Lieko Shiga: Blind Date Exhibition
This publication accompanied the exhibition Lieko Shiga: Blind Date at the Genichiro-Inokuma Museum of Contemporary Art (June – September 2017) and consists of three volumes.
The softcover book “INSIDEOUT” is a series of photos taken by Lieko Shiga of the exhibition itself. The photos also show the surroundings and the set-up process of the installation, and are closer to capturing the experience visitors would have at the exhibition rather than providing a straightforward documentation of the exhibition.
“Text” is composed of two essays, one by Shiga, the other by the curator Katsura Kunieda, both in English and Japanese. Shiga’s long essay was also featured during the exhibition; the version in this publication has been reworked by the artist.
In “Talks and Workshops”, a series of four talks as well as a stone-picking workshop held during the exhibition are recorded. Talk guests include Mikio Igarashi, Mariko Takeuchi, Tomomi Tsuchieda and Norimizu Ameya. All talks and the workshop are recorded in Japanese language only.
The original publication “Blind Date” by Lieko Shiga is also available at shashash
Lieko Shiga: Blind Date Exhibition
Publisher: T&M projects
Shortlisted for the Aperture – Paris Photo PhotoBook Award 2018
Book Size270 x 195 mmBindingSoftcoverPublication Date2018LanguageEnglish, Japanese
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The term Maroon was used in colonial America to name slaves who escaped from captivity. Fugitive African slaves who led a life of freedom, in secluded corners and who managed to establish their own communities, or joined indigenous peoples in forging new identities.
"Cimarrón" includes a series of photographic portraits of the descendants of those people, dressed in masks and attire that keep alive the history and memory of their ancestors, bearing witness to those traditions.
The photographs are complemented by texts by specialist anthropologists to provide an ethnographic and historical context that the power of globalization is threatening.
Maroon. Freedom and Masquerade
Author: Charles Fréger
Size: 18 x 23 cm
Year of publication: 2018
In 1977 William Eggleston released Election Eve, his first and most elaborate artist’s book, containing 100 original prints in two leather-bound volumes housed in a linen box. It was published by Caldecot Chubb in New York in an edition of only five, and has since become Eggleston’s rarest collectible book. This new Steidl edition recreates the full original sequence of photos in a single volume, making it available to the wider public for the first time.
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
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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.
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Size: 24.0 x 19.0 cm
Extent: 288 pp
Publication date: 7 March 2019
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
Anne-Marie Beckmann, Mohammad Khair Hak, Mohammed al-Khatib, Hassan Katan, Hosam Katan, Carsten Stormer
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Hosam Katan Yalla Habibi Living with War in Aleppo
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
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.
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Antoine D´Agata . Cidade de Pedra
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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.
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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.
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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
Cabeza de Chorlito
We give light to the images that Anders highlighted and marked on the period contact sheets, with signs, signals and colors. They have lost that primary intention of standing out and status, their Morse language, their meaning, but they have won the gesture. The print. The arrogance of naivety. His power. Graphic and plastic.
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Café Lehmitz is a generous work of shared humanity. An unforgettable job. Tears even. I'm a witness.
Color Lehmitz . Anders Petersen
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Publisher: Cabeza de Chorlito
Cabeza de Chorlito
"Txema Salvans’s previous series was also about life in the gaps and at the edges. It showed lone women, probably prostitutes, sitting or standing in very similar landscapes to the ones you see here.
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Hardcover, 88 pages.
Dimensions: 33.5cm X 25cm
Text from David Campany, Gabi Martínez
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