"Tony O’Shea is interested in the moment where the ritual and the casual face each other in the complex light that comes from Irish skies. He likes gatherings and public spaces. And he is watching for the second when, even if his subjects are performing, a guard has been let down, and the camera becomes an uneasy, tentative, hesitant window into the soul. He seeks images of individual loneliness and isolation, figures in a state of reverie and contemplation, or figures in a state of excitement." - Colm Tóibín
RRB Photobooks & The Gallery of Photography Ireland are pleased to present The Light of Day by Tony O'Shea. The book is a retrospective of O'Shea's work, spanning 4 decades from 1979 to 2019 and is published to coincide with an exhibition of his work at the Gallery of Photography Ireland.
Rebecca Norris Webb's meditation on fathers and daughters, one's first landscape, caretaking of the land and its inhabitants, and on history that divides us as much as heals us
Rebecca Norris Webb (born 1956) first came across W. Eugene Smith's "Country Doctor," his famous Life magazine photo essay, while studying at the International Center of Photography in New York. She was immediately drawn to the subject of Smith's essay, Dr Ernest Ceriani, a Colorado country doctor who was just a few years older than her father. She wondered: How would a woman tell this story, especially if she happened to be the doctor's daughter?
In light of this, for the past six years Norris Webb has retraced the route of her 99-year-old father's house calls through Rush County, Indiana, the rural county where they both were born. Following his work rhythms, she photographed often at night and in the early morning, when many people arrive into the world--her father delivered some one thousand babies--and when many people leave it.
Accompanying the photographs, lyrical text pieces addressed to her father create a series of handwritten letters told at a slant.
The catalogue published on the occasion of the exhibition "Tokyo: Daido Moriyama, Shomei Tomatsu" scheduled to be held at Maison Européenne de la Photographie in Paris, June 2020. The exhibition has been repeatedly postponed due to the spread of Covid-19 in France.
The catalogue is a set of 3 books including Daido Moriyama’s works, Shomei Tomatsu’s works and a textbook of writings by both authors.
It was in 2017 that I began to have an inkling that a single fish might contain a universe of infinite proportions and how amazing a journey within its body could be. So I started to research everything I would need to embark on such an expedition. By January 2020 I had built a work top, obtained a microscope, a camera, optics, lights and fridge. Mentally, though, I was far from ready. I was lacking the courage, time, energy and mental strength to set out on this unknown voyage.
By February, the world exposed and in the unimaginable grasp of the pandemic. Time moved in entirely new ways as so many were affected, taken ill and had their lives claimed.
This void in time, with all movements restricted, somehow presented a platform from which I could finally launch my inwards fish journey. I was prepared to explore for an unknown period but first of all I had, of course, to catch a fish. Being really unskilled at fishing this took a total of nine trips and thirty hours.
On the 10th April 2020, at around 15.30, equipped with sleeping bags and instant noodles, my children and I arrived at a spot where flat rock, grass and shrubs meet the sea. I had almost got into the idea of never catching a fish by this point, so it was a sudden shock when a jolt was sent through the rod to my hands followed by a silver splash that appeared on the waveless water. My daughter Ada shouted, “Get the net dad!” and she saw the slight panic in my face as I had failed to remember the next thing required to land the fish.
Knowing it would be a time-sensitive journey as decay commenced the following day, I started what was eventually a ten-week voyage. Nothing could have prepared me for what I was going to encounter along the way or how sick I was to become during the making of this work.
The pictures in Lalendorf und Klaber extend over a period of almost 30 years.
The first pictures were made in 1992, when I made my first trip to Germany. This was the beginning of the work that was later published in the book Deutschland and the last pictures were taken in January 2020. The two small towns Lalendorf and Klaber are located about halfway between Rostock and Berlin, in what used to be the GDR.
Edition of 350 copies. Staple bound booklet with cardboard envelope, 48pp, 39 images.
From 1988 to 1991 Dawoud Bey made a series of portraits of African Americans in the streets of various American cities. Using a large format tripod mounted camera and a unique positive/negative Polaroid film that created both an instant print and a reusable negative, he asked a cross section of the populations of these communities to pose for him, creating a space of self presentation and performance in the streets of the urban environment. As part of every encounter, Bey gave each person a small black-and-white Polaroid print for themselves as a way of reciprocating and returning something to the people who had allowed him to make their portrait. Defying racial stereotypes, the resulting portraits reveal the Black subjects in all of their psychologically rich complexity, presenting themselves openly and intimately to the camera, the viewer, and the world.
The signed edition includes a slip signed by the artist and bound into the inside back cover.
Daido Moriyama’s legendary photobook with invaluable commentary.
“A Hunter” was published in 1972, as the tenth part of a photobook series called “Gendai no Me,” and includes some of Daido Moriyama’s most infamous and respected photographs. For the series, Moriyama—inspired by Kerouac’s “On The Road”—drove through Japan by car, took photos wherever his wheels took him, and substantiated his status as one of Japan’s most interesting photographers.
This faithful new edition features the photobook as well as a carefully designed and researched English booklet which includes essays by Tadanori Yokoo and Shoji Yamagashi as well as invaluable commentary by Daido Moriyama regarding the book as a whole as well as each individual photograph.
In Plain Air is a lyrical portrait of Brooklyn’s Prospect Park as seen through Rozovsky’s studies of its visitors, each seeking escape from the din of the city beyond. The seed of the idea for the work was planted ten years ago when Rozovsky took a small motorboat around the park’s southern lake. Floating by the tree-lined shore, she saw what first felt like a mirage — families, lovers, friends, a multitude of cultures and ethnicities, all sharing the same land and moment. The quintessential American melting pot that stretched like a panorama in this equalising space was a visible reality.
Rozovsky’s colour photographs capture the interplay between city and nature, creating a vision of the park as a democratic and nurturing public space, one where the landscape and seasons form a protean backdrop to a complex social reality.
(Note: signed editions as shown in video are sold out)
“Through the chance befriending of a man who became a kind of guide, Nik Roche spent two years photographing an extremely intimate portrait of an otherwise impenetrable community.
Collected together in this book, the images that resulted are scattered with the debris of a domesticity that, initially, seems familiar. Yet the more time we spend in here with them, the more perceptible the sound of this place becomes— in an increasing disorientation of our own presumptions. This book reveals as much about us as it does its subject, as it gradually peels back overlapping skins of fear and desire.
We find warmth in the ache of day-to-day banality, held tight together by unspeakable bonds and a hand-me-down sense of threat. We catch glimpses of hand-written letters, a shopping list, transcriptions of remembered conversations, of violent tales of self-affirmation that slide along a blade of hilarity… the punctuation of the endless now of time by extreme events that then give way to more waiting; that then give way to waves of opiatic calm between unseen confrontations that attempt to correct the distortions of the sounds of home that we have come to rely on.
And yet, throughout this book, we find love, compassion, incidental hope and the joy of familiar patterns. We find the structures of trust in kept animals and in the birds that offer release. And all the while, beyond the fires, we hear the distant sound of the external world, decaying in its failures.”
– From the foreword by Niall Sweeny
The Budgie Died Instantly is Nik Roche’s debut monograph. The book weaves between Roche’s own imagery, hand-written notes and transcribed conversations to create an intimate, complex and multi-layered narrative.
Jindřich Štreit has long been one of the most important figures in Czech photography. He has had more than 1,400 solo exhibitions and his works are in the collections of leading institutions, including the Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., and the Victoria and Albert Museum in London.
Though he has made many visually powerful series with photographs from various parts of the world, his fundamental works remain the unique set of photographs of the Czechoslovak countryside in the 1970s and 1980s, in the years of the re-established Communist régime. No other Czech pho- tographer has developed the rural theme so multifacetedly, broadly, and authentically. Even amongst the most ravaged of environments and their inhabitants, Štreit has often been able to discover some- thing beautiful, even if only the desire for beauty and joy, friendship and love, timeless values. His unlyricized and unsentimental picture of life in villages of the poor area of Bruntál contrasted sharply with images presented in the state-run mass media at the time. In 1982 the school in Sovinec, where Štreit lived with his family, was searched by the secret police. His negatives, camera, and darkroom were seized, and Štreit was arrested in front of his wife and daughter. He was held in Prague’s Ruzyně Prison for four months, and was regularly interrogated. A district court in Prague then sentenced him to 10 months’ imprisonment for ‘Defamation of the Republic and the President,’ for which he was given a suspended sentence of two years. Despite his bans and being under secret police surveillance, he continued to take photographs.
The book contains a large set of his famous pictures from this period, but as well unpublished works that easily stand in comparison with those that have already become photographic icons. The book is published as a German-English-French edition and includes a text about the photographer by the Czech photographer and author Vladimir Birgus.
This is the third publication in which Awoiska probes deeply into the essence of the remote unspoiled natural worlds where her images are created. The book is published alongside the music composition ‘The Living Mountain’ written by Thomas Larcher as composer-in-residence at the Concertgebouw in Amsterdam (2019-2020). The music piece draws inspiration from photographs that Awoiska made for Larcher in the mountains of his native Tirol (Austria). The monochrome landscapes are combined with reproductions of Larcher’s scores and remnants. The title for both the composition and this book is taken from Nan Shepherd’s book of poetic prose on the Cairngorms mountains that she wrote in 1942 and which was first published in 1977.
‘Regardless of how personal the starting point of my work may be, in the end I hope my images touch the strings of a universal knowledge, something lodged in our bodies, our guts, an intuition that reminds us of where we came from ages ago. A memory of our core existence, our bedrock, unyielding certainty in a very precarious world’.
Consistently proclaimed as one of the most important photobooks in the history of the medium, Ravens by Japanese photographer Masahisa Fukase was first published in 1986 and the two subsequent editions were both short print runs that sold out immediately. This bilingual facsimile of the first edition contains a new text by founder of the Masahisa Fukase Archives, Tomo Kosuga. His essay locates Ravens in Fukase’s wider work and life, and is illustrated with numerous recently discovered photographs and drawings.
Fukase’s haunting series of work was made between 1975 and 1986 in the aftermath of a divorce and was apparently triggered by a mournful train journey to his hometown. The coastal landscapes of Hokkaido serve as the backdrop for his profoundly dark and impressionistic photographs of ominous flocks of crows. The work has been interpreted as an ominous allegory for postwar Japan.
Blind embossed clothbound hardback in a silkscreen printed carton slipcase includes the original afterword by Akira Hasegawa  and a new text by Tomo Kosuga [both bilingual].
With his long-term project Sin & Salvation in Baptist Town Matt Eich documented life in Baptist Town, one of Greenwood, Mississippi’s oldest African American neighborhoods, where the legacies of racism continue to impact the people economically and culturally. Sin & Salvation is the culmination of seven years of photographic work and engagement with the residents of the Baptist Town neighborhood. Consisting of both documentary portraiture and landscape, Eich narrates the long, twisted, and complicated history of Baptist Town into a contemporary context. Sin & Salvation is the second volume of Eich’s four-part photo series Invisible Yoke.
When Wendy Ewald arrived in the heart of the Appalachian Mountains in 1975, she began a project that aimed to reveal the lives, intimate dreams and fears of local schoolchildren. Tasked with finding authentic ways of representing the lives of these children, she gave each of them a camera and interviewed them about their childhood in the mountains. Through these intriguing transcripts and photographs, we discover the lives of families as seen through the eyes of their children: where domestic, rural life is understood with startling openness and depth. In Portraits and Dreams, life’s most mysterious realities – love, loss, violence, death, new life – are given voice through an altogether novel discovery: the camera. We learn the eloquence and originality with which children see the world and we see a generous new way of engaging children in the possibilities of the photographic medium.
This revised and expanded edition of Ewald’s now-rare book, first published in 1985, and called “An American masterpiece,” offers access to a different and broadened view of the rural south over the span of 35 years, and includes contemporary pictures and stories by eight of the students from the original publication.
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 - Bump to rear top corner of cover. Still sealed.
Christopher Anderson’s first child, Atlas, was born in 2008. He began photographing that experience in a completely organic and naive way. It was the natural action of a new father trying to stop time and not let one drop of the experience slip through. As a photographer, he had never photographed his own personal life. It never occurred to him that these photographs would be part of his “work”. They were external from what he considered his Photography. He was about two years into making those photographs when it dawned on Anderson that these photographs were, in fact, his life’s work and that everything he had done up to that point was a preparation for making those pictures.
They became the book, SON, published in 2012 which portrayed a moment in time in Williamsburg Brooklyn, post 911 and the 2008 economic crash when artist lofts still made up the community before the luxury condos squashed the landscape.
Pia could be called the spiritual sequel to that book. But this time, it marks a new era and search for hope in the Trump/ COVID19 reality. This time, Anderson’s daughter, Pia, is the protagonist and muse, and the backdrop is his French family’s return to Paris (Anderson became a naturalized French citizen in 2018).
“The images portray a father-daughter relationship as well as a photographer-subject collaboration as the Pia’s takes control of her character. The passage of time comes with a certain melancholy, but also a declaration of hope that guides the photographs.” - Christopher Anderson
"Carrying out this photograph project is because of the inspiration after reading the novel River of the North written by Zhang Chengzhi. Attracted by the powerful words in this novel, I decided to take a walk along the Yellow River to experience and feel the father-like broad and wide brought from this river, so that I could find the root of my soul .while along the way, the river from my mind was inundated by the stream of reality. The river, which once was full of legends, had gone and disappeared. That is kind of my profound pessimism. Nevertheless, as a vast country with a long history, its future is always bright. There is a descent in the matrix; there is her own nutrition to feed her babies; there is the power of creation to cultivate them strongly. The weak moaning finally will be drowned by the shout for joy. From this point of view, it seems, all shall be optimistic."
Into the Fire is Matt Stuart’s second book of photographs following on from his critically acclaimed ‘All that life can Afford’.
Into the Fire documents the daily lives of people who live in Slab City, an off-grid community based on a former military base in the Sonoran desert, just north of the Mexican border.
It is home to travellers, dog lovers, thieves, military veterans, artists and inventors. Its population numbers thousands throughout the winter, in the summer, when temperatures can exceed 120°F (49°C) it dwindles into the low hundreds. True ‘Slabbers’ are the people who have managed to survive two summers. These are the people Matt befriended and photographed.
This is a world where people build earth covered bunkers to live in and bathe in muddy desert springs, tyres are used as decorative wreaths, and a fork in the road is signposted with an oversized plywood fork.
Slab City invites people to come as they are. Most Slabbers struggled in a world of paying rent and small talk, disadvantaged by their lack of social conformity. The Slabs provide refuge.
Accepting others flaws is a step towards accepting yourself.
Shiraishi Chieko’s Shimakage is a photographic journey into Chieko’s memory, exploring her reflections, experiences and fascination with the many small outer islands which surround Japan. Shimakage, literally translated as ‘Island Shadow’, brings together varying images taken from Japan’s surrounding islands and coastal areas such as Sakushima, Shingu and Kihoku Mie. The resulting images are gelatin sliver prints which utilize an old retouching technique known as ‘zokin-gake’ or ‘rag-wiping’ which was previously popular amongst amateur photographers in Japan during the 1920s and 30s. As a result, the images beautifully evoke a faded memory, the landscapes appear and disappear within the image embodying ‘faint signals’ from the photographers own memory, standing as faint silhouettes against the backdrop of an obscured memory.
It Don't Mean A Thing is the second volume in The Gould Collection, a series of books that brings together contemporary photographers with short story and prose writers.
Volume two presents fifty-eight photographs by Saul Leiter with the story It Don’t Mean a Thing by Paul Auster. Black-and-white and color photographs by Leiter from 1947 through the 1970s—with many images never before published—are paired with Auster’s tale of interlinked life events and chance encounters. Reflections on New York City, its urban rhythm, people and places, feature prominently in both artists’ work and provide a unifying focus for the book.
Text in English and Japanese. 2nd edition of 2000 copies.
This reprint edition is exactly the same as the 2017 limited edition, except for an updated perfect binding and a cover that condenses the dust-jacket and obi (found in the original limited edition) into a single printed softcover.
From 2012 to 2019 Mark Steinmetz took photos on the streets of Berlin. This work now comes together in the book Berlin Pictures.
Steinmetz visited Berlin between 2012 and 2019, each time photographing its streets and citizens with the care and compassion that he reserves for all of his subjects. Within his images of Berlin, we find the closeness of couples and strangers that we find in many of his works and yet, Mark adds a new layer to the work by investigating details of the city itselfits architecture and its streets align in Mark’s viewfinder and he renders each frame, inhabited or not, with an eye for the details of the moment. Berlin is a unique city and Mark adds a new layer, one less marginalized by the weight of history, but rather by the acceptance of its condition of present being in his Berlin Pictures.' - Brad Feuerhelm
The signed edition includes an extra image signed by Mark Steinmetz, mounted into the endpaper.
In his preface, filmmaker Peter Ward describes acquiring the archive of Bernard Taylor, an enigmatic former resident of his suburban New York village. Ward selected and edited this group of Taylor’s papers: intimate worksheets that combine a series of photographs, maps, and postcards with illusive short texts that were clearly created for Taylor’s private study. Ward’s editorial interjections – all relating to local history – punctuate the book, and blur distinctions between fiction, biography, and reportage.
An afterword by The Publisher contextualizes Taylor’s worksheets, critically re-examines Ward's editorial practices, and describes the agonizing process of preparing this edition.
The Archive is equal parts photographic narrative, fiction, puzzle and mystery – an obstructed view of an inward journey that explores the outside world. The questions and answers remain with the reader to piece together
The poetic universe of Spanish photographers duo Albarrán Cabrera is presented here through a dreamscape journey in the land of birds. Between reality and illusion, their photographs questions our relationship to the tangible world and vibrate gently through a wide palette and different photographic techniques: platinum and palladium prints, cyanotypes, gelatin prints, and pigmented printing.
Each photograph is like a story that seems to have been paused. The birds seem to be straight out of fantastical fairy tales; they merge into space, are revealed on reflective surfaces, and slip into the undergrowth whereas sometimes their physical presence is underlined by a tight framing. The birds are revealed through abstracting shapes sometimes simple dots and shadows. Albarrán Cabrera leave the interpretation of their images to the memory of the viewer and let our imagination fly.
This publication is part of the Des oiseaux (On birds) collection celebrating, through the vision of different artists, their immense presence in a world where they are now vulnerable. Accompanying these photographs, the ornithologist Guilhem Lesaffre writes a special essay. For this title, Lesaffre focuses on the different environments birds live in and their unbelievable capacity to adapt themselves whether it is in the sky, water or at the highest summits.
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
Daido Moriyama’s 1972 photobook Farewell Photography was one of the most influential photobooks ever released. This faithful re-publication, designed by Satoshi Machiguchi in close cooperation with Moriyama, makes the seminal work available again, all photos in the original size of the 1972 edition.
The book includes a companion magazine with a retrospective essay by Moriyama as well as details and backgrounds for each single photobook (compiled exclusively for this publication). The English edition of the companion magazine opens with an edited English translation of Daido Moriyama’s conversation with Takuma Nakahira, originally included in Japanese in the 1972 release and never before translated.
The call of the ocean has long been a focus of Narelle Autio’s work. Spending her childhood growing up in sun-soaked Australia she has had a lifetime relationship with the beach and is fascinated by the need for many of us to return to water. A primeval need connecting us to our ancient ancestors, pulling us back to where we came. The images dive into our collective memories and speak too many of their own personal experiences.
Cinematic in nature and using the play of light and colour familiar to all her work, she captures the complex relationship and drama of our love for the sea and our willingness to risk our lives to enjoy it.
“The water at the end of the jetty is dark. It is deep. I dive, down into the quiet and cold. I breathe out the remaining life I have left in me and sink further into the darkness. Looking up I watch the bubbles of air flee towards the light. Surrounded by things unknown, unseen, I wait. Wait and wait for the jumpers to disturb the stillness. My heart is beating, get out, get out, get out of here.”
“The water above me explodes in shock. I love that moment of immersion when the sea first grabs hold of us. Cocooned in a shroud of bubbles and light, suffocated by a cold, insisting watery embrace. There is a sublime moment of suspension, of complete isolation in a place between two worlds. We can live here but not for very long. The sea lets us enter but it might not let us leave.” - NARELLE AUTIO
After leaving Portsmouth, New Hampshire, the city where he was born and raised, Paul McDonough went first to Cambridge, Massachussets and then New York City, where his life as a photographer began in earnest.And while he never tired of New York’s kaleidoscopic street scene, he felt the tug of the west, and of the sprawling, dreaming country that lay between the two coasts.
From the 1960’s through the 1990’s McDonough made numerous photographic treks, seeking to capture people, animals, architecture, land-and-cityscapes — in short, the American life, pre-internet, pre-cell phone, that was thrumming all around him.
As Hilton Als of the New Yorker so aptly put it: “McDonough’s project, it seems to me, is a kind of record of his life as a walker… his pictures are a map of experience, of his consciousness. He is a thinker who looks through the eye of his camera to distinguish truth from reality.”
Dolezal and Shipley return to their home region of the Ozarks in the American Midwest, where locals persist in their search for a legendary floating orb of light that can only be seen from the Devil’s Promenade. It’s a lushly wooded road in an area where wanderers flock to seek possible redemption, or just to escape the boredom and darkness of ordinary rural life. Subtle but revealing portraits are mixed with archives and reinterpretations of mythical, folkloric tales. It’s a nuanced, mysterious and tender representation by photographers returning to the place where they grew up, but also reveals the current, stark realities of a remote place in America.
Longtime collaborators, Antone and Lara currently live at nearly opposite ends of the United States (Nevada and Michigan), but their point for making this work meets in the middle, at the physiographic intersection of four heartland states. Together they have documented Ozark people and landscape over a period of almost 10 years, drawn first by a desire to reconnect with their past, then compelled to relate something of the character and rituals of an area where locals can become skittish around strangers. Their photographic interests encompass culture, identity, folklore and mythology of place—but forming a clear picture of this isolated place is complicated.
“Ozarkers always have been somewhat dualistic, believing that two great forces—one good and one evil—battle for control in each person.” – Stanley Burgess
The roots of Ozark folklore were formed by 19th century pioneer settlers from Scotland, Ireland, Britain and Germany. From early on they had a penchant for sharing jokes and colorfully embellished stories within their community, passing down superstitions and lore to younger generations. The locals’ jubilant gatherings also involved square dancing to their self-proclaimed “hillbilly” country songs.
Meanwhile, religion is central to social life in the Ozarks, having strongly shaped the area over more than two centuries. Evangelical and Fundamentalist organizations have long held world headquarters there, and Mennonites and Amish have formed substantial settlements. The locals are generally proud of their rural values and individualistic, traditional approach to life.
With Devil’s Promenade, the photographers take us along their journey into the thick woods where anything might happen; you may either bathe in the light of salvation, or come face-to-face with the Devil on a bridge, in the inky dark.
China has a rich tradition of ghost stories and supernatural beliefs. There are tales of ghosts that can shape-shift, or turn into air, or pure darkness or light. In Ghost Witness, Mårten Lange tells the story of a country rushing towards the future with the past following silently behind, like a spectre in the smog.
In his time in China, Lange visited urban metropolises that have expanded rapidly in recent years, as a result of hyper-accelerated growth and development. Walking through these megacities, Lange explores the bleeding edge between rationalised urban planning and messy everyday lives. Ghost Witness engages with the unique quality of light in the urban environment, where the sun filters through the polluted air and the vast arrays of LEDs twinkle in the rain – revealing the world indirectly, like a mirror.
The images in Ghost Witness inhabit and replicate the machine-like rational logic of the grid to interrogate overlaps and fissures between architecture, technology, surveillance and the future. Lange’s precise photographs often describe those fissures: indecipherable codes, broken windows, decay and entropy within the order of glass and steel. Suspended in a liminal state between constant construction and expansion, Lange questions what it means for humanity to dwell inside environments that are planned, designed and repeated, with little recourse for history, transition and change.
(note signed copies shown in video have now sold out)
Deutschland is the final part of Gerry Johansson's nation trilogy. As in the previous books, America (1998) and Sweden (2005), Johansson investigates a country by studying the nameless and anonymous. Drifting from town to town, he zooms in on the state of the nation. Where most of us see nobody and nothing, Gerry Johansson shows us everybody and everything.
‘I met Charles Albert Lucien Snelling on a Saturday in April, 1992. He lived in a typical two up two down terraced house amongst many other two up two down terraced houses… It was yellow and orange. In that respect it was totally different from every other house on the street. Charlie was a simple, gentle, man. He loved flowers and the names of flowers. He loved colour and surrounded himself with colour. He loved his wife. Without ever trying or intending to, he showed me that the most important things in life cost nothing at all. He was my antidote to modern living.’Julian Germain
In a series of photographs made over eight years, Julian Germain captured the quiet, contemplative existence of an old man living alone in a small house in a city on the south coast of England. Unfettered by the misplaced aspirations of the modern world, Charles Albert Lucian Snelling (Charlie) spent the last years of his life absorbed in his memories of his wife, his children, his love for flowers, music and the quotidian pleasures of the crossword, and his albums of his own photographs. Germain’s photographs of Charlie, his home and the things he owned are a beautiful, gentle portrait of a gentleman in his twilight years.
For every minute you are angry you lose sixty seconds of happiness was first published in 2005, selling out soon after its release; Germain’s affectionate portrait of Charles is now in its third edition
This is the fifth issue of a series of hand-bound books with silk-screened covers on canvas by Daido Moriyama. This book was compiled entirely of photographs of mannequins, one of Daido Moriyama’s favourite subjects.