Mi tía Ana Mari . Héctor Mediavilla
On 13 March 2020, home confinement was ordered due to the pandemic caused by the Covid-19 virus. Ana Mari was 92 years old. She had been living alone in a flat in Barcelona since her husband and her brother, Hector's father, died three years earlier.
After several weeks locked up without leaving the house, and with the aim of helping her to overcome the anguish of her situation, Héctor suggested that she share her experiences and thoughts through images and texts. Héctor Mediavilla, in addition to being a photographer and filmmaker, is an expert in participatory photography and in helping others to use the camera as a tool for integration, and he realised that he could put this knowledge to good use with his beloved aunt.
Ana Mari had not taken any photographs for more than forty years, so her nephew taught her how to use an instant film camera with which she could take photos without technical complications. He gave her some instructions and she accepted the challenge.
A few weeks later, having overcome the first attempts and after showing her the texts she was writing, Héctor asked her to show him the photographs from the family album. In this context of intimacy between the author and his aunt, Mi tía Ana Mari was born, a work in which the past and the present coexist, mixing the snapshots of the protagonist and her thoughts with the photographs from the family album, evocative of a time shared with the absent.
This little book aims to give a voice to the elderly who often live their loneliness in silence, and whose situation was aggravated during the confinement.
Mi tía Ana Mari . Héctor Mediavilla
First edition: 400 copies
Photographs and texts: Ana Mari and Héctor Mediavilla
All texts in English, French and Spanish
Design: Lorenzo Cerrina
Edition: Héctor Mediavilla and Alex Llovet
Prepress: Josemaría de Llobet
10 x 15 cm
Printing: Estudios Durero
Hardcover with stamping
31 colour photographs and one black and white drawing
Publication date: 1 March 2021
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Seabird is a book of moments observed by American photographer Bobby Doherty between 2014 and 2018. Doherty makes photographs that get to the point. At first glance, some of the photographs inSeabirdfeel gloriously oversimplified, objects and situations simmered down to their bare constituent elements; the clearest glass on the reddest tablecloth, the wettest dew on the softest leaf. Doherty is quick to embrace both the meaningful and meaningless of everyday life with equal measure: emotive, bucolic landscapes and portraits sit alongside city trash, animals, food and flowers. What comes out in the end feels like a photographic egalitarianism, where the tiny and the huge, the mundane and the sublime, shake hands across pages. Despite his acclaim as a still-life photographer, Doherty is keen to avoid categorisation or to overanalyse his images, placing himself in a lineage of those with a powerful urge to make photographs, consistently and extensively, without concern for cohesion or retrospection. Within this openness,Seabird becomes an identifiably human tapestry of images, suggesting the changing of moods, or the shifting of emotions. In the blink of an eye, the work jumps from Hallmark-greeting-card kitsch to wry juxtaposition, from the stereotypical to the absurd.
Seabird . Bobby Doherty
Published by Loose Joints, 224 pgs, 16 × 24 cm, hardcover, 2018, 978-1-912719-02-0
This new book from RRB Photobooks and the Martin Parr Foundation will mark the important contribution that Tony Ray-Jones (1941 – 1972) and his legacy, have made to British documentary photography.
The exhibition and book will focus on photographs taken between 1966 – 1969 as Ray-Jones, driven by curiosity, travelled across the country to document English social customs and what he saw as a disappearing way of life. This small but distinctive body of photographs was part of an evolutionary shift in British photography, placing artistic vision above commercial success. In this short period of time, Ray-Jones managed to establish an individual personal style. He constructed complex images against a uniquely English backdrop, where the spaces between the components of the image were as important as the main subject matter itself.
‘I have tried to show the sadness and humour in a gentle madness that prevails in people. The situations are sometimes ambiguous and unreal, and the juxtapositions of elements seemingly unrelated, and yet the people are real. This, I hope, helps to create a feeling of fantasy. Photography can be a mirror and reflect life as it is, but I also think that perhaps it is possible to walk, like Alice, through the looking glass, and find another kind of world with the camera.’
Ray-Jones’ skills were gleaned from a generation of street photographers he encountered whilst living in New York in the mid-1960s. These photographers included Garry Winogrand, Joel Meyerowitz and others associated with the circle of legendary Harpers Bazaar art director Alexey Brodovitch. Their pictures defined the era as they used the street as a framework. Ray-Jones applied this new way of seeing to his native England and photographed his observations as they had never been seen before.
In 2012, Martin Parr alongside curator Greg Hobson, revisited Ray-Jones' contact sheets from this period and found previously unseen images. These new discoveries will be exhibited and published alongside iconic early images, including vintage prints from the Martin Parr Foundation collection.
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RRB Photobooks / Martin Parr Foundation
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Zen Foto Gallery
MATCH and Company
The very first photobook by legendary Japanese photographer Daido Moriyama, “Japan: A Photo Theater,” is finally available again in a renewed edition.
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RRB Photobooks & the Martin Parr Foundation are delighted to present Martin Parr - Early Works.
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The work weaves Parr’s better known black and white work with over 20 previously unpublished images, adding new breadth and perspective to Parr’s prolific body of work.
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Half traveler and half migratory photographer, as he likes to introduce himself, Bernard Plossu strides along the world since many years. He captures through his lens furtive moments, where birds are flying in huge swarms or caught alone, standing proudly in the middle of a puddle, or gliding high up in the sky, among the peaks. The photographer looks at birds with tenderness and curiosity, a gaze which underlines fantasy and a “surrealistic” approach, as explains the critic Francesco Zanot about his images.
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Taking its name from a line in Wallace Stevens’ short poem “The Gray Room,” Alec Soth’s latest book is a lyrical exploration of intimacy. While these large-format color photographs are made all over the world, they aren’t about any particular place or population. Whether made in Odessa or his hometown of Minneapolis, Soth’s new book is fundamentally about intimate encounters in private rooms.
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Embossed linen hardback
30 x 33.5cm
Interview with Alec Soth by Hanya Yanagihara
Publication date: March 2019
Copper Geographies explores the global own of mined copper. It presents a series of legwork explorations of geographically disparate landscapes historically connected by copper. It maps sites of transformation along the production network and commodity chain, documenting the mutation and transformation of copper from raw material to capital; through ore, smelted commodity, stock market exchanged value, assembled material and waste.
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Ignacio Acosta, Andrés Anwandter, Termina
Goskar, Frank Vicencio López, Tony Lopez,
Louise Purbrick, Marta Dahó
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Grégoire Pujade-Lauraine, José Luis Lugo
Bilingual edition (Spanish-English)
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The photobook Silent Songs starts from the formal and conceptual intervention that Claudia Hans makes from the book Songs for my Grandmother, written by Agnes Louise Dean in 1945, transforming the book into a current piece that simultaneously narrates part of the grandmother's life, what happened during the Holocaust and the history of the emigration of grandparents to Mexico, where it is possible to observe the parallelism of the history of Mexico with that of their countries of origin.
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She has had several individual exhibitions, among which are “Morido”, Museo de la Ciudad de Querétaro (2015); “Cuando la gente muere”, Galería de Arte Joven, Centro Cultural Genaro Estrada (ISIC) and in Galería Antonio López Sáenz (GAALS), Sinaloa, Culiacán (2014); “Morido”, Centro Fotográfico Manuel Álvarez Bravo, Oaxaca; “Cuando la gente muere”, Centro Cultural de Tijuana CECUT (2013); “Morido”, Espacio Cultural Metropolitano de Tampico;”The End”, Galería Patricia Conde, Mexico City (2013), among others. She has also participated in numerous group exhibitions in Mexico, Spain, France and the United States.
Silent Songs, by Claudia Hans