“Know ye, that on the right hand of the Indies there is an island called California very close to a side of the Earthly Paradise”
The Adventures of Esplandián, Garci Rodríguez de Montalbo (Seville, 1510)
Photographed in the city of Oakland, California, Last Best Hope is a visual essay that reflects on hope as a fundamental driving force of the human condition.
The images of Last Best Hope take reality as a starting point to create a fragmented narrative that is torn between idealism and delusion, between the search for a better life and the decay of a paradise that has long ceased to be one.
Special Edition, limited to 30 copies - each with an A4 limited edition inkjet print signed and numbered by Juan (see image)
"Box of Illusions emerged from enchantment close by, through relationships and life, in a suspended time where fact and fiction blend. The visual appeal of black and white, of chiaroscuro, plays a role representing possible choices arising among life-cycle counterpoints. The inner struggle is exposed: acclamation x annihilation.
The ‘home box’ is no longer a physical (real) place, with openings that let in light to form shadows (illusion). Real and illusion merge, as in high contrast. There is no clarity about what is inside or outside. It is life and its heartbeat. This is why the home is memories and portraits. The world appears, unmasked. This does not ease emotional stresses, desperation, and pain, or even attempts at survival during certain dark days. This leads to repetition, inaccuracy, fragility, and the corrosion of images. The choice still remains, through plaudits and praise, through dance, and the raw yielding of bodies and feelings.
Images crafted over a brief period of less than two years, in almost a single setting (the stage, the stage of the home) are not limited to scenes of isolation. Instead, they become universal, representing the maturation of a process and different research paths during almost a decade."
Koji Kitagawa has been a member of the SPEW collective with Daisuke Yokota et Naohiro Utagawa, an experience he describes as "being in a car launched at full speed". For 15 years, Koji Kitagawa, on his own, has been producing series that he distributes in the form of simple, plain editions. This book is an anthology compiling his obsessive series one after the other.
Signed copy - choice of green or blue cover while stocks last.
He Called Me a Sparrow is a long-term project where Hannamari Shakya turns her gaze inwards and looks at what she’s been nesting inside. Soon she realised that the traumas that she had were only partly hers – and partly her parents.
How to describe the indescribable and how to visualise the invisible?
The book is a visual study of something that cannot be seen. When something cannot be seen, it usually cannot be recognised. When it cannot be identified, it cannot be validated.
Although He Called Me A Sparrow is an index of agony and struggle, at the same time it is a remembrance of love, affection and forgiveness.
'Black Dots’ is an exploration of mountain bothies and bothy culture throughout the United Kingdom.
Far from civilisation and mostly accessible only by foot, bothies are secluded mountain shelters scattered across the British Isles and tirelessly maintained by volunteers from the Mountain Bothies Association. Unlocked and free to use, they provide a refuge from the vast terrain that surrounds them and have become an iconic feature of the British landscape over the past fifty years. Bothies are synonymous with the outdoor experience in the UK and from day trippers to mountaineers, the growing community of bothy-users is hugely diverse.
‘Black Dots’ is the result of almost three years spent traversing our most remote landscapes in an attempt to better understand what these buildings are, where they’re located and the culture that surrounds them. Drawn not only by the primitive beauty of the bothies and the landscapes they sit within, the work also investigates the human element to the bothy story, capturing the faces of those who trek for hours to temporarily inhabit these spaces, many miles from the nearest settlements.
Special Edition, limited to 50 copies - each with an A4 limited edition inkjet print signed and numbered by Nicholas (see image)
“Perhaps the two main factors that allowed me to definitely cross over to colour, in 1985, were the realization that I could find guidance in the great tradition of Spanish painting, and the decision to have the entire image in focus; the latter forced me to use a shorter focal length (28mm) than I normally used and it made it necessary to widen the field of vision on which I was working. I no longer reacted to a situation that was in front of me, but rather to the visual rhythms of a situation in which I was immersed. So easy, and yet so complicated.
I had been working for 17 years in black and white when I started working exclusively in colour. I was then 39 years old. Suddenly I felt very comfortable, liberated and euphoric. The colours dazzled and overwhelmed me, they reacted with each other, everything vibrated and I felt enveloped by colour and its possibilities. The intensity of this first experience progressively declined but I regained the enthusiasm and dedication that I had almost lost after so many years of frustration.”
“The truth is, I found being a stripper liberating. Who would have thought it?! It allowed me to shed sexual inhibitions; it gave me a huge pool of strong female friends who were intelligent, radical, open and great fun; it empowered me with a decent income that allowed me to be independent, supported me through my university degree and offered a tremendous creative opportunity that has resulted in a lifetime of positive artistic recognition and eventually this very book.”
- Cammie Toloui
The project was photographed in the early 90s when Cammie Toloui was working as a stripper at the Lusty Lady Theater in San Francisco to fund her photojournalism degree at San Francisco State University.
Customers who paid to view her naked body and watch her perform sex acts on herself were offered a discounted price if they consented to being photographed. The resulting series of black and white photographs, baroque-like in their dramatic lighting, are free of any prejudice. Instead, they are compellingly imbued with a deep sense of curiosity and understanding, with each photograph revealing a broad spectrum of sexuality, fetishes, and often-private aspects of masculinity.
“I smuggled my camera into work and got up the courage to ask my first customer if I could take his picture, offering him a free dildo show in exchange. He didn’t seem at all hesitant, and in fact I was shocked when he came back the following week, asking if I would take his picture again. This was an important lesson in the workings of the male ego and served me well for the next two years as a stripper, and the rest of my career as a photographer.” - Cammie Toloui
Today, the series retains a deeply powerful urgency and importance because of how Cammie Toloui took control of and inverted the male gaze, turning it back on itself, at a time where the male gaze was an overarching dominant force within daily life, both culturally and socially.
At first sight, reality appears chaotic and anarchic. If events have any kind of logic to them, it lies well hidden behind an overlay of banality so thick as to make it invisible. And yet, at certain exceptional moments, life slackens and reveals itself. The automaton allows its innards be glimpsed, and its mechanism becomes momentarily evident as the logic of chaos.
In his new work, El porqué de la naranjas [why oranges], Spanish photographer Ricardo Cases does not document the surface symptoms of reality, but instead renders the non-visible, the mechanistic. In his immediate surroundings – the fertile region of Levante in Spain – the photographer reveals ephemeral moments that might otherwise go unnoticed. Out on the streets he sets out to make visible the laws that regulate the universe, hunting down the elementary participles in the same vein as a nuclear physicist attempting to identify the Higgs particle. Cases uses the landscape as a laboratory, a place where these mechanisms can manifest themselves freely. The work is not a portrait of Levante itself, but of the spirit of Levante, and thus of the spirit of Spain as a whole.
Display copy with dent to spine and some marking/shelfwear to cover (see example photo). Inside is very fine/unread.
‘Encampment, Wyoming: Selections from the Lora Webb Nichols Archive 1899-1948’ features Nichols’ own work and the images by amateur photographers she collected in the early 20th century as the proprietor of a photofinishing business in southern Wyoming. Culled from over 24,000 photographs, the book provides a dynamic visual window into the social, domestic, and economic aspects of the American Western frontier and captures an elusive sense of place through the images of this community of friends, families, and strangers.
Photographs is a story of British artist Jack Davison’s experiments with image making from 2007 to present. First published in 2019, Davison’s debut monograph has now sold through two print runs. To celebrate the third printing of this book, Davison and Loose Joints invited thirty-two different artists to have a carte blanche at responding to Jack’s images.
For the Photographs Annotated Artists Edition, an international selection of artists were sent a physical copy of Davison’s original book and given free rein to scribble, annotate, rework, cut out, destroy and generally enjoy Jack’s malleable images. The result is a uniquely collaborative reworked version of Photographs, which within the same format, sequence and layout as the original creates a hybridised, playful and open-ended book, ranging from extravagant and visceral reworkings, where Davison’s original source images are near-obliterated, to schoolboy doodles and crayon scribbles by Davison’s young nieces and nephews.
Shoulder-to-shoulder are artists foremost in their mediums, such as Nathalie du Pasquier, Atelier Bingo, Ruth van Beek, Stefan Marx, Marie Jacotey and John Booth, alongside emerging, new and young voices in illustration, collage and contemporary drawing.
Loose Joints is proud to presentPhotographs, a story of British artist Jack Davison’s experiments with image making from 2007 to present.
A self-taught photographer, Davison makes pictures like a painter paints, using intuition and instinct to craft photographs that excavate the surreal and sensual from the fabric of daily life. Relying heavily onchiaroscuroand the power of photography to obscure as well as reveal, Davison’s unique, crafted approach to image-making oscillates from crisp, sharp details into dissolving mirages – the world inverted and submerged.
With their deep shadows and tight framing, the images inPhotographshave an unmistakably cinematic quality; each layered image leaves a breadcrumb trail of associations that extend far beyond its initial context. Despite Jack’s recent successes, he remains humble and all-encompassing in his photography, and the book indistinguishably shifts from staged, meticulous editorial setups to simple everyday occurrences, infused with mystery and depth.
Two recurring motifs in Davison’s work are the hand and the eye: here a clenched fist, there caressing a face; here glaring out from a billboard and elsewhere shimmering in a reflection. They represent a dynamic tension within Davison’s work, of seeing versus feeling, or the threshold between perception and imagination. The delicate sequence inPhotographshovers between these two states, creating a complex, soulful interpretation of the world through Jack's enigmatic portraits, landscapes and still lifes.
Fable invites us to seek in everything the overthrow of the known, to call on vertigo, excess, unreason, in order to reconnect with nature and limitlessness, in a brutal confrontation with what is. The photographic gesture tends here towards the visceral and the origin. It is a photographic meditation on the duality of the human being, between elevation and cruelty, between contemplation and experience, between humility and hybris. (Elie Monferier)
For Elie Monferier, “[the] photographer does not have the ambition to stop the course of the world. On the contrary, he experiences it, he constantly confronts it. At every moment, he combines his experience and his perception in an impossible tension, from which the photograph results and bears witness. Photography is raw material which, springing from its failure to grasp reality, leads us towards the abstraction of thought and invites us to probe the ambiguity that our human condition brings out of any situation and any act.
Handmade edition of 150 signed and numbered copies.
Film Photographic presents a beautiful collection of photographer Raymond Molinar’s original Polaroid Time Zero film photographs spanning 11 years and published for the first time in Polaroids 2007 – 2018.
Limited to 500 hardcover signed copies. Out of print.
Having learned under, among others, Daido Moriyama in the 1980s, Hiroyoshi Yamazaki spent the 1990s photographing the streets of Tokyo. Caring for his bedridden father at home, Yamazaki used his time outside to capture streetlife in Tokyo in images that each tell little tales and—put together in the book “Crossroads”—form a greater story of life and fashion in the years immediately after Japan’s Bubble had burst. There is, of course, always a historic value to photographs like these, but Yamazaki’s images transcend the status of mere records; there is a lightness to his framings, and a strange, intriguing distance to the scenes not found in other street photographs (of any era).
“It was not from a particular consciousness or awareness that I chose to take snapshots of Tokyo. It’s just a wander down the classic highway of snapshot photography. More than the active pursuit of capturing the shot, today I feel that the true essence of photography is found in what enters into and winds up in the photographs.” (from Hiroyoshi Yamazaki’s afterword)
"It has been thirty-six years since Moriyama first began with his personal photographic magazine and now the first five issues originally published between 1972 and 1973 have been re-issued through this reprint. Authentically reproduced, with the photographers hallmark, grainy images, the five thin, yet captivating volumes come handsomely packaged in this edition. A valuable slice of early Moriyama that provides a unique insight into an important phase of his development."
Consists of facsimile editions of:
・Record No.1：Issued in July, 1972 ・Record No.2：Issued in August, 1972 ・Record No.3：Issued in October, 1972 ・Record No.4：Issued in January, 1973 ・Record No.5：Issued in June, 1973 ・Booklet
Sakiko Nomura is well known for her male nude portraits in a small dark room with very black darkness and dim lights. In the book, we can know her subjects are actually various: men, women, flowers, landscape, sky, animals, interior, dairy life, etc… in various format… in both color and monochrome. The photographs have been taken for long years. There are no sequence, no time and nowhere, but we feel any time and anywhere. Also, we can feel how she has been continuing to stare the world truly.
Edition of 1000 copies, with three different covers. Signed.
Long out of print now rare book.
Some wear and small bump to the cardboard slipcase (see example photo). Book inside is near fine, and pages unaffected.
Michael is a consummate storyteller with a cinematic eye. The images included in this publication are scenes to stories that only you the viewer can complete. One day Michael plans to make movies but for now these stills are yours to plot the beginning, middle and end.
48 Page softcover 21cm x 16cm book. Edition of 300 copies.
'All I look forward to is the weekends, and sometimes they suck just as bad as the week does. God it’s so god damn boring!! When I wake up in the morning I feel like I’m 99 years old!! I’m so tired and lazy and unhappy. I’m only 15 years old, what’s wrong with me, why am I so UNhappy? This world is so fucked! People are so fucked! I’m so fucked or as my brother would say "Your a freak!"'
What She Said takes its title from a song by The Smiths: “What she said was sad / But then, all the rejection she’s had / To pretend to be happy / Could only be idiocy.” The work originates in portraits Deanna Templeton made on the streets of the US, Europe, Australia and Russia, in which she captured women in their adolescence: punks and outcasts whose ripped jeans and tights, tattoos, and hairstyles stand as testament to this transitional moment in their lives as they navigate the intensity of teenage life. Templeton grew up in an ostensibly different environment in 1980s youth, but she recognised in them something of the universality of female adolescence, as they struggled with similar disappointments and challenges she encountered as a young woman. The book combines these modern portraits with gig flyers and Templeton’s own teenage journal entries from the mid to late 80s, in which the familiar experience of growing up is laid bare in all its antagonism, humour and pathos.
The signed edition includes an extra image plate signed by the artist and glued into the inside back cover.
This ongoing body of work consists of staged landscapes made of collaged and montaged colour negatives shot across different locations, merged and transformed through the act of slicing and splicing. The resulting photographs are a conflation, ‘real’ yet virtual and imaginary. This conflation aims to transform a specific place – initially loaded with personal meaning, memories and connotations – into a space of greater universality. In dialogue with the history of photography, ‘Constructed Landscapes’ references early Pictorialist processes of combination printing as well as Modernist experiments with film. While distinctly holding historical references, the work also engages with contemporary discourses on manipulation, the analogue/digital divide and the effects these have on photography’s status. Through this work, Talmor creates a space that defies specificity, refers to the transient, and metaphorically blurs place, memory and time.
“Known and Strange Things Pass is about the deep and complex entanglement of technology with contemporary life. It’s about the immediacy of touch and the commonplace miracle of action at a distance; the porosity of the boundaries that hold things apart, and the fragility of the bonds that lock them together . . . The ostensible subject of Known and Strange Things Pass is the transatlantic communications cables linking the UK and North America. But the cables are only one thread in a web of analogy that explores what it means to be in the world at the present moment.“ - Eugenie Shinkle, 1000 Words Magazine.
The photographs in the book are taken on either side of the Atlantic in places where the Internet is concentrated. Where the fibres come together, and almost everything we do online passes down a few impossibly narrow tubes, stretching along the seabed, connecting one continent to another.
Looking at these vast unknowable entities – the ocean and the Internet – we sense their strangeness. We can understand each conceptually but can only ever see or bump into small bits of them. They challenge our everyday assumptions and show us that the boundaries we put between things are more permeable than we might like to think. That the objects surrounding us daily, appearing so reliable and mundane, are actually parts of much larger, more complex, bodies extended across space and time.
The work is structured through the push and pull of intermeshing sequences. Things, in different spatial and temporal phases, intertwine and coexist. As we look closer, worlds we think of as separate bleed into each other – the near and the distant, the ocean and the internet, the physical and the virtual, what we think of as natural with the cultural and technological.
Display copy with bump to rear corner and some scuffing to cover (see photos)
New publication by Harry Gruyaert with images taken in Ireland between 1983 and 1984.
"The guy from Flanders that I am and the guy from Flanders that Harry is and always will be — despite his universal relevance and deeply singular approach to his subjects, no matter how diverse they may be — unmistakably feel related to these Irish summers. The depicted ’80s are carved into our systems, and the sensibility and honesty of his observations echo in memories of my Flemish childhood. And possibly in his?" - from the introduction by Roger Szmulewicz.
At the top of Carlotta di Lenardo grandparents’ house in Italy there is a room which houses the library. A hidden door amongst the bookshelves opens into a secret attic, a large room dominated by an enormous model railway, which her grandfather built and added to throughout his life.
Significant though it was for her relationship with him, one day during a family lunch he revealed her another of his not very secret passions – his enduring love for photography – and shared with her his archive of more than 8,000 photographs: a body of vernacular work capturing over half a century of life in vivid colour.
Unknown in his lifetime, Alberto di Lenardo’s work offers a precursor to some of Italy’s best-loved photographers, from Luigi Ghirri to Guido Guidi, with work made across Italy, the USA, Brasil, Morocco, Greece and beyond. In Carlotta’s scrupulous sequencing, An Attic Full of Trains shows us a joyous cross-section of life in the 20th Century: one of beaches and bars, mountains, road trips, lovers and friends.
Suda Issei passed away in Mach 2019. In 1979, the year his best-known work “Waga Tokyo 100” was released, Issei began photographing Tokyo’s Kanda area, where he was born in 1940, in 35mm film. The work was serialized in Asahi Camera from 1982 to 1983, together with commentary by photography critic Masao Tanaka, under the title “Tokyo Modern Pictorial.” Now, forty years later, the series is finally revived in the form of this photobook.
“These photos are not from modern times, although the title says so. They were taken in Tokyo during the 1980s. (…) We say ten years can bring a lot of changes. More than ten years flew by and Mr. Tanaka, who was laughing beside me, has already joined the spirit world. Scenes that have and have not changed—”Tokyo Modern Pictorial” of 2018 is right in front of us. While the present is right before my eyes, “My Tokyo” is occasionally brought back to the modern from 36 years ago. In these images, Tokyo seems to be a melange of different times and remains a world apart from the passage of time.” – from Suda Issei’s afterword (written September 2018)
The North American frontier is an enduring symbol of romance, rebellion, escape, and freedom. At the same time, it's a profoundly masculine myth — cowboys, outlaws, Beat poets. Photographer Justine Kurland reclaimed this space in her now-iconic series of images of teenage girls, taken between 1997 and 2002 on the road in the American wilderness. "I staged the girls as a standing army of teenaged runwaawys in resistance to patriarchal ideals," says Kurland. She portrays girls as fearless and free, tender and fierce. They hunt and explore, braid each other's hair, and swim in sun-dappled watering holes—paying no mind to the camerea (or the viewer).Their world is at once lawless and utopian, a frontier Eden in the wild spaces just outside of suburban infrastructure and ideas. Twenty years on, the series still resonates, published here in its entirety and including newly discovered, unpublished images.
Justine Kurland(born in Warsaw, New York, 1969) received a BFA from the School of Visual Arts and an MFA from Yale University. Her work is in the public collections of the Whitney Museum of American Art, Guggenheim Museum, and International Center of Photography, New York, among other institutions. Her monograph, Highway Kind, was published by Aperture in 2016.
Imperfect copy - still sealed but a few very small bumps/nicks to edges and spine - see photos
Deeply affected by Donna Haraway’s writing, New Skin is Mayumi Hosokura’s proposition for a new way of thinking about identity, the body and desire. Its origin is one single, large-scale digital collage which Hosokura created using clippings from old gay magazines, statues, and found selfies, together with her own photographs — specifically choosing to use images of male figures only. Subsequently cut into 12 separate pieces the resulting fragments blur the boundaries between man and woman, human and animal, living and non-living beings; hybrid works that reimagine what it means to be human and which unsettle social conventions of desire. Drawing on feminist theory and current technological innovations, New Skin anticipates the future of the body in a time of advancing digital and bio-technologies.
Paperback with Japanese fold, printed with metallic inks.
“The opening picture is a self-portrait from 1994, it is the first one I ever took. There is a road lined by rows of baby pine trees, newly planted after a big fire. I wanted to confuse the image of myself with that of the trees. I prepared the framing and entered it. We were somewhere around Butte, Montana, USA where I spent a summer working as carpenter’s assistant. I had no consciousness of myself – but a strong desire to have some – and no knowledge of the use of the photographic medium.
For many years I have photographed compulsively almost without looking at the result of my shots. I deeply felt that I wasn’t ready to understand what I was doing. I knew what I was trying to do, but it wasn’t clear on how to shape it, I wasn’t ready to communicate my most intimate work. I was restless (and still am), moving here and there, photographing everything to find my place and my space: this omnivorous longing didn’t and doesn’t allow me to stop.
In 2001 I met Grazia Neri and joined her agency, then in 2003 I was introduced to Christian Caujolle and I entered Agence | Galerie VU’. Altough I felt like an outsider somehow things moved on and I started to make a living with my photography.
I was working on structured projects more consciously and precisely (Nero, Paradiso) but I always kept photographing (mostly in black and white) everything that mattered to me in a constant flux without a specific direction, logic or practical goal.
Despite all this, my every day personal work was still unripe, I tried to put it together and show it in some exhibitions and slideshows without ever getting close to feeling represented by what I was showing. The way I handled my material – that was growing in quantity and complexity – was not precise, not pure enough. I decided to put all that on the side, but kept working on a daily basis out of sheer necessity – without any particular ambition because of my failed expectations.
In the very end of 2011 my best friend suddenly passed away. This event was a catastrophe and changed my life. After one very tough year I returned to life and finally started to look back at what I had been doing for so many years – but with new eyes and real determination. Some kind of filter that I had in front of my eyes was finally gone.
I understood I needed to grow and have distance to see things because being into something means understand nothing. I have also realised that I have been through specific periods in which I have lived crucial experiences that then brought me in different places. An imaginary map of belonging was finally showing its boundaries.
The passage of time shapes a new alphabet, a new language, and stimulates a revelation: memory emerges, my experience melts with something I feel is universal.
I have decided to work on A LIFE BOOK MADE OF VOLUMES.
The brilliant book-designer Eloi Gimeno created the size and graphic shape of the series of volumes starting from the covers which are structured on the concept of time conceived as a line that is not straight but takes the form of a maze.
The graphic design is all conceived in black and white.
I have edited the photographic sequence of the first volume 1994-2001 | A BEGINNING and I’ll do the same on the following ones.
There is no rule in terms of length of time: each period (each volume) will be marked by circumstances.
The idea of this collection of volumes is not that of a diary but a literary autobiography.
Soon I will edit the second volume 2001-2007, then the third one 2007-2012, then on and on.
L’Artiere is the publisher of 1994-2001 | A Beginning and will publish all the following volumes of the collection.”
The reality of a politically turbulent Korea, captured by a native outsider.
In 1988, when Seoul was gearing up to host the Olympic Games, Korean photographer Koo Bohnchang had just returned from a long sojourn in Germany. An outsider in his own country, Bohnchang’s senses were acutely tuned to the messier parts of Korea’s shift; he found himself unsettled by Seoul’s treacherous way of marketing itself.
In his brilliant series “Clandestine Pursuit in the Long Afternoon”, Bohnchang positions fragments—furniture abandoned on the side of a road, statues, silhouettes of strangers, a close-up of a holstered gun—into a rhythmic whole that suggests a perilous, explosive atmosphere lingering just below the surface. Each single shot possesses the power to work on its own—due to a photographic sense that seems ahead of its time—but woven together, the series unfolds its true, almost existentialist strength.
30 years after its creation, the series is finally published in a photobook by Tokyo-based Zen Foto Gallery.
After the loss of her mother the artist experiences the interruption of her own timeline on one end while having to fulfill her own role as a mother to the other end. In that end, motherhood in Dede’s universe is not connected only to warmth or joy but to cold, ice surfaces that need to stand the pressure of an overheated world.
‘Mayflies’ dramatises the creative process of mourning. Through multiple chirographic mutations of the imagery, the experience of loss in intertwined layers is represented throughout the work. Faces and bodies lingering in the shadows between conscious and subconscious in an attempt to let themselves be inert as Marcel Proust advices:
“When you are used to this horrible thing that they will forever be cast into the past, then you will gently feel her revive, returning to take her place, her entire place, beside you. At the present time, this is not yet possible. Let yourself be inert, wait till the incomprehensible power... that has broken you restores you a little, I say a little, for henceforth you will always keep something broken about you. Tell yourself this, too, for it is a kind of pleasure to know that you will never love less, that you will never be consoled, that you will constantly remember more and more.”
“My father wakes me at three o’clock in the morning as agreed. I’m not sure what’s most exciting, to be up watching TV in the middle of the night, or that man is landing on the moon. No matter which, the grainy black-and-white television image of Neil Armstrong in a space suit floating down the ladder has stuck on my retina. While man takes the giant leap, 380 439 kilometres from our living room, I take a small step to expand my very own universe.”
In his third book Simon Johansson focus on children and remember his own childhood. The pictures are taken 2002-19.
Trained as an art historian, Jeff Wall has been working for over 25 years on his expansive light boxes of staged scenes. These backlit photographic transparencies are set in cases generally associated with advertising display; but, instead of advertisements, Wall fills them with moments of everyday life that usually go unacknowledged: workers restoring a historic building, a janitor mopping a floor, a kitchen flooded with sunlight, the side of a house in the prairies. Carefully staged andmeticulously composed, often over and over again until the perfect image has been achieved, Wall's images have explored a wide range of social and political themes, including urban violence, racism, poverty, gender and class conflicts, history, memory, and representation. Like the great French realist painters of the 19th century, Wall is, in the words of Charles Baudelaire, "a painter of modern life."
Slipcased hardback. Slipcase tatty and worn, book has bump to rear end of spine, otherwise looks unread/fine.
Combining fragments of personal history, of memory and imagination, Oobanken builds photographic narratives through constructions and performances. The spaces created are different in character from their wider surroundings, as if confined in an enclave or compound, revealing an attentiveness to what lies beyond the threshold of this self-imposed isolation.
Made while living in Yangon, Myanmar, this series derives from Jerome Ming’s early interest in built structures and interventions. While Oobanken may direct us to inquire about the function of objects and the actions presented, Ming’s photographs also mirror the context in which they are made: that is, during a time of transition, in a place once isolated, a place once suspended in time.
In LIAR / LÜGNER Ruth Erdt portrays lies and liars. The book is composed of analogue photography of Erdt’s close acquaintances, unknown figures and landscapes; it questions what, if any, fundamental truth lies in photography. The publication is presented as an arrangement of single black and white and colour pictures interspersed with two-part spreads, which lead towards the central layout. Here a shot of a handful of organic material in liquid is presented in black and white on one page and in colour on the other, illustrating the reproduction that occurs throughout the book as the same prints are shown in and without colour. In her artistic practice Erdt works digitally and with film, and chose images made using the latter for this project because the light that reaches, touches and permeates film in the camera is the last vestige of truth in photography. Paging through LIAR the reader is given few reference points with which they can decipher where reality might be found in these images, leading them to wonder if authenticity can be expected from the medium of photography per se.
Ruth Erdt (born 1966) lives and works in Zurich and Berlin. She studied graphic design and photography at the ZHdK, Zurich University of the Arts. Her work has been exhibited throughout Europe including at the Fotostiftung Schweiz, Fotomuseum Winterthur, Migros Museum Museum für Gegenwartskunst and Haus Konstruktiv among others. Ruth Erdt has been awarded several Swiss federal art awards. LIAR / LÜGNER is her first publication with Kodoji Press.
In an old joke from the defunct German Democratic Republic, a German worker gets a job in Siberia; aware of how all mail will be read by the censors, he tells his friends: ‘Let’s establish a code: if a letter you get from me is written in ordinary blue ink, it's true; if it's written in red ink, it's false.’ After a month, his friends get the first letter, written in blue ink: ‘Everything is wonderful here: the shops are full, food is abundant, apartments are large and properly heated, cinemas show films from the West, there are many beautiful girls ready for an affair — the only thing you can’t get is red ink.’ – Slavoj Žižek, Welcome to the Desert of the Real, Verso Books, 2013
In August 2017, at the height of tensions and the looming possibility of a nuclear war between the U.S. and North Korea, Max Pinckers traveled to Pyongyang on an assignment for The New Yorker together with his assistant Victoria Gonzalez-Figueras and American journalist Evan Osnos. During the four-day trip, they were strictly monitored and guided by government officials at all times, with every location diligently prepared before their arrival.
Knowing that it would be impossible to reveal the reality behind the regime’s facade, Pinckers applied an aesthetic that refers to state propaganda and advertising, by using bold artificial lighting. This subversive approach reveals that these images are conscious of their own deceptive nature – lies that make us understand the truth – that we are looking at a manufactured version of reality according to the Kim regime. Winner of First Prize at the Leica Oskar Barnack Award 2018
CTY brings together a large selection of Antony Cairns’ oeuvre from his various cities/projects in London, Las Vegas, Tokyo and Osaka, (including LDN3, LDN4, LPT and OSC), interspersed with 6 texts by Simon Baker (Maison Européenne de la Photographie). Each text takes a quote as starting point from authors including JG Ballard, William Gibson, HP Lovecraft and Benjamin Péret to introduce themes of urban life and urbanisation, including Drowned City, Ruined City, Abstract City and Endless City.
Antony Cairns (b.1980) has used the city and urban development as an ostensible subject and engages deeply with the history of the photographic medium, experimenting printing methods and the aesthetics of abstraction.Hehas evolved a unique and distinctive oeuvre that reanimates historical processes and repurposes old technologies in new and unexpected ways, always through a keen focus on urban topographies and unrelenting built-up environments that visually recall the dystopian worlds of science-fiction.
The ingenuity and originality of his work has garnered much critical attention; he was awarded the prestigious Hariban Award in 2015, and has been featured in international festivals and institutional exhibitions, most recently in A Matter of Memory: Photography as Object in the Digital Age at the George Eastman Museum in New York. In 2017 he will be included in the Tate Modern exhibition Shape of Light: 100 Years of Photography and Abstract Art.
Peter Dekens’ earliest memory of the First World War dates back to 1979, aged 12. One of his cousins found an old, unexploded bombshell and tried to dismantle it. The explosive went off and he succumbed to his injuries later that same evening.
Driving along the former front line in Ypres (Belgium) now it’s nearly impossible to imagine that one of the most horrific wars of all time was waged here one hundred years ago.
The traces of the Great War have been almost completely erased from the landscape, over the course of decades, hundreds of bunkers were removed. To this very day, human remains and projectiles are still found every time someone sticks a spade into the soil. Somewhere beneath the sod, tens of thousands of missing soldiers are presumed to lie undiscovered, along with hundreds of thousands of unexploded shells.
An estimated thirty per cent of the 1.5 billion bombshells fired during the First World War never went off. Some of the people who live in the area have developed a sixth sense for this hidden history: where tens of thousands of tourists and travellers pass by unknowing, the locals know that the slightest raise or dip in the road could be an indication that war remnants still lie uneasy beneath the earth.
For centuries, Europe was a divided continent with countless wars and infinite redefinitions of shared borders. It briefly seemed as though the First World War would be the very last, the “war to end all wars”. Ultimately, however, those years planted the first seeds of the Second World War. Long-lasting peace, prosperity and progress did not come to Europe until after 1945. The establishment of the European Community was envisioned as an affirmation of permanent peace in Europe. With the recent situation surrounding Brexit and the surge in nationalist, anti-European movements in various European countries, it seems that the awareness of the importance of unity stands on shaky ground again. The traces of a history of war seem to be fading rapidly from memory.