Koos Breukel Being Dutch
Koos Breukel estudio se diferencia muy poco de los estudios fotográficos tradicionales que han surgido en todo el mundo durante los últimos 170 años de fotografía. Su estudio es un espacio cerrado que contiene una cámara de gran formato sobre un trípode, y un papel de fondo. Aunque las corrientes de luz por el techo, es la luz artificial sobre todo que se está utilizando. Aquí, como en los demás estudios, una amplia variedad de personas que vienen a fotografiarse: hombres, mujeres, jóvenes y viejos, estudiantes, artistas, maestros y funcionarios, familiares, amigos y transeúntes. Algunas personas han encargado un retrato , pero la mayoría son seleccionados por Koos se Breukel. La principal diferencia entre los fotógrafos de estudio y otros Koos Breukel es que retrata a la gente porque quiere averiguar si han sufrido algún tipo de daño como consecuencia de las dificultades en su vida, y si lo han logrado reconciliarse. El quinto libro en solitario son una selección de 56 retratos de los últimos 15 años, color y blanco / negro. Si te ves mejor usted descubrirá que todas las personas retratadas mostrar sus manos en su forma específica. El libro ha sido impreso y separados en tritones y colores plenos.
Koos Breukel’s studio differs very little from the traditional photographic studios that have sprung up throughout the world during the past 170 years of photography. His studio is a confined space containing a large format camera on a tripod, and a plain background sheet. Although daylight streams in through the roof, it is mainly artificial light that is being used. Here, as in most studio’s, a wide variety of people come to pose: men, women, the young and the old, students, artists, masters and servants, family, friends and passers-by. Some subject come for a commissioned photograph, but the majority are selected by Koos Breukel himself. The major difference between other studio photographers and Koos Breukel is that he photographs people because he wants to find out if they have suffered some form of injury as a result of setbacks in their lives, and if they have managed to come to terms with this. The fifth solo book with a selection of 56 portraits from the last 15 years, black/white and full colour. If you look better you will discover that all those portrayed people show their hands in their own specific way. The book has been printed and separated by Trifolio in tritones and full colours, bound in Sempuyu-style.
KOOS BREUKEL BEING DUTCH
SIZE257 x 185 mm
COLOURTritone and full colour
PAGES4 x 64
CONCEPTWillem van Zoetendaal/Koos Breukel
DESIGNWillem van Zoetendaal
ISBN978 90 72532 00 8
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"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
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
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.
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The book is dedicated to to the German photographer Anja Niedringhaus, who died in 2014.
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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
Hosam Katan, Sebastian Moock and Kehrer Design Heidelberg (Loreen Lampe)
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.
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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.
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.
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Pedro Guimaraes . How to Fly
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1968. THE FIRE OF IDEAS . MARCELO BRODSKY
No. of pages: 64 p.
Publishing House: RM VERLAG 2017
Translated with www.DeepL.com/Translator
Pierre von Kleist
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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.
Café Lehmitz, Anders Petersen's debut feature, has magic. He's been catching us since we walked through the door. It hypnotizes us. The atmosphere is sovereign. Anders takes over the air. It immerses us in life. Anthropologist's look and heartbeat, naturalist. He doesn't judge. Neither does he put pretentiousness nor artifice in his gaze. The night and its journey. Like Céline's, with the difference that in Anders' eyes there is no room for such pessimism. It's more forgiving. He's not a cynic. She loves them, she's an accomplice. Toast and dance with them. He's dragging us to follow them. We ended up meeting them. Their photography encourages them to be. He loves those who never show themselves. The invisible ones. We see Escar, a shirtless sword swallow in the trance of getting into trouble. In the background, a jukebox and music machine. Vices of love. We're getting voices. Ramona gives, seduces; Gretel asks... Tenderness pushes. Understanding. The equals share night and temple. They are penitents. Those of scourge and joy. Loneliness and failure. Sublimidad…
Café Lehmitz is a generous work of shared humanity. An unforgettable job. Tears even. I'm a witness.
Color Lehmitz . Anders Petersen
Author: Anders Petersen
Binding: Hardback paperback with black edges
Size: 26 x 20 cm
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.
In this book the figures are by water. In the previous book, they are by roads. All are waiting and, in a sense, all are fishing. (It is no coincidence that a slang term for a prostitute is a ‘hooker’).
Photography may be a matter of cold optics and geometry, but it is also invites connection and empathy. Finding the balance is not easy. It is tempting to use the camera merely to objectify and beautify. It is also tempting to use it in a way that pretends to reveal the inner lives of those who are photographed. Salvans resists both. He places himself, and us, on the cusp of beauty and ugliness, knowledge and ignorance, waiting for something else."
The waiting game II
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