Pedro Guimarães . Rato Tesoura Pistola
Rato, Tesoura, Pistola gathers together photographs by Pedro Guimarães, produced in collaboration with Nuno Engstrøm Guimarães (drawings, 7 years old) and Emma-Sofie Engstrøm Guimarães (monster pancakes, 5 years old). Sara Bichão kidly offered her masks that becomes part of a familiar entertainment revealing what an author can be, literally “one who causes to grow,” and not only in a parental relationship. Combining the drawings of his children together with portraits of them playfully or simply relating with the father’s camera, this photobook, designed by Dayana Lucas, is a manifold of experiences and artistic attitudes in which photography works as an intertwining element and where design strategies activate it as a device involving the reader himself in the game. As the title of the book suggests, “Mouse, scissors, gun”, and Pedro explains in the book presentation: “This is how we play together, how we pretend there is no such thing as the vast emptiness that keeps us apart during most days of our lives: 2500 km of land and water, to be precise, the sheer vastness of Europe. But most days is not all days of our lives, right?”. And the time we spend flipping through this book, opening the folds that constitute its very semantic structure, has the sweet and captivating flavour of the magic time described in Pedro’s book, shortening distances and creating magic worlds with the interaction of basic, but powerful elements.
Chiara Capodici, Leporello Books, Rome.
Pedro Guimarães . Rato Tesoura Pistola
Photographs: Pedro Guimarães
Drawings: Nuno Engstrøm Guimarães (7 years old)
Monster Pancakes: Emma-Sofie Engstrøm Guimarães (5 years old)
Mask Sculptures: Sara Bichão
Design: Dayana Lucas
21 x 25,5 cm
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New Zealand’s Whanganui River is the lifeblood of the Māori. The tribes of Whanganui take their name, their spirit and their strength from this great river, which flows from the mountains of central North Island through to the Tasman Sea.
In Te Ahi Kā: The Fires of Occupation, photographer Martin Toft explores the deep physical and metaphysical relationships between the river and the Māori. In 1996 Toft spent six months in the middle and upper reaches of the Whanganui River in an area known as the King Country. Here he met Māori who were in the process of reversing the colonisation of their people and returning to their ancestral land, Mangapapapa which is on the steep banks of the river inside Whanganui National Park. At the end of his journey Toft was given the Māori name Pouma Pokai-Whenua.
Returning twenty years later to rekindle the spiritual kinship he had experienced, Toft began to work on this book. Its narrative is situated within the context of the current Whanganui River Deed of Settlement, Ruruku Whakatupua and the projects led by local Māori to settle historical grievances with the government dating back to the 1870s. At the heart of it is the Whanganui tribes’ claim to the river, which is seen by them as both as an ancestor and as a source of both material and spiritual sustenance.
Born in Denmark, Martin Toft is a photographer and educator who works on commissions and long-term independent and collaborative projects. He combines elements of documentary and fine art to explore social, anthropological and cultural themes, often immersing himself in communities for long periods of time. His work is underpinned by archival, historical and conceptual discourse and incorporates photography, video, sound and text. Te Ahi Kā – The Fires of Occupation is edited by Rafal Milach and designed by leading book designer Ania Nałęcka-Milach. The book was shortlisted for the prestigious Kassel Dummy Award 2018.
Published with financial support from Creative New Zealand, Lottery Environment and Heritage Fund and Te Mana o Te Awa grant administered by Ngā Tāngata Tiaki o Whanganui.
TE AHI KĀ: THE FIRES OF OCCUPATION
200 pages, 205 x 165mm
89 colour / b&w photographs
ISBN: 978-1-911306-38-2 (Green / female cover)
ISBN: 978-1-911306-39-9 (Orange / male cover)
Pier von Kleist
1+1=1 is a mathematical mistake but not necessarily an error of logic: if you add a drop of water to another drop of water, how many drops will you have? In a world where mathematics and economics are now more revered than logic and reasoning, this work tries to be a collection of silent poems on the everyday of anyone anywhere. Poetry as a mean of survival, when all one hears is screams, noises and music you have not chosen. Silence is a blessing and if you add a photograph to another photograph and maybe yet another, how many photographs are you then looking at?
After the highly successful This Business of Living, Blaufuks' 1+1=1 continues his exploration on the experience of time and memory.
1+1=1 by DANIEL BLAUFUKS
1+1=1 by Daniel Blaufuks
Pierre von Kleist editions
Hardcover, 20.5x25cm, 68 pages, edition of 600 books
Pier von Kleist
A deep global investigation that tries to answer as difficult questions as: Do people who are condemned to death really deserve to die? or Does any government believe that it can determine whether a human being deserves to live or die?
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.
Tony Ray-Jones (1941 – 1971) was born in Wells, Somerset and studied graphic design at the London School of Printing. In 1960, aged just 19, Ray-Jones won a two-year scholarship to Yale in the Untied States. Following a chance meeting with Alexey Brodovitch, he attended his classes at the Design Laboratory in New York alongside fellow students including Robert Frank, Irving Penn and Garry Winogrand. He returned to England in 1966 and whilst supporting himself through photographic assignments, he travelled around the country in a VW camper van. His work was exhibited at the ICA, London in 1969 alongside that of Dorothy Bohm, Don McCullin and Enzo Ragazzini. In 1971 he returned to the United States to take up a teaching post at the San Francisco Art Institute and began planning future projects before being diagnosed with Leukemia in 1972. He returned to the UK for treatment and died aged just 31. The first monograph of his work, A Day Off (1974) was published posthumously and a retrospective of his work was held at the National Media Museum in 2004. In 2013, Media Space at the Science Museum, London displayed his work alongside that of Martin Parr in the touring exhibition Only in England.
RRB Photobooks / Martin Parr Foundation
16th October 2019
30 x 25 cm
Essay by Liz Jobey
Introduction by Martin Parr
Czesław Siegieda, born the son of Polish immigrants to England in Leicestershire in 1954, showed an interest in photography from an early age. From his teens he photographed the Polish community he grew up in, moving through fêtes and funerals with an ease only available to an insider.
The images in the book, taken between 1974 and 1981, show the staunchly Catholic traditions and national customs so faithfully maintained by the community as they rebuilt their lives following the trauma suffered during and after the Second World War. Whilst many of Siegieda’s images display a sharp eye for the absurd and all are marked by a visible affection for his subjects, his photographs of his close family are notable for their intimacy. His mother Helena, though physically robust, looks careworn and vulnerable, clutching a bucket of vegetable peelings or a picture of the Virgin Mary like a life raft whilst her husband (Czesław’s stepfather) hovers in the background, as if ready to lend a hand if needed but not wishing to intrude.
For many years the archive remained private, initially out of respect for the sensitivities of his parents’ generation: nervous of their position as ‘guests’ in a foreign land, they were determined not to draw attention to themselves. This initial impulse of discretion soon gave way to the more prosaic demands of life and work. For decades the negatives sat unheeded in a drawer until, in 2018, two years after his mother’s death, Siegieda decided that it was time to bring them out into the world. The process of digitising the archive went hand in hand with the creation of a website and the release of images on social media, posting photographs on Instagram in the expectation that they might be of niche interest to a small number of followers. The response was as overwhelming as it was unexpected; the photographs attracted the attention of many notable photographers, including Martin Parr, who encouraged Siegieda to publicise the work more widely.
The book contains over 80 images from this archive, with an essay by author and historian Jane Rogoyska as well as a foreword by Martin Parr. The book is available in an edition of 600, including 30 copies with a signed and limited pigment print.
Special thanks to the Polish Cultural Institute in London for their support in producing this title.
Czesław Siegieda - Polska Britannica
RRB Photobooks / IC-Visual Lab
Size 23.4 x 15.6 cm
Edition 800 copies
Zen Foto Gallery
“The Mechanical Retina on My Fingertips” is how Suda named his Minox Camera that held him in thrall from 1991 to 1992. The Minox camera is popularly known as a spy camera - It fits in the pocket with a shutter release as light as the blink of an eye. The resulting images developed from 8x11mm negatives are grainy and have a flat perspective. Suda comments that “no other camera ever accompanied my activities so closely.”
In addition to the Minox works which Suda published in his exhibitions during the 90s - “Trance”, “Keelung”, “Family Diary”, “Naked City”, “1987 Taipei City View” and “Before Night Falls”, this book includes more than 400 works selected from over 600 unpublished images which had long been stored in “A Box of Lingering”, as Suda called it.
“The moment” has finally been released.
The Mechanical Retina on My Fingertips
Publisher: Zen Foto Gallery
Book Size183 × 128 × 20 mmPages438 pages, 430 imagesBindingSoftcoverPublication Date2018LanguageEnglish, Japanese, ChineseLimited Edition700
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.
Originally published in 1968 – the year which also saw the launch of the influential Provoke magazine – the book already demonstrates Moriyama’s trademark visual style. On invitation of Japanese writer Shuji Terayama, Moriyama began photographing members of a traveling theater group, adding shots of dwarf show dancers, strip clubs, street performers, fetuses in formaldehyde containers and other motifs.
This 2018 release is the first to feature English translations of Shuji Terayama’s writings. The book, limited to an edition of 700, is numbered and signed by Daido Moriyama.
Japan, A Photo Theater（English Version）
Publisher: MATCH and Company Co., Ltd., Getsuyosha
2018 reprint edition
Book Size 308 × 228 mm Pages 232 Binding Hardcover, slipcase Publication Date201 8LanguageEnglish, Japanese Limited Edition 700
MATCH and Company
30 years have passed since world’s worst nuclear accident happened at the Chernobyl Nuclear Power Plant (ChNPP) in the former Soviet Union (currently, Ukraine). Photojournalist Kazuma Obara explored Ukraine from February 2015 to April 2016.
Project “30” aims to depict people in Ukraine who have a connection to the explosion; whose lives were altered by the sudden release of atomic energy and subsequent political strife. To depict this, Obara challenged traditional visual representation by creating 3 different types of object: two photobooks and a replica of newspaper. The photobook “Exposure” depicts the first 30 years of life of an invisible girl who suffers ongoing medical problems as a result of the disaster. The images were created by using old Ukrainian colour negative film which was found in the abandoned city of Pripyat. Another photobook, “Everlasting,” captured the commute of the ChNPP’s workers between their hometown and the plant as a metaphor for the cycle of repetition. Decontamination work has been handed down from generation to generation since the accident.
Given the difficulty of dealing with radioactive waste it seems as though this process could go on for ever. Supporting those two photobooks, Obara make the replica of an old newspaper which was found in Pripyat from the time helps to feel the passing of time.
Selfpublish, Edition 86, 2016(sold out)
Editorial RM, Edition 1900,2017/2018
World Press Photo Award 2016, People, 1st Prize
Magnum Graduates Photography Award, Winner
WIRED Audi INNOVATION AWARD, Winner
Photo-eye Best photobooks 2017 selected by Todd Hido
Athens Photo Festival Portfolio Review2015, Winner
Hariban Award, Finalist
Magnum Lens Culture Award 2016, Finalist
In 2015, Ljubisa Danilovic published The Russian Desert with Lamaindonne. The book, acclaimed by the public and critics, is now out of print. Three years later, Payne's Moon, his new publication, shows a radically different side of the photographer's work.
Ljubisa Danilovic has made several trips to the Danube Delta in recent years and in this book he offers us a surprising and delicate portrait of this place. A land of sky and water where time seems to slow down, where the heart begins to beat more quietly and the mind calms down. Photographs that are as close as possible to the subject, without any frills, that go to the essential. The wide palette of greys in the photographs gives them a softness and a certain melancholy. A series with a beautiful artistic mastery...
La Lune de Payne . Ljubisa Danilovic
size 22 x 26,5 cm
50 two-colour photographs + endpapers
with images on the back (2 different versions)
and hot stamping
printed on 150 g gardapat
isbn : 978-295604-882-4
RRB Photobooks & the Martin Parr Foundation are delighted to present Martin Parr - Early Works.
The book covers the early part of Parr’s career, comprised of images shot between 1970 and 1984, mainly in the north of England and Ireland. The book contains many of Parr’s iconic early images, as seen in earlier publications such as Bad Weather and A Fair Day.
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.
The book is published to coincide with a retrospective of the work of Tony Ray-Jones, who was himself a huge influence on Martin Parr, RRB & MPF hope to add new context to Parr’s earliest photographs in publishing the two works concurrently.
Martin Parr - Early Works
RRB Photobooks / Martin Parr Foundation
16th October 2019
Hardcover, Blue Cloth
30 x 25 cm
Introductory text by Jeff Ladd
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.
The flight fascinates the photographer, obsessed with the euphoric speed of swallows as well as the hypnotic inertness of large raptors drifting through the wind at high altitude. Plossu’s photographs allow us to see fragments of the world, a world in which birds have reinvested our environment.
The essay by ornithologist Guilhem Lesaffre underlines a fundamental aspect of bird life: migration as brought by Plossu’s photographs to light.
This book, along with the one of Pentti Sammallahti, launch our collection Des oiseaux (On birds) celebrating, through the vision of different artists, their immense presence in a world where they are now vulnerable.
DES OISEAUX . BERNARD PLOSSU
Hardcover, 20,5 x 26 cm
108 pages, 54 B&W photographs
Text (in French): Guilhem Lesaffre
ISBN : 978-2-36511- 189-8
The photographic oeuvre by Martine Franck (1938–2012) has finally been assembled in this comprehensive monograph, the most exhaustive to date, edited by Agnès Sire, artistic director of the Fondation Henri Cartier-Bresson. The work on this book has been undertaken in 2011 with Martine Franck. Through a chronological journey, including many unpublished images, the photographer has conceived different chapters spanning her entire life.
Feminism, social deprivation, the elderly, and Buddhism join artists, writers and landscapes as subjects that are visited and revisited over the years and through various travels to the United States, United Kingdom, Ireland or Asia, scrutinized through the lens of her selfless sensitivity, an eye for form and composition for the woman who wished to “greet the unexpected”. Her celebration of life, the joy of her knowing eye, and her commitment to different causes made Martine Franck a major figure on the international photographic scene.
Two versions : English and French
Hardcover, 23 x 29 cm, 328 pages
300 B&W photographs and documents
Agnès Sire, Anne Lacoste
Interview between Martine Franck and Dominique Eddé
Illustrated biography drawn up by Cécile Gaillard with Aude Raimbault
ISBN FR : 978-2-36511-125-6
ISBN ENG : 978-2-36511-211-6
Copublished with the Fondation HCB
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.
“After the publication of my last book about social life in America, Songbook, and a retrospective of my four, large-scale American projects, Gathered Leaves, I went through a long period of rethinking my creative process. For over a year I stopped travelling and photographing people. I barely took any pictures at all.
When I returned to photography, I wanted to strip the medium down to its primary elements. Rather than trying to make some sort of epic narrative about America, I wanted to simply spend time looking at other people and, hopefully, briefly glimpse their interior life.
In order to try and access these lives, I made all of the photographs in interior spaces. While these rooms often exist in far-flung places, it’s only to emphasize that these pictures aren’t about any place in particular. Whether a picture is made in Odessa or Minneapolis, my goal was the same: to simply spend time in the presence of another beating heart.” - Alec Soth
I Know How Furiously Your Heart Is Beating . Alec Soth
Embossed linen hardback
30 x 33.5cm
Interview with Alec Soth by Hanya Yanagihara
Publication date: March 2019