Memorial . Julián Barón
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
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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
Andrey Tarkovsky was the most important Russian filmmaker of the post-war era, and one of the world’s most renowned cinematic geniuses. He directed the first five of his seven films – Ivan’s Childhood, Andrei Rublev, Solaris, Mirror and Stalker – in the Soviet Union, but in 1982 defected to Italy, where he made Nostalgia. His final film, The Sacrifice, was produced in Sweden in 1985. Tarkovsky’s films are characterized by metaphysical themes, extended takes, an absence of conventional dramatical structure and plot, and a dream-like, visionary style of cinematography. They achieve a spiritual intensity and transcendent beauty that many consider to be without parallel.
This book presents extended sequences of stills from each of the films alongside synopses and cast and crew listings. It includes reflections on Tarkovsky’s work from fellow artists and writers including Jean-Paul Sartre and Ingmar Bergman, for whom Tarkovsky was ‘the greatest, the one who invented a new language.’ Extracts from Tarkovsky’s own writings and diaries offer a wealth of insights into his poetic and philosophical views on cinematography, which he described as ‘sculpting in time’. The book also reproduces many personal Polaroid photographs that confirm the extraordinary poetic vision of a great artist who died aged only 54, but who remains a potent influence on artists and filmmakers today.
Tarkovsky . Films, Stills, Polaroids & Writings
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Size: 24.0 x 19.0 cm
Extent: 288 pp
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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
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From 2005 to 2009 Antoine d’Agata had spent most of his time in Cracolandia, the crack neighborhoods of São Paulo and Salvador. Doubtless the roughest areas of Brazil.
With 169 images and more than 140 unseen photographs, “Cidade de Pedra” is the most comprehensive document about this period. It reveals the brutality and the intimacy of his experience.
Antoine D´Agata . Cidade de Pedra
228 Pages, 57 Unbound Folds, 169 Photos, 142 Unseen Images + Text in 3 languages: French, Portuguese and English
If the equations of physics, which invisibly enable aircrafts to fly, remain unattainable to most of us, the desire to fly itself however seems firmly rooted in the depths of human subconscious. As Le Corbusier once put it “flying lifts us above mediocracy. Flying is, ultimately, a desperate act of faith”.
In ‘How to fly’ photographer Pedro Guimarães (b.1977) takes us on a poetic journey into the subculture of private aviation. The language he employs takes the disguise of the documentary genre yet what initially appears to be a flight manual quickly reveals Guimarães’ true autobiographical intentions through the use of poetic punctuation.
‘How to fly’ is, after all, a reflection on the inevitable traumatic events of life and describes a series of emergency maneuvers designed to keep oneself alive.
Pedro Guimaraes . How to Fly
96 pages 21 x 26 cm Softcover Offset Print First edition
Edition of 300 (25 of which released as a special edition w/ metal box and print)
Marcelo Brodsky is an Argentine artist and human rights activist who works with images and documents from specific events to investigate broader social, political and historical issues. His understanding of image editing and the particular intervention to which he subjects it, manages to change the viewer's perspective and thus reveal new levels of meaning. In 1968, The Fire of Ideas, Brodsky presents archival images of student and worker demonstrations around the world, carefully hand-checked to deconstruct what underlies the global social turbulence of the late 1960s.
1968. THE FIRE OF IDEAS . MARCELO BRODSKY
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Pierre von Kleist
Concrete Octopus takes off where Kanemura´s 2002 acclaimed Spider's Strategy left. For the first time, Osiris and Pierre von Kleist team up to show Kanemura´s new work done between 2011 and 2013. The cult Japanese photographer proves to be in great shape. With a text by Chris Fujiwara, a film critic living in Tokyo.
It would be strange and misleading, though obviously not wholly inaccurate, to call these photographs “images of the Japan of the present time.” Though they might perhaps have much to say to the social historian, their documentary function is circumscribed by the interest in exploring a visual universe too disunited and incomplete to be recognizable as a cultural or historical form. In these images, the world presents itself with great purity and without provocation or seduction, as though poised in the interval before the repetition of an already forgotten catastrophe.
Osamu Kanemura (b.1964) is a photographer born and based in Tokyo. He has been photographing the city-scapes in his solid monochromes. Since 1992, he has had more than twenty solo exhibitions in Tokyo, New York and other cities. His works have been featured in many exhibitions, including the 1996 'New Photography 12,' The Museum of Modern Art, New York, the 1997 'Absolute Landscape,' Yokohama Museum of Art, the 2004 Rencontres Internationales de la Photographie d’Arles, and the 2006 Venice Architecture Biennale. His 2002 photobook, "Spider's Strategy" is widely known as his major publication.
His photographs are in the permanent collections of the Museum of Modern Art, New York, San Francisco Museum of Modern Art, the National Museum of Modern Art, Tokyo, and Tokyo Metropolitan Museum of Photography, as well as in other public and private collections. He received the New Photographer Prize from the Photographic Society of Japan in 1997, the Ken Domon Prize in 2000, and the Ina Nobuo prize in 2014.
Concrete Octopus by Osamu Kanemura
Pierre von Kleist editions, Lisbon and Osiris, Tokyo
Japan / English
Edited by José Pedro Cortes, André Príncipe and Yoko Sawada
Hardcover, 88 pages, 30x18,9 cm, B/W
Pierre von Kleist
"This enigmatic book is both a puzzle and a delight at the same time. As the photos show anything from a Spanish social event, to a weird woman with a rabbit and a dead rat floating upside down in a green pool. Although difficult to quite see what is going on, we are constantly drawn back in to try and understand the narrative and we are wanting to come back for another view. It gets under our skin, and that is a rare attribute."
Hugo Alcol . Archipiélago
Pages 84 S.
Format 22 × 30 cm
Cover flexibler Einband
Published in October 2017
My neighbour Kid was 42 when he died. He regularly swept our shared porch, put out the rubbish and kept an eye on things when I was away. As Kid couldn’t read well, I helped him with his post. He borrowed my phone whenever he didn’t have any credit on his own. Kid had a turbulent life: he was banned from seeing his son and struggled with alcohol and drug addiction. In the last year of his life, he spent more and more time with drifters and junkies, begging on the street for change.
Man Next Door examines the stigmatisation of the working class while offering a rare insight into the life of a working-class Utrecht boy. What emerges is a bewildering picture of Kid’s many personalities, inevitably raising the question: how well do you know the person who lives next door?
Man Next Door . Rob Hornstra
Publisher: Self-published, 2017
Hardcover: 96 pp
Dimensions: 242 x 291 mm (9 1/2 x 11 1/2 in.)
Print run: 800 copies
In December 1975 Dutch photographer Bertien van Manen made a series of black-and-white photographs capturing daily life in metropolitan Hungary. I will be Wolf brings together many of these beautiful and never-before-seen images with the editorial direction of renowned British photographer Stephen Gill. Her snapshots of commuters, grocers, chemists, café workers, and street vendors contain all the hallmarks of a bygone era, before the grip of globalisation was able to make its mark on the country. Imbued with an air of ambivalent nostalgia, the book takes its title from the poem Grief by the 20th century Hungarian poet József Attila. Bertien van Manen . I will be Wolf Hardback bound with Japanese paper, foil embossed text and tipped-in image Edited by Stephen Gill 112 pages 65 tritone plates 23.8 cm x 21.5 cm Publication date: November 2017 ISBN 978-1-910164-91-4
Nothing but Clouds were the words used by the research commission in Andrey Tarkovsky’s 1972 film Solaris to deny video evidence suggesting traces of alien life on the planet. Taking this disclaimer as its title, this meditative book by Kristina Jurotschkin brings together images from her photographic archive made in various places across Europe over numerous years. Jurotschkin’s alienating views of everyday spaces examine the fabric of our social reality and propose an archaeological survey of our future
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Silkscreen printed paperback
232 black & white plates
22.6 cm x 34 cm
Publication date: November 2017
In The Model, Torbjørn Rødland examines one of the defining principles of his approach to photography: that the notion and meaning of ‘the model’ is open-ended. Hyper-aware that we view the world through endless filters that arbitrate our relationship with people, objects and images, from the mid 1990s Rødland’s photography has sought to penetrate postmodern surfaces in order to redefine the possibilities of psychological, erotic and spiritual subjectivity and interconnectivity. He attempts to tap into subliminal thoughts and feelings through images that are both sensual and cerebral.
Synthesizing an array of photographic genres and approaches The Model comprises elements of critical appropriation, diaristic snapshot, reportage, commercial and staged photography – all strung together by the iconic face of Polish actress and fashion model Malgosia Bela. The book brings together pictures of Malgosia made over a ten-year period in Los Angeles, New York, Paris, London, Warsaw, Oslo and Lofoten. In Rødland’s words, “We see her interacting with pictures, becoming pictures, being pictures.” Serving as an experiment in photographic language and code, each image elicits a response that equivocates between alienation and intimacy. With this in mind, The Model can also be seen as a love letter to both a medium and to a mediated woman.
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75 colour plates
8 duotone plates
18.5 cm x 22.8 cm
Publication date: October 2017
Rowing a Tetrapod brings together a fluctuating array of black and white photographs made in multiple locations in the United States and Japan, between which countries emerging artist Fumi Ishino has resided. The work channels his nomadic experience of moving back and forth between two distinct cultures, with divergent social norms and values. Following an aleatoric structure, the book presents images as diverse as Japanese school children, American astronauts, vernacular architecture, laboratory scenes, local cuisines, animals and studio still-lifes. Blurring distinctions between the local and the foreign, the domestic and the cosmic, Rowing a Tetrapod delights in confusing cultural conceptions, fabricating an imaginary space that is bent towards misinterpretation.
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OTA bound with flaps using Japanese paper and raised embossed text
95 tritone plates
23 cm x 28.5 cm
Publication date: September 2017
What the Living Carry unveils a small town named Hoy’s Fork, situated in the American South. Drawing on memories of the rural setting in which he grew up, Virginian photographer Morgan Ashcom brings together photographs, type-written letters and a hand-drawn map to build a fictional narrative of a foreboding place.
Leading us on a trail through the town and its surrounding forest, Ashcom presents scenes that point to a mysterious history, and people whose familial connections remain unknown: a forlorn old man, with champagne to hand, reclines on the corroding steps of a once grand home; a bloodied mattress is carried through an overgrown field; a solitary child burrows into a meadow, while on the streets, a man dutifully cleans a white picket fence – a vision that belies a local mural of a distant, ancient land.
Interspersing this fragmented narrative is a set of texts – four letters responding to ‘Morgan’s’ request for DNA analysis – written by ‘Eugene’ of the ‘Center for Epigenetics and Wellness of the Spirit’. If What the Living Carry provides a set of clues to unravel the enigma behind this strange world, it is through a visual record that is simultaneously autobiographical and imagined, and inclined to elude
Morgan Ashcom . What the Living Carry
Linen hardcover with tipped-in image
48 colour plates
37 duotone plates
21.6 cm x 29.2 cm
Publication date: September 2017