OKINAWA . Keiko Nomura
Pier Von Kleist
On the southern tip of Japan, Okinawa is an archipelago that floats in the beautiful ocean. In ancient times, seafarers plied the oceans to Japan and other countries, while a unique island culture flourished. However, Okinawa did not escape the wave of modernity that washed over the islands. Many lives were lost during World War II. Okinawa was ruled by the USA for 27 years and huge US military bases still dot the landscape. For hundreds of years, generations of my maternal ancestors were born, raised and died on these islands. My spirit gravitates toward this archipelago. I want to live in the present and capture the Okinawa that lies before me today.
Keiko Nomura (Kobe, Japan) studied photography in Los Angeles and graduated from Visual Arts College Osaka. She has published 6 books. Nomura received the Newcomer’s Award from the Photographic Society of Japan in 1999 and New Photographer Prize at the 16th Higashikawa International Photography Festival in 2000 and has been exhibiting regularly in Japan in the last years. Women and water have been the motifs in her overarching theme of life’s infinite cycle beyond time and space.
Okinawa is Nomura´s second book with PVK editions, following the critically acclaimed, now sold out Drop of Light to Rushing Water.
OKINAWA . Keiko Nomura
Softcover, 21x29 cm, 32 pages
Limited edition of 500 copies
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Intimate Distance is the first comprehensive monograph charting the career of acclaimed American photographer Todd Hido. Though he has published many smaller monographs of individual bodies of work, this gathers his most iconic images for the first time and brings a fresh perspective to his oeuvre with the inclusion of many unpublished photographs.
Well-known for his photographs of landscapes and suburban housing across the United States, and for his use of luminous color, Hido casts a distinctly cinematic eye across all that he photographs, digging deep into his memory and imagination for inspiration. David Campany introduces the work and looks specifically at Hido's cinematic influences and the kind of spectatorship the work demands. The book is organized chronologically, showing how his series overlap in exciting, new ways. Also featured are short interviews with Hido about the making of each of his monographs. From exterior to interior, surface observations to subconscious investigations, landscapes to nudes, this mid-career survey reveals insight into Hido's practice and illustrates how his unique focus has developed and shifted over time.
Todd Hido (born in Kent, Ohio, 1968) is a San Francisco Bay Area-based artist. His photographs are in the permanent collections of the Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; San Francisco Museum of Modern Art; and Los Angeles County Museum of Art, as well as in many other public and private collections. He has published over a dozen books, including House Hunting (2001), Roaming (2004), and Excerpts from Silver Meadows (2013). He is an adjunct professor at California College of the Arts. In 2014, Aperture published Todd Hido on Landscapes, Interiors, and the Nude as part of The Photography Workshop series.
David Campany (essay) is one of the best-known and most accessible writers on photography. His books include The Open Road (Aperture, 2014), Walker Evans: The Magazine Work (2013), Jeff Wall: Picture for Women (2011), Photography and Cinema (2008), and Art and Photography (2003). His essays have appeared in numerous books, including the 2016 Aperture title The Difficulties of Nonsense, on photographer Robert Cumming, and he contributes regularly to Aperture, Frieze, Photoworks, and Oxford Art Journal.
Katya Tylevich (texts) is an arts, architecture, and design journalist based in Los Angeles.
Intimate Distance . Todd Hido
Twenty-five Years of Photographs, A Chronological Album
Essay by David Campany
Texts by Katya Tylevich
9 1/2 x 11 1/2 inches
272 pages, 300 black-and-white and four-color images
Hardcover with jacket
978-1-59711-360-1 October 2016
During the terrorist attacks on Paris in November 2015, photographer Paul Graham took refuge in an apartment in the city with his partner and young child. In response to the suffocating tension on the city's streets, he made this series. Looking at the images you would never know of the traumatic events unfolding outside, but suffusing the photographs is an inscrutable longing for the safe, the everyday, the known.
Paul Graham was born in 1956 in Stafford, England. He is has been the recipient of numerous awards and fellowships including the Deutsche Börse Photography Prize, a Guggenheim Fellowship, the Hasselblad Award and the Paris Photo-Aperture Foundation Photo Book Awards prize for best photographic book of the past 15 years. His publications include The Whiteness of the Whale (MACK, 2015), Does Yellow Run Forever? (MACK, 2014), The Present (MACK, 2012), 1981 & 2011 (MACK, 2012), a shimmer of possibility (MACK, 2007), Films (MACK, 2011), American Night (MACK, 2003) and End of an Age (Scalo, 1999). He has exhibited at Tate Gallery, MoMA, Whitney Museum of American Art, Deichtorhallen and Fotomuseum Winterthur amongst many others.
Paris 11-15th November, 2015
30 colour plates
18 cm x 26 cm
Publication date: November 2016
"General View“ investigates conceptions of a new reality that continuously departs from the indexical referent towards an ever-changing rendering of a world that is yet still routed in the photographic image.
Inspired by photographs of Yosemite National Park – one of the most intensely mediated nature sites on earth, the series toys with the question regarding the necessity of traveling to a place that has been photographed innumerable times, the need to record additional photographs.
If countless images of a specific place are downloadable or can be screenshot, have I been there already?
The series concentrates on the reenactment of glitches on Google Street View; in a gesture similar to the concepts of Warhol‘s Brillo Box or Fischli & Weiss‘ reversed Ready-mades, the malfunctions are appropriated and reenacted via pre- and post-photographic processes – to test their sculptural qualities, their ability to become an autonomous entity, potentially independent from their indexical referents.
The unintended glitches (as well as the originally intended blurs to conceal faces or car plates) appear as a trace of the algorithmic merging and altering of photographic images without direct human control; an early potential glimpse into, a herald for a post-human understanding of the concept of the image or its redundancy and disappearance.
GENERAL VIEW - Thomas Albdorf
Edition of 700
Saddle Stitch Hardcover
Designed by Thomas Albdorf and Milo Montelli
Text by Darren Campion
The book tells about a travel in Estonia, into the wood, in the footsteps of wolves. The silence and the snow. The occasion for hunting: of meaning, of God.
Photos by Alexandre Christiaens
Project by Valentino Barachini
Copywriting by Matilde V. Laricchia.
Translation by Jeanne De Visscher e Massimiliano Barachini.
Languages: italian, English and French.
100 copies numbered and signed
Closed book dimensions: 29x24cm approximately.
50 pages, 38 photos in 4 colours and b/w.
Collectors' edition adds to book a photograph printed on baritated paper in a darkroom (no inkjet) in 30 copies, numbered and signed by Alexandre Christiaens.
Each copy is unique, made of randomly stacked sheets printed only on the recto and coming with a unique and extra overs sheet bonus (overprint) hidden somewhere in the flow.
This book started with an artist residency in Mulhouse, in October 2015, as part of the Mulhouse Biennial of Photography 2016.
It is now the intuitive and flooded river of my working process, with images from a variety of sources (and periods) : c-prints, collages, installations views, photocopies, pages from my Revisited Cuban book,...
This random book is printed on glossy magazine paper, resulting in a sprawling and flexible publication that is not just documenting a working process, but also becomes part of it, as an experimental "anti-catalogue" reflecting the same energy as Anti-poetry.
With support of Mulhouse Art Contemporain
Vincent Delbrouck . Catalogue
Photographs and collages : Vincent Delbrouck (V.D.)
Editing and Design : V.D. and Philippe Koeune
free softcover with flaps
red linen binding tape
21 x 29,7 cm (8,27 x 11,69“)
248 pages / 116 illustrations / full color
Offset printing on glossy 135g paper
Edition of 480 unique copies + 30 unique collector’s copies
In 2007 Ricardo Cases embarked on a trip across Mali in the company of a white man. Along the way he photographed everything that caught his attention and took portraits of his fellow traveller, a man from Seville whose primary activities were thinking and looking. On his return, Cases reviewed the material and started playing around with the images, with a view to connecting both groups of photographs: those of his travel companion and those of the territory they had visited. He realised however that the images were not sufficiently self-standing to tell the story he had intended, and after a few failed attempts he pushed the material into a drawer.
Years later, in 2015, he returned to the images and felt he was starting to connect with them. Some of them suggested ideas: the lack of legitimacy he felt as a photographer in talking about a place he experienced only in passing; the innocence in the gaze of the tourist who goes with the flow, stimulated by the journey’s serendipity and by the exoticism of a foreign culture and reality; how it can sometimes be appropriate to linger on the surface, in the realm of the imagined, on the outcome of an experience so specific that it could nearly be a dream…
That’s when he decided to structure the work around these new premises and edit this book in collaboration with Iván del Rey de la Torre, whose texts enter into a dance with the photographs, against that melody. The relationship thus established reveals how an image’s importance often lies not in its materiality, but rather in the tracing of it that we carry around forever in our mind. When we fabricate new images, they are nothing but projections of those tracings.
That was the genesis of El blanco, a story where an examination of the West’s representation of outlying territories leads us to question representation itself.
Ricardo Cases & Iván del Rey de la Torre
Photos: Ricardo Cases
Texts: Iván del Rey de la Torre
Translation: Aitor Arauz Chapman
Design: Mónica Martínez, Ricardo Cases, Ángel Álvarez (Tipode Office)
Prepress: Víctor Garrido
20 x 28 cm
Spanish edition - 200 copies (also available in English )
Thames & Hudson
The definitive collection of Bernard Plossu’s iconic colour photographs of the American Southwest
Bernard Plossu has been called ‘the most American of French photographers’ by his friend and colleague Lewis Baltz. Although he is best known for his work in black and white, often capturing a bohemian world of free-spirited adventure, Plossu has also shot in colour throughout his career.
This book showcases 88 bold and cinematic colour photographs, many of which are previously unpublished, dating from the 1970s and early 80s, when Plossu was resident in the US. Strikingly rendered using the Fresson carbon printing process, these images depict an unmistakably American landscape of motels and rodeos, deserts and highways; a realm that is both rugged and dreamlike, haunted by the mythic imagery of the Old West. They combine to form a memorable and atmospheric collection of work by a supremely talented photographer.
Accompanies an exhibition of the same name at the Arles Photography Festival in summer 2016
Bernard Plossu (born 1945) is a renowned French photographer who has worked all over the world. His many publications include So Long and ¡Vámonos! Bernard Plossu in Mexico
Bernard Ploss . Western Colors
Photographs by Bernard Plossu
Essays by Francis Hodgson
22.00 x 27.00 cm
Hardback with tipped on colour plate to front board (without jacket)
With 88 photographs in colour
First published 2016
Thames & Hudson
The photographs that Chris Killip made in Northern England between 1973 and 1985 were first published by Secker & Warburg in the book In Flagrante in 1988. The new oversized Steidl edition is a radically updated presentation, showing a single image on the right side of each double-page spread. In Flagrante Two is strident in its belief in the primacy of the photograph, embracing ambiguities and contradictions in an unadorned narrative sequence devoid of text.
In Flagrante Two . Chris Killip
Hardback / Clothbound
36.4 x 28.8 cm
2. Edition 08/2016
Winner of the 2016 Prix Elysée, Martin Kollar’s new work, Provisional Arrangement, considers that which is temporary in a world made up of provisional situations and solutions. "We are tenants of culture", wrote Nicolas Bourriaud, foreseeing a world of precarious inhabitation of ideas. “I grew up in Czechoslovakia during the Communist era,” says Kollar, “and with the motto, with the Soviet Union for all Eternity – which has been one of my few experiences with eternity... People of my generation fight against the void left behind the abandoned dogmas.” It is this world that Kollar turns to, one of aborted eternities and slackened certainties – to situations which reveal the disintegra-tion of permanences, capturing their fall into the provisional.
Martin Kollar was born in Zilina, Czechoslovakia (now Slovakia). He studied at the Academy of Performing Arts Bratislava and has been working as a freelance photographer and cinematographer since he graduated. He has received several grants and awards, including the Fuji Film Euro Press Photo Award and the Backlight Photography Award in Finland. His work has been exhibited across the world, including Maison Européene de la Photographie Paris, France, Rencontres d’ Arles in France, MOCA Shanghai China, Guandong Museum of Art in China and Month of Photography in Krakow. His previous books include, Nothing Special (2008), Cahier (2011) and Field Trip (MACK, 2013)
Embossed hardcover with coloured boards
38 colour plates
20 cm x 25.5 cm
Publication date: September 2016
There was a time in my late 20's when I had a desire to disappear from the plane of worldly affairs. Kumogakure has no direct translation in English. It means to be hidden by clouds, shrouded, invisible. No longer able to endure my world and he affairs that surrounded it, I spent two years wandering blindly through fog-draped Hokkaido and Tohoku.
The same volcanic activity that gave birth to Japan is the source of its hot springs, called onsen in Japanese. The onsen depicted in this book are but a minuscule fraction of the 3,000 hot springs that are said to exist across the archipelago.
By chance I became fascinated with the natural steam clouds that rise from these curative, restorative onsen. Springs vary in Japan - there are naturally warmed hot springs, mineral springs, hidden springs, watering places, and small, ancient spa towns. No matter what the type, anywhere is fine so long as you have hot springs and name. The banal and the extraordinary meet at these springs, as do life and death. They heal both locals and travelers. These hot springs are suffused with nostalgia and afford the pleasure of unique visual experiences. These are the places I rambled through, taking photographs.
As I traveled through these places, I dreamt of a transcendental self beyond my own identity. Flooded with memories of experiences I had never had, encompassed by all emotions, I felt a tremendous longing for a self from unknown times that was without gender or age, raised and nurtured in and among these unknown mountain settlements and seaside towns.
The photos within this book were completed in 2003. More than a decade later they undeniably reflect what I saw on my travels. However, as time passes, they have gradually begun to feel to me as though they were taken by someone else, from a different world.
Sorting through these photos in making this book, I realized that deep within me there is a dark flashpoint that has no place to go. I'll probably return to my reclusive travels among the hot springs. I hope that perhaps this book will become as ephemeral as smoke, seeming to disappear upon publication, only to be met again decades from now through chance and the joy of a reader.
Limited edition of 700 copies
KUMOGAKURE ONSEN : Reclusive Travels
imited edition of 700 copies
104 pages, 91 black & white plates
print on cloth ; hardcover
text ; Japanese and English
book design ; Katsuya Kato
size ; 225mm x 270mm x 15mm
roshin books 2015
Max Pinckers and Daisuke Yokota are both interested in the surfaces of photography, and the limitations the two-dimensional image has in shaping our understanding of the world; make a two-dimensional image and you get a two- dimensional understanding.
Their work is about surface and adding dimensions to it in different ways, but where Pinckers questions the past frameworks of photography and looks at the historical tropes of photography and how they are embedded into our reading of images on a subconscious level, Yokota builds meanings up from the present, layering the past into his images through his repeated exposures and interventions with the primary print.
The series Two Kinds of Memory and Memory Itself questions the way we take photography for granted, the way in which we learn to expect certain things and to shut other things out, especially in a country that is defined overseas by photographic cliché.
It gets behind the expectations we have of Japan based on the clichés we have learnt to expect. Luigi Ghirri wrote, ‘Photography always shows what we already think we know’ and that is the sentiment at the heart of this project.
For this series, Pinckers took groups of Japanese dressed as salarymen, cosplayers, or sumo wrestlers to the fringes of urban Japan. Outfitted in suits, loin cloths, and bear outfits he took them to those Japanese places that we don’t see in Europe; the edges of streams, deserted car parks, the depths of the forest.
And once there he staged images of things that his performers were, according to the traditional representation of Japan in the west, expected to do. They collapsed drunk (in true salaryman style), they had naps, they smoked cigarettes, they were subjected to sudden gusts of wind, or they sang karaoke.
It’s an encyclopaedia of Japanese photography tropes then, and there’s very little mystery there.
That lack of mystery is what Pinckers unpacks. He varies the landscape, the players and the dress, and allows moments to unfold which he photographs. But simply because these combinations of landscape, players, and moments are different, we see something new. We see a Japan that doesn’t look as
CURATORIAL NOTE: Both artists were given the same amount and type of paper but their photographs were printed on opposite fibre directions. Max Pinckers’ work was presented vertically, while Daisuke Yokota’s horizontally, both using the same quantity of plywood. No nails or adhesives were used in the exhibition.
Edition of 1000 copies, with accompanying text by Colin Pantall.
Unusual interleaving publication by these two acclaimed artists.
Foto Forum . Max Pinckers Daisuke Yokota
Publisher: Rorhof/Lyre 2016
Format: Softcover 1st edition
After the sudden death of Hiroyasu Nakai in February, 2016, Daido Moriyama, a friend of Nakai's for over 40 years, carefully selected photographs from approximately 500 of Nakai's original prints. “North Point” is the result of this edit.
Hiroyasu Nakai was born in Hachinohe City, Aomori in 1955. He participated in Eikoh Hosoe's WORKSHOP photo school in 1976. Upon graduation, he began a new chapter in his life as a photographer and became a member of CAMP, an artist-run photo group and gallery headed by Moriyama. After he left CAMP, he independently established a photo gallery Hokuten (North Point) in his hometown in 1988, and began exhibition his own work in a series of exhibitions. “North Point” features photos taken in Hachinoche City during Nakai's time there.
Regarding Nakai's pictures Moriyama has said that they are “neither honest reporting nor his love for his hometown. The photographer Hiroyasu Nakai integrated himself into his environment with a deep understanding.”
Nakai's perspectives of Hachinohe City are expressed in the publication of “North Point”, published by Roshin books with the assistance of Satoshi Machiguchi, a Japanese art director. “North Point” will surely be regarded as a historically important contribution to the world of photography.
Limited edition of 700 copies.
North Point . Hiroyasu Nakai
Roshin Books 2016
Format: Hardback 1st edition
Ron Jude’s (b. 1965, American) Vitreous China is comprised of an archive of photographs he made while exploring areas of light industry in (primarily) Midwestern American cities. Rather than comment on the workings of industry itself, Jude depicts the ambient peripheral zones suffusing these environments: big rig parking lots, side exits, and other secondary spaces in which Jude imagines his grandfather might have daydreamed, or let his mind wander, during his many years as a kiln operator in vitreous china plants, first in the Midwest, and later in Southern California.
Supplanting the narrative inadequacies of photography with an alternate experience of atmospheric immersion, Jude exploits the seemingly factual, descriptive traits of the medium while also pursuing moments of subjective transcendence. Like the paradoxical relationship between the surface beauty of vitreous china (an enamel coating applied to porcelain) and its blunt, utilitarian function (strengthening toilets & sinks), the photographs, interwoven with a series of short texts by Mike Slack, attempt to tease out an experience that embraces both the physical crudeness of these spaces as well as the intangible complexes of memory and narrative encoded within them.
First edition of 375 copies, numbered. Special edition of 25 numbered copies, with signed archival pigment print.
RON JUDE . VITREOUS CHINA
16 cm x 20 cm. 54 pages. 1 gatefold. 29 color plates. Offset printed softcover. Saddle-stitched, in grey paperboard clamshell with typography in white foil.
Published in 2016.