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From the introduction by Martin Parr: Consider these facts. In Italy the right to worship, without discrimination, is enshrined within the constitution. There are 1.35 million Muslims in Italy and yet, officially, only eight mosques in the whole country. One consequence is that the Muslim population have accumulated a huge number of makeshift and temporary places of worship. These are housed in a variety of buildings including lock ups, garages, shops, warehouses and old factories. This shortage of places to worship is particularly acute in north east Italy – where the photographer Nicolò Degiorgis lives – home to many anti-Islamic campaigns headed by the right wing party Lega Nord. The dull images of the many and diverse buildings that house the makeshift mosques are printed on folded pages. You open up the gatefold to reveal the scenes inside the mosques, shot in full colour. The size of the gatherings varies, from large crowds who sometimes pray outside to a small room full to bursting, or to intimate groups of two or three Muslims. Degiorgis provides a fascinating glimpse of hidden world and leaves the conclusions about this project entirely in our own hands.
15m2 of Freedom
On just a few squatted terrains in The Netherlands there are people who choose to live trucks, vans or trailers. It is fascinating to see how these people ‘obtain’ their freedom because it isn’t always that easy to live this way. There isn’t so much space, the water isn’t always running, a toilet (compost toilet) usually is a little further down the road, you have to chop wood to heat the stove before having a little warmth etc… The daily life has a real different pace then that of us hasty city people. Most of the terrains have evolved into cultural breeding ground where festivals and concerts take place every year. In the Netherlands it’s a subculture that has become more and restricted because of the repressive policy of the government and project developers. It has become expected of everyone to live in a ‘normal’ way – in a house. It takes a lot of courage and persistence to choose an alternative way to live. The left activist scene in the Netherlands isn’t what it used to be. How different is this in Germany, where squatting never has been legal in the first place. Every big city has a couple of terrains where people live in busses or trailers. ‘15m2 of freedom’ is about the search for freedom and the constant paradox that follows with it. Will you get a sense of freedom when you reduce your possessions and throw away all excess baggage? Isn’t it just a ‘state of mind’ that allows a person not to care so much about what one ‘should’ do, or is ‘supposed’ to do. And what if the terrain you are living on is maybe going to be evicted?
Burning Down the House
A photographic study of Berliner graffiti writers
“To be a writer is a big secret. It’s the biggest secret that I keep from my parents. You don’t tell many people, you only tell people who you can trust. There’s a big impulse to maintain secrecy.” – Duko. <br> The photobook burning down the house offers an in depth look at Berlin’s graffiti writer scene for the first time. Against the backdrop of publicly accessible and non-accessible surfaces being continually written upon, a constant presence of the subject in the media in relation to the surveillance of public space, the increasing costs of removal on behalf of transport companies and the accompanying harsher penalties for graffiti offences, the author Norman Behrendt has over a five year period approached the subject of graffiti writing in his own way. Detached from stereotypes and with the conscious decision to forgo the depic-tion of graffiti, Behrendt aims to introduce the anonymous authors of Berlin’s public space and give a human face to the often-discussed subject of the illegal writing on the wall. Instead of accompanying the graffiti writers on their nocturnal adventures and photographing them in action at the scene of their work’s execution, Behrendt decided on quieter alternative – a portrait. The photobook burning down the house includes about 80 portraits of very differently operating graffiti writers. It consists of two different photographic portrait series. For the first series Behrendt met the writers with an analog medium format camera and a precise concept, which included two important questions: 1. In which location should the portrait be created? and, 2. How would the person like to reveal themself? For the second series Behrendt photo-graphed the writers with a Polaroid camera so that they were recognizable, and thus possibly identifiable, in the subway stations of Berlin. He then gave them back the Polaroid photo and asked their permission to use the image, so that it could be published. The resulting portraits testify in an illustrative way to the tense relationship between visibility and anonymity, between possible recognition and the accompanying possible identification by third parties, or, ultimate-ly, even the police. Finally, the book contains 76 interviews with the individual artists. It creates an intimate picture of the protagonists, which manifests itself in their answers to the questions of motivation, their own representation and their selected locations.
Night and Day
Night & Day brings together a selection of iconic Kodachrome pictures from David Armstrong's archive of the late 70's and early 80's New York scene. The images illuminate an intimate and carefree epoch of innocent-bohemian wilderness -a time just before the tumultous 80's. Dispersed through out the series are images of generation of youngsters which changed culture - including Rene Ricard, Philip-Lorca diCorcia, Jean-Michel Basquait, John Waters to mention a few. Vernacular yet with a undeniable ability to capture and create timeless images, David Armstrong's Night & Day tells tales of a bygone era. The book contains 110 images, including a facsimile of an original poem typed out in 1979 by Rene Ricard. We also tracked down Rene to design the cover of the book and have a conversation between David Armstrong and Jack Pierson!
Nick Waplington lived in Jerusalem between 2008 and 2013, visiting over 350 distinct Jewish settlements in the region, from populous cities like Ariel to tiny outposts made up of a few caravans. This book’s title, Settlement, refers to the Jewish communities built in the region of the former state of Palestine known as the West Bank, an area of approximately 2,173 square miles, between the Jordan River and Jerusalem. The area was occupied by Israel in 1968, in the aftermath of the Six-Day War; Israel's right to govern is not recognised by the United Nations, which deems any Israeli building in this area to be a violation of international law. The book investigates the topography of Jewish identity in the West Bank, which is in conflict not only with the Palestinian majority but also with mainstream Israeli society: While all the settlers are Jewish, and almost all are Israeli citizens, many are not natives of Israel. Most of the men and women photographed by Waplington are immigrants who arrived in the West Bank from the United States, South Africa, Australia, the UK, the former Soviet Union, and other parts of the wider Jewish diaspora. The exact number of settlements cannot be determined with accuracy, as both construction and demolition take place regularly throughout the region. In general, however, the presence of Jewish settlers in the West Bank is entrenched, and their building projects continue with the support of the state of Israel.
Five years ago, French photographer Stéphane Lavoué discovered a charming corner of the United States. Located in the state of Vermont, it is known as the Northeast Kingdom. This little area is characterised by the wild ruggedness of the landscape, as well as by its residents, who are the focus of the series. You are invited to take part in a special journey!
Fire in Cairo
Fire in Cairo emerged from Egypt as an oblique and fragmentary document of revolutionary struggle. The book charts Connors’ uneasy engagement with the political turmoil that gripped the nation during its rapidly unfolding history. The complexity of the situation resisted comprehensive explanation, but invited metaphorical speculation. In his images Cairo reveals itself to be an enormous studio for social change, ripe with visual, sculptural and atmospheric residues of resistance. He weaves these together with portraits of Egyptians from across the political spectrum and his own experimental fiction. The result is a book that careens between reportage, poetry and surrealism to heighten the tensions between beauty, threat and historical consequence.
Die zweite Heimat
Die zweite Heimat is the continuation of his project Heimat, first published in 2005. Between 2011 and 2016, Peter Bialobrzeski traveled through Germany and returned with 30,000 photographs of places and non-places. He spent time in Andernach, Berlin, Bottrop, Eisenhüttenstadt, Hamburg, Hagen, Haßloch, Meißen, Frankfurt, Offenbach, Wolfsburg, and especially the wide expanses in between, these foreign yet familiar places, with their rows of garage doors, street lamps, and gas stations, as Henning Sußebach describes in the accompanying book published by Hartmann Books. With this series, more than thirty years after Steven Shore’s famous publication Uncommon Places, Bialobrzeski has attempted to compile a photographic inventory of the German condition. He himself speaks of "exploring the social surface of Germany."
Prefaces and Appendices, together, constitute an artist’s book by Jordan Tate. Prefaces is driven by the potential of the unrealised. At first glance, Tate appears to have one of the strongest exhibition histories of any contemporary artist. It boasts installation shots of the Swiss Institute in New York, Pilar Corrias Gallery in London, Wiels in Brussels and even immaculate depictions of his work hanging in the Guggenheim. This is all artifice. These images are Tate’s latest body of work titled Prefaces. For this series, he has constructed various works and then taken on the role of curator and created exhibitions. While composed solely in digital space, they read as pristine installation documentation, taken in physical space. In these photographs, light veils of shadow fall on perfect white walls and mirage-like reflections spread across high-shine gallery floors. Tate harnesses the power of the white cube as a validation, as a signifier of what is art of value. – Justine Ludwig
Contemporary Contemporary Photography
Most books you don’t want to get dated. This one needs to. Contemporary Contemporary Photography is a follow-up to Contemporary Photography from 2013. In this new publication, Paul Paper looks at the changed landscape of cultural vision-making and offers completely new texts that describe the motifs of art photography in 2017. Humorous and with a certain tongue-in-cheek edge, it is an evocative exploration of the contemporary condition of art photography and its making.
An amusement park is a variety show; it is a way to mask a mess. Marrying a discordant blend of documentary photography, studio improvisations, and impertinent portraits, these images navigate through a sketchy trip of frivolous entertainment, hobbyist tinkering, and the facade of luxury, all while threatening to malfunction in the process. Manic and colorful, the manicured world represented in this work is more akin to a comedown than a high. Geeting’s work sees a lot of circulation online. With Amusement Park we wanted to anchor the work to the printed page. We did not want to render on a reflective surface what is, in fact, meant to be seen on a backlit, digital screen. In the name of Geeting’s light and devil-may-care image making style and as referenced in the title, we bombard the viewer with four different paper stocks, traditional cmyk printing mixed with subjective, multicolor Pantone color profiles developed by Swiss design studio Colorlibrary.ch, all topped with rattlecan typography and wrapped in a plastic cover, ready to bring on your next log ride.
Lorenzo Vitturi’s work is often found at the intersection of sculpture and photography and his latest project, Dalston Anatomy, saw him spend time in London’s Ridley Road Market taking pictures, making sculptures and creating collages with materials and objects he found amongst the debris of the marketplace. Vitturi’s process is largely concerned with the creation, consumption and preservation of images. The makeshift sculptures he created mimic the organic and temporary nature of the market, and their documentation is the way in which they endure after diminishing. The book is bound in exquisite Vlisco fabrics in bright patterns that are reminiscent of African markets and accompanied by a poem by Sam Berkson that layers voices from the market to draw on its disjointed and surreal atmosphere.