor Balko.