At the Aarhus School of Architecture, Nørreport 20, Aarhus.
Dokk1 – Aarhus Central Library
Hack Kampmanns Pl. 2, Aarhus
Mon–Fri 8am–10pm, Sat–Sun 10am–4pm
The sharp material contrast between most of the printed matter included in this show and Lisbon… expresses almost instantaneously the singularity of Palla and Martin’s ‘graphic poem. However, this disparity is also visible in photographic terms, since Lisbon… contrasted greatly from the romanticized visual tropes used by the country’s autocratic regime, visible in several of the propaganda publications included in this exhibition. One could argue that Palla and Martins poetic realism was deeply rooted in humanist photography, illustrated by Édouard Boubat and Yan’s (Jean Dieuzaide) 1950s photographic books.
Despite its somewhat lukewarm reception at the time of publication, Lisbon… seems to have left an instantaneous, even if marginal, mark on the Portuguese photographic community, visible in this show through two volumes published in the early 1960s. In reality, Palla and Martins’ maverick enterprise faded into obscurity until its rediscovery in the early 1980s. Given a new lease of life through a commemorative exhibition organized by gallery Ether in Lisbon, the remainder fascicles of the initial serialized publication were rebound and put on sale. This event marked the beginning of Lisbon, city of sadness and joy’s international recognition, which was later intensified by its inclusion in Martin Parr and Gerry Badger’s pivotal study The Photobook: A History, Vol. I (2004) and its recent reprint by Lisbon based publishers Pierre von Kleist.
Marked by a somewhat troubled history, Palla and Martins collaborative photobook was perhaps ahead of its time. Intriguingly, almost sixty years after its publication, Lisbon, city of sadness and joy still maintains its originality and iconoclastic character.
Lisbon… seems to be timeless.
Lisbon… a certain way of subverting.
Lisboa Antiga / Old LisbonM. Barreto, E. de Souza, J. Martins et al. (Photography) / Mascarenhas Barreto and C. Branco (Artistic Direction and Text). Lisboa: Guimarães Editores / 1962
Ode Maritime / Naval OdeEdouard Boubat (Photography) / Bernard George (Text). Tokyo: Heibonsha, 1957
Aarhus School of Architecture
Nørreport 20, Aarhus
Ants, Youngdon Jung
The rhythm made by all different human beings in the same space. This is the scenery which we can see from the top of a high-rise apartment. Every person seen form their own movement, within their own clothes and steps. Jung caught particular patterns from it. There are images of gathering and scattering of diverse crowds, alongside detailed images of concentration and dispersion of people from their own bodies. These images show people’s lives and the direction of their bodies. However, like soil which scatters away when it becomes dry, the movements of people are also hard to use to define a clear outline.
The image which disappears from our sight as soon as we take it, is crumpled like a clod of dirt in our hands. If the particles of the frame, or the photo disappear, a lot of these images would be scattered in all directions. Then where can the particle go and what rhythm of image can it make?
AMC2 Journal Issue 8, Thomas Sauvin
Issue 8 of AMC2 features a selection of full-length portraits, some black & white and others hand-coloured, made in Chinese studios between the 1930s and the 1980s. This serendipitous reunion of 60 anonymous portraits reveals – through the dress codes and behavioural mores they present – fragments of the history of Chinese society and ideology.
As Long as it Photographs/It Must be a Camera, Taiyo Onorato & Nico Krebs
As Long As It Photographs It Must Be A Camera is the title of a series focusing on the construction of cameras and photo-esoteric experiments with camera bodies of all different types. For this project, the artist duo Taiyo Onorato & Nico Krebs made a selection of books of collected essays published by Aperture.
In their own words: “We wanted to build a camera that is constructed from words about photography, not photographic equipment. The idea is to be able to photograph through a collected body of knowledge. In Tibet, newborns sleep on a bed created by laying blankets over holy books, so that they can soak up spiritual knowledge while they sleep. Similarly, perhaps, this camera osmotically transmits the wisdom of decades’ worth of thinking about photography.”
Athens Love, Ren Hang
Hang’s work in Athens Love includes casual snapshots taken of friends in various locations in Athens and Attica, Greece, such as the beach, woods, cliffs, streets, and apartments. Expressing his awe of the dynamics in nature, Hang responds to it in high spirits, his sense of humor reflecting in the composition and colors of his work. Away from his more politically strict and constraining home in China, Hang enjoys the more relaxed and playful energy in his photographs, and renders his abundant creativity in new avenues of expression. As a result, both the diaristic pictures and the stylized nudes in Athens Love are imbued with an undeniable sense of discovery and joy, and thrillingly document one of contemporary photography’s most exciting young artists taking bold advantage of the new and unfamiliar.
Bad Luck, Hot Rocks: Conscience Letters and Photographs from the Petrified Forest, Ryan Thompson & Phil Orr
The Ice Plant
The Petrified Forest National Park in Northeast Arizona protects one of the largest deposits of petrified wood in the world. Despite stern warnings, visitors remove several tons of petrified wood from the park each year, often returning these rocks by mail (sometimes years later), accompanied by a “conscience letter.” These letters often include stories of misfortune attributed directly to their theft: car troubles, cats with cancer, deaths of family members, etc. Some writers hope that by returning these stolen rocks, good fortune will return to their lives, while others simply apologise or ask forgiveness. “They are beautiful,” reads one letter, “but I can’t enjoy them. They weigh like a ton of bricks on my conscience. Sorry…” Bad Luck, Hot Rocks documents this ongoing phenomenon, combining a series of original photographs of these otherworldly “bad luck rocks” with dozens of facsimiles of intimate, oddly entertaining letters from the Park’s archives.
Crude Metaphors, Roger Ballen, Todd Hido, Edgar Martins, Mayumi Hosokura and Esther Teichmann
To celebrate the 10th anniversary of Crude Metaphors, a prominent and celebrated section of Hotshoe magazine since 2005, Hotshoe published a very special limited edition collectors box of five books featuring a selection of the most renowned photographers of today, including Roger Ballen, Todd Hido, Edgar Martins, Mayumi Hosokura and Esther Teichmann.
Crude Metaphors brings together photography and fiction writing, pairing a photographer and a writer to produce a narrative, written in response to a chosen series of images.
The beautifully designed collection of books combines the greats of photography with established and up and coming writers such as the National Poet for Scotland Liz Lochhead, and Joe Ahearne, director of Doctor Who and co-writer of Danny Boyle’s Trance. With stories ranging from a female bounty hunter to a world of artificial intelligence and a father’s suicide, readers will be taken on five compelling journeys through the words and images of ten different creators.
Del Norte, Ellie Berry
Del Norte is a collection of photographs made on a 1,100km walk from the French town of Bidart to Finisterre (once thought to be ‘the end of the world’) on the eastern Spanish coastline. Primarily walking along the Camino Del Norte, Berry aims to convey the feelings and ideas of emptiness, curiosity, repetitiveness, and reflection.
Discharge, Petra Collins
The highly-anticipated monograph by New York-based artist and photographer Petra Collins presents images of self-discovery and femininity that explore the emotional, complex intersection of life online and off. Responding to the ubiquity of social media, Collins offers images of unflinching honesty, exploring the privacies and publicities of growing up as a woman in an era where female bodies are constantly hyper-mediated by Photoshop and social media.
El Diari Indultat, NOPHOTO/efedePhoto/fotoDios
Diari Indultat is a missing art project. A photobook in newspaper format that was created, edited and burned during the Fallas in Valencia 2016 in a unique and unprecedented event.
More than 50 national reference photographers of different generations, including several National Awards for Photography, and creators from other artistic disciplines participated.
They created for three days the content of The Journal Indultat just before being burned in a failure on March 19, the day of the Cremà .
The publication had a unique and numbered 5,000 copies. The only way to pardon a copy was buying it before March 19 at 12 pm. It is no longer possible. The rest disappeared forever in the fire, leaving the Diari Indultat discontinued. Diari Indultat will never be republished.
End., Eamonn Doyle, Niall Sweeney, and David Donohoe
Created as both installation and publication, End. is a collaborative work by Eamonn Doyle, Niall Sweeney and David Donohoe. Built around the photographs of Doyle, it also features drawing and sound by Sweeney and Donohoe.
End. gives equal significance to the city and its population, their combined forces continuously shaping each other. Individual journeys of everyday life are compacted repetitively into the same streets. Dubliners wear away at the autonomy of their city, while the streets themselves become a kind of sculptural civic mental State. Dublin, its light and its people, carry out dance-like actions, swapping roles in a series of short plays. End. unfolds as a sequence of events — loops of time and place — revealing a city whose concrete is as plastic as the movement of its inhabitants.
Flaneur: New Urban Narratives International Conference
Flâneur – New Urban Narratives is an International art project which encourages photographers and writers to explore the urban territory with a new approach to enable a fresh look on the dynamics of European cities and their geographic and social landscapes.
IRL (Landskrona Foto: View Ireland)
The photography from other countries that is shown at the major Swedish institutions often comes from the USA or countries in Western Europe. Landskrona Foto intends to devote a summer exhibition each year to the presentation of interesting photography from countries that are rarely seen in Scandinavia. Ireland is Landskrona Foto’s choice for 2016.
Ireland – the island on the north west edge of Europe – has had a history that is dramatic and in many ways unique. For this presentation Landskrona Foto have chosen to highlight some themes. Such as the concern of how Irish photographers have tackled and interpreted the serious political conflicts that have affected people’s lives in the last hundred years, or how people relate to the idyllic tourist image of “the Emerald Isle”.
J.W., Clare Steele
J.W. is a documentation of the life of John. These works are a collaboration between the subject and photographer, focusing on how ageing affects routine, interests, what’s prioritised, and how one offers oneself to be captured in an image. Turning the camera towards such themes as nostalgia, ritual and ageing, the subject, John, reflects upon his own image archive, objects he’s collected, and the stories attached to such things. Accessing the day-to-day life of a retiree in his home, in the places he chooses to visit and effects he surrounds himself by, J.W. traces a life that would otherwise go unseen.
Junior Magazine is a new photographic journal that provides a platform for emerging talent in Irish documentary photography. It seeks to foster a new photographic community and shine a spotlight on outstanding work that is too often overlooked. In showcasing the work of Dublin photographers, the magazine also serves as a de-facto love-letter to the city they call home. This issue features the work of six photographers each of whom provide a totally unique perspective on the world around them.
The theme of the first issue is ‘youth’. The result is a thought-provoking document that explores questions of home, identity and growing up.
LBM Dispatch #7 Georgia, Alec Soth and Brad Zellar
Little Brown Mushroom
Over two sweltering, bug-swarming weeks in July, the LBM Dispatch crew covered 2,400 miles in Georgia, exploring the State’s diverse landscapes, histories, and narratives that were alternately harrowing and inspiring. From the Civil War to the last beleaguered Gullah Geechee community on Sapelo Island, the result is a sort of see-sawing time-lapse portrait of a region that continues to straddle the past and the present, and that seems to exist in a state of conflicted nostalgia and perpetual reconstruction.
The LBM Dispatch is an irregularly published newspaper of the North American ramblings of photographer Alec Soth and writer Brad Zellar.
Missing Buildings, Thom Atkinson and Beth Atkinson
Missing Buildings seeks to answer war artist John Piper’s vision to preserve the ruins of the Second World War in London. This extensive body of work, made over the last five years, studies both the physical and the imaginative landscape of the London Blitz. Over a million of London’s buildings were destroyed or damaged by bombing between 1940 and 1945. From the mysterious gap in a suburban terrace to the incongruous post-war inner city estate, London is a vast archaeological site, bearing the visible scars of its violent wartime past. 70 years after VE Day, Thom and Beth’s photographs search for evidence of the Blitz, both real and mythological, in order that we might memorialise what remains and contemplate its effects upon the British psyche.
My Air Force, Vojtech Veskrna
Vojtech Veskrna has been fascinated with flying since his childhood. While spending most of it in claustrophobic and unpleasant rooms of block housing, he kept dreaming about space and flying. In his project My Air Force, he includes archival pictures from his childhood and contemporary pictures from the airbase where his grandfather used to work. However, he couldn’t perfectly show life on the base, so he decided to show his passion and started to capture the things he imagined when he was younger.
My Air Force concentrates on products, people and architecture, painting a broad portrait of his fascination with air space. According to Veskrna, “My Air Force is a constellation of things and people who keep me flying even if I’m on the ground”.
I ZII, Linda Brownlee
Knowing her friend’s appetite for rough-hewn landscape and the minutia of family networks, Aisling Farinella invited photographer Linda Brownlee to visit her relatives in the Italian village of Gangi. This was to be the first of numerous trips and 3 years later the resulting photo book is about to be released.
The family are presented to us in relaxed portraits and candid shots that criss-cross households and generations. Daily and seasonal rituals are shared as birthday candles are blown out, graves are tended and local asparagus is charred. We accompany Brownlee as she journeys through the surrounding landscape via ruptured roads, foggy elevations and paths carpeted with over-ripe fruit. She has the advantage of observing from the periphery of course, but it is undoubtedly her tender curiosity that brings us around the mountain, down the winding village streets and through the front door.
New Irish Works: Project Cleansweep, Dara McGrath
Project Cleansweep takes its name from a Ministry of Defence (MOD) report issued in 2011 identifying sites in the UK where tens of thousands of tonnes of mustard gas, phosgene and other lethal chemicals were, since WW1, made, processed, stored, burned and dumped in England, Wales and Scotland.
The MoD released details of Operation Cleansweep in 2011 to provide “reassurance” that residual contamination at UK sites did not pose a risk to human health or the environment. In all, 14 sites were identified in this report, and McGrath began his research by interrogating these sites. His research subsequently uncovered a further 56 sites in the UK and beyond where chemical and biological weapons were once manufactured, stored, and tested. These sites are now almost all returned to civilian use, and are now within the landscape as local bathing spots, public parks, pathways, deer sanctuaries, industrial estates and petro-chemical factories.
The photographs look beyond the romanticized and nostalgic representations of military activity, and point to why art practice is a valid and productive tool for studying post-military activities and the evolving spaces of the post-military sublime landscape.
New Irish Works: Promise, Mandy O’Neill
Promise is the story of a school, of lessons on bar stools, pupils and politicians, a rat named Elvis, classes on the green, stifling heat in summer and damp in winter, singing, dancing, protests, rituals and a labyrinth of bureaucracy.
Gaelscoil Bharra Primary School was established in 1994 and is housed in a series of prefabricated units. As far back as 2000 an inspector from the Department of Education recommended that planning permission for a permanent school should be initiated due to the “deplorable state of the temporary accommodation”. In 2012 the Irish government announced that it was allocating 35 million that year to replace prefabs with permanent classrooms at over 200 schools. Gaelscoil Bharra was included in this development plan.
When O’Neill started this work it was with the premise of documenting the last year of the prefabs, as building was due to begin in 2013. In March 2016 the first builders finally arrived. This work is the result of the four years she has spent documenting the everyday and not so everyday happenings at the school.
New Irish Works: Union, Noel Bowler
Union is a series of photographs made in the trade union offices of fourteen different countries around the world. Taken over a four year period defined by increased worker insecurity and changing work practices, this body of work is a response to the current recession and its impact upon the working landscape. The constant threat of redundancy, a move towards working from home, the role of gender inequality and the role of decision makers within the Union movement are all central themes that are explored in this body of work.
New Irish Works: Young Dubliners, Daragh Soden
Young Dubliners is a celebration of the unique character of Dublin’s youth. During a time of economic struggle in Ireland, a housing shortage in Dublin and austerity measures squeezing public services and domestic budgets, the young people of Ireland’s capital are championed in empowering portraits as they make the transition to adulthood.
These young Dubliners are at a time in their lives when they will make decisions that will affect their futures and may determine the course of their lives. Yet, they are subject to forces beyond their direct control. Their futures, their fates, are not entirely in their own hands. They have already inherited circumstances of differing fortune and will inherit the positive and negative effects of actions taken by the powers that be. The subjects of the work are united in their youth but are divided in Dublin.
Photopaper 01, 02 and 03, Dieter Neubert
Kasseler Fotografie Festival
Photopaper presents outstanding photographic work nominated by experts in the field. These experts are invited as guest editors to name photographers or photographic projects which they would like to present to an international public. Photopaper features this work in single monographic ad-free issues together with the guest editor’s statement. Published on a quarterly basis.
Photopaper 01-03 features the work of Graeme Williams – nominated by David Goldblatt, Paul Trevor – nominated by Martin Parr, and Jean Christian Bourcart – nominated by Nan Goldin.
Photopaper 04, 05 and 06, Dieter Neubert
Kasseler Fotografie Festival
Photopaper presents outstanding photographic work nominated by experts in the field. These experts are invited as guest editors to name photographers or photographic projects which they would like to present to an international public. Photopaper features this work in single monographic ad-free issues together with the guest editor’s statement. Published on a quarterly basis.
Photopaper 04-06 features the work of Elspeth Diederix – nominated by Viviane Sassen, Zhang Xiao – nominated by Jason Fulford, and Sakiko Nomura – nominated by Nobuyoshi Araki.
Pictures from Moving Cars, Joel Meyerowitz, Daido Moriyama and John Divola
Pictures From Moving Cars unites for the first time three of the most influential photographers from Japan and the United States: Joel Meyerowitz, Daido Moriyama and John Divola.
Originally conceived as an exhibition by Simon Baker for Tokyo Photo 2013, the concept for both the show and this book is straightforward; to bring together coherent series of photographs, selected in collaboration with the artists, each of which was made using the combination of a car’s movement and the camera’s ability to freeze a moment in time, producing a picture from the fast flow of passing scenes.
Ping Pong, Geoff Dyer, Pico Iyer & Alec Soth
Little Brown Mushroom
For several years, Alec Soth has combined his passion for both table tennis and photography by collecting vernacular ping-pong photographs. With this publication, Soth asked Geoff Dyer and Pico Iyer, writers and fellow table tennis enthusiasts, to respond to these pictures by engaging in a kind of literary ping-pong match.
Pokario Istorijos/Post-War Stories, Claudia Heinermann, Michal Iwanowski & Indrė Šerpytytė
Lithuanian Photographers’ Association Kaunas Department
The new publication features work by Claudia Heinermann, Michal Iwanowski and Indre Serpytyte. The three photographers – German, Polish and Lithuanian – explore the legacy of the Second World War through three very personal projects.
In 2014, Kaunas Photography Gallery presented the artists in Post-War Stories. The exhibition was a visual narrative in a contemporary language of art that distinctively reflects stories that took place in Lithuania after the war and in a new way actualise the past.
Reproductions, WassinkLundgren (Thijs Groot Wassink & Ruben Lundgren)
Suzhou Jinji Lake Art Museum
Reproductions is an exhibition catalogue to WassinkLundgren’s 2013 solo exhibition at the Suzhou Jinji Lake Art Museum. In this book you’ll find ten of their other books reproduced, all printed on pink paper and with an introduction by Feng Boyi.
WassinkLundgren is a collaboration between Dutch photographers Thijs Groot Wassink and Ruben Lundgren, who live and work, respectively, in London and Beijing. Their photography and film projects shift mundane, often unnoticeable, everyday occurrences into visually compelling and gently amusing observations of the world around us.
Tulips, Andrew Miksys
Andrew Miksys began traveling to Belarus about six years ago to photograph Victory Day, a holiday celebrating the Soviet victory over fascism and Nazi Germany. During the celebrations, tractors, military equipment, and factory workers parade through the streets. Red tulips, a symbol of spring and rejuvenation in the USSR, fill the streets and are given to war veterans as a way of thanking them for their service.
It can be disorienting. You might even feel like you are traveling back in time. The scars and, more importantly, the heroics of war have become the central focus of a government in search of a unifying national identity. Miksys soon discovered that other Soviet-style holidays, like October Revolution Day and Day of the Fatherland’s Defenders, are also observed in Belarus. He returned year after year to photograph them. The holidays, though, were more of a backdrop to his project, a way of following the path of national culture while looking for something more personal. Miksys often wandered off the official trail in an effort to seek more intimacy and understanding of a world that should be part of the past but is stubbornly resilient in the present.
You Would Be Earth, Meral Güler and Dan Porter
Breadfield Press and Landskrona Foto
Meral Güler and Dan Porter are explorers prompted to make evident proof of their existence with over 4,000 miles between them, with a sensitivity to the stories that linger between the twilight and the shadow, the real and imagined, between what is know and what is sensed, they ventured out to see the world afresh and to discover what would be earth.
First winner of 2015 Landskrona Foto & Breadfield Dummy Award.
Veins, Anders Petersen and Jacob Aue Sobol
Dewi Lewis Publishing
Both Anders Petersen and Jacob Aue Sobol have an interest and attraction to people living on the edge of society. Both approach the subject, the people, the characters, by immersing themselves in their environment, in their lives, sometimes in their homes and their intimacy.
Veins is a collaboration between Petersen and Aue Sobol resulting from a joint exhibition of their work first shown at the Art Academy of Latvia in Riga in August/September 2013.
Chen Haishu, Zona Rossa, 2015
Taking Volcano Vesuvius as sample, Haishu Chens photo book Zona Rossa discusses the question: how is the concept “danger” defined, sensed, represented and manipulated by our human society? Using different visual materials, Zona Rossa reveals the multiple characters of Vesuvius: it’s not only a natural object, but also a figure interpreted by politics, religion, history, culture and science. The photographs of Zona Rossa resulted from Chens several trips to Vesuvius between 2012 and 2015. The background of the book is an attachment of the emergency plan of the Vesuvian area issued by the Italian Civil Protection Department in 2001, which lists out the different alarm levels of eruption of Vesuvius, the populations of the red zone, yellow zone and blue zone, the traffic situation and escape route as well as the evacuation plan after an eruption. The movie stills are from different media materials about Vesuvius such as documentaries, commercial movies and TV-Series. The text pages quote two letters written by the ancient Rome politician Pliny the younger, which described the whole eruption in 79AD and is considered to be the first document about volcano eruption in the history. The last part of the book quotes the interviews with the inhabitants of Zona Rossa by Chen. Yin Jiang undertakes the graphic design.
In Koan, Xiaoyi selected abstract landscape photographs for creating photo-etchings. The resulting pieces are poetic and full of imagination. The works use only black ink and are printed on multiple Japanese papers. The colour is derived from an atmosphere of desolation and melancholy and is influenced by the expression of minimalism in ancient Chinese poetry and ink painting.
Chen Zhe, Bees & The Bearable, 2016
Best Photobooks Kassel 2016 – Winner
Unseen Dummy Award 2014 – Shortlist
Dummy Award Kassel 2014 – Shortlist
The book is Chen Zhe’s closing statement to her long contemplation on the disquieted souls, the wounded bodies and the elusive link between the two. Presented as a layered notebook which weaves in and out of images and texts, the book restores Chen’s practice as an ongoing process of exploration, discovery and research. What happens when actions that can jeopardize one’s existence, such as hurting one’s own body, in return serve the purpose of understanding existence itself? Should we see it as a fluky escape or as a relief from the weight of modern life? While the individual response may differ, the book illustrates that there still is psychological connectedness that undoubtedly link each of us together. Everything else follows from there.
Cheng Xinhao，The Naming of a River，2016
In the beginning of 2014, the photographer went back to his hometown Kunming and found a “Pictures of Six Rivers in Yunnan’s Provincial Capital” drawn by Huang Shijie, an official of the Qing Dynasty. Inspired by the book he started to take sample photos of Panlong River and tried to identify it again with old memories. At the same time he was researching the relationship between time and space beyond the river.
The book was made as a long gatefold with two sides. On the front side, scattered perspectives of riverside sceneries, show every section of the river as it originally was, while on the back side there are pictures related to the river in different times: humans met in a time in a place, rocks showing huge changes over millions of years, or eucalyptus leaves renewing every year. The two-sided design shows the artist’s practice of seeking relations between external scenery and the inner logic behind it. At the end of the book, a picture of sedimentary rocks expresses in images the issue the artist was discussing: time must be characterized in a space, and space must be shaped in a time. Their intertwining relationship will not be changed forever.
Fang Meiwen, Blue iris, 2015
When Meiwen first got in touch with photography, she considered it as a convenient and direct way to record life. It was this original interest that helped her explore different angles of objects and preserve their shape and my emotion with the camera. Blue iris is a self-published book by Fang Meiwen.
Huang Dongli，Beyond the Surface，2014
This project presents a kind of non-linear, narrative documentary based on how Huang Dongli observes memory, reality stack, truth and fiction. It explores the question of what can be found beyond the surface, and the connection between what she has seen and what is in her mind. The series, “Beyond The Surface” is a handmade book; it presents the subtle strangeness hidden behind everyday reality and utilizes the freedom of editing like a memory, to repeat or jump through time.
FreeFalling is a personal photography project; through it, Huang Shisi records how photography, the most important part of her life, has been a process that healed her psychologically over the past several years.
Making huge amounts of pictures and abandoning them – this is a typical life of modern human beings. Shh! comes with a fully hand-cut/folding/binding photo book, the handmade process maintains the book as a random, blunt look within my consideration.
Photography is a method of recapturing the representations of lives. Shooting a photo is an act to capture non-existence, yet the image has a lasting existence. If someone affectionately took a photo of a blank and empty scenery, would this photo still be worthy of meaning or existence? In the seemingly meaningless pursuit of nothingness, Jimu created these photos that possess existence.
Ka Xiaoxi，Never Say Goodbye to Planet Booze，2015
In the past few years, Ka Xiaoxi has been taking a lot of portraits of the young Chinese generation, who are designers, musicians and artists, while some are just cool fashion kids. They party at bars, night clubs, music festivals and in private spaces. Some of them are Ka’s friends and others are just strangers, creating the moments in his film. His creations are connected to his growth environment. In the past 15 years, the subculture situation in China has continued to exist as a kind of observation. But after he started taking photos for eight years, the subculture has become main stream. The people in his photos actually show the changes of the times – music festivals, E-dance music and fashion scenes, doing whatever they want to have fun and speak to the world.
Lanyue Li，Unacquainted Land，2015
Unacquainted Land investigates the composition of industrial and post-industrial terrain in South Wales. The work captures the ambiance of the setting by organizing the formal elements of the surroundings, finding nuances in texture, shape and line and restructuring the image into a romantic world with oriental elements. Using the camera as a guide, the audience are invited into a visual, perhaps unfamiliar and bleak industrial world, which is anti-utopian. In this work, the terrain in South Wales is more like the state of a nation undergoing fundamental industrial change on which the photographer hypothesizes.
Lin Shu ，Qu Jing，2015
Qu Jing means shrew. This book tells about growth. After moving to Beijing for five years, Lin Shu wanted to put his pictures taken during his life and travels into a book. He tries to express through these personal images everyone’s experience of loss and gain, letting go and possession, sorrow and joy, during their growth. Brought up in Southeast China, Lin Shu was obsessed with animals in his childhood. Once, occasionally, he found a shrew (“Qu Jing” in Chinese) in a garden, and tried to catch it, but failed. His girlfriend, who appears a lot in this book, is also a “shrew” he tries to catch all the time.
Ni Liang ，Memory of the Lake，2015
After having graduated from ICP, Photographer Ni Liang started to photograph his hometown, especially the Lake “ Tai ”. He shot with a large-format camera and iphone 4 simultaneously. Eventually, the phone works became the work Memory of the Lake. This series was selected by Berlin Photo Festival 2013, and was also exhibited at several international photo fairs.
Ou Chiacheng，Expiration & Stockholm Syndrome 2016
“The past is our definition. We may strive, with good reason, to escape it, or to escape what is bad in it, but we will escape it only by adding something better to it.” – but I just want to let “the relationship” be what it should to be. The combination of two projects “Expiration” and “Stockholm Syndrome”, citing the words of Yukio Mishima as the main line of book. Inkjet fine art print, laserjet print, handmade binding.
Ren Hang, Food Issue, 2015
“Those who are reading this article might have heard of Ren Hang. After his intensive exhibitions and media exposure around the world, his works can be seen online or in magazines. All of those public photographs were selected among tens of thousands of pictures, which he considers to be perfect. During our daily contact with Ren Hang, we have seen Ren Hang’s many unpublished photos. Some of these exposed his feet by accident, or he used his feet to feed and tread on male models. This kind of insignificant act got our attention, and then it occurred to us to edit a compilation of photos about feet.” －Same Studio
Wang Jing，The Coil，2014
The Coil is comprised of 71 black and white photos taken in 2009-2010 and in 2011-2014; the author, Wang Jing, printed all the photos in his own darkroom. The series is heavily influenced by post WWII German expressionist painting and French existentialist literature.
The photobook is a semi-biographical work; the author sought to insulate himself from modern Chinese society during his youth because of his distaste for a place characterised by overbearing and omnipresent social control, rife with social conflicts and promoting the degradation of humanity. Modern China’s societal crisis combined with the author’s inner conflicts have led him to develop an uncontrollable angst; this angst is the primary motivation behind the creation of the images that make up The Coil.
Yang Yuanyuan, 10 Days in Kraków，2014
2015 Shortlisted, Author Book Award, Rencontres d’Arles
2015 Shortlisted, Best Photobooks, Fotobookfestival, Kassel
10 Days in Kraków is presented in a format between a travelogue and a scrapbook. Although the book does not have a content page, within the seemingly fragmented structure, three chapters unfold themselves – War, City, and Connection (from there to here / from I to you). The book consists of snapshots, diaries and found images that Yang Yuanyuan created or collected during her 10-day stay in the city as well as fragments (film stills and text excerpts) from three existing works: The Sky Crawlers (2008, directed by Mamoru Oshii), Invisible Cities (written by Italo Calvino) and 2 or 3 Things I Know about Her (1967, directed by Jean-Luc Godard).
Zhang Lijie，Midnight Tweedle，2014
Through sequences of fragmental scenes, Midnight Tweedle explores the diversity of the Chinese collective memory from a personal perspective. Either in a narrative or at random –conscious or unconscious— these images seem potentially connected, yet coincidental: the way memory works. The book employs various forms, from documentary photography, to collage and poster to staged imagery. Midnight Tweedle aims to introspect on the human race, especially the Chinese, and symbolizes the dilemmas that exist in the context of the cultural and political history of China.
Zhang Wei，Artificial Theater，2014
In real life, people who are eager for success often become frustrated by failures, however, the virtual network game can give players a successful experience through identities. The game starts from a basic identity, “people”, for whom you can set the gender, the general shape, and the personality. Likewise, Zhangwei virtualized the identities of temporary performers and used them in an exaggerated way to create myth-like roles for the Artificial Theater series.
Zhang Xiao started his journey from 2009-2013 along the coastline of China. China has a long coastline stretching from the mouth of Yalu River in Liaoning province, in the north, to the mouth of Beilun River in Guangxi province in the south. A total of eighteen thousands continuous kilometres. There have been great changes every day in China since it began opening up 30 years ago. The cities are like big construction sites accelerating their construction pace to catch up with the rest of the world. All of this is particularly prominent in China’s coastal areas. A multitude of countrymen leave their native places to go there. Urbanization drives continually accelerating growth while people’s spiritual lives are left behind.
Zheng Longyihai，Air Chrysalis，2015
Air Chrysalis is an imagery emblematising evil power in the novel 1Q84, written by Japanese writer Haruki Murakami, which has several meanings in my interpretation. The topic discussed in the work Air Chrysalis is not “copying”, but “evolution” in the long time of culture spreading, which is like a journey of cultural archaeology striding across characters and images, during which the photographer finds that the “evolution” of culture is sometimes very absurd. It is like the words of the philosopher Socrates: “in the city he could learn from men, but the fields and the trees could teach him nothing.”
Zhong Hualian，TWENTYSIX QUICK PRINTING STORE，2016
Zhong Hualian photographed twentysix quick printing store with my mobile phone, within 5 kilometres from where I lived, and came to the first graphic quick printing store that I shot to print this book, this book also becomes “a product” belonging to the quick printing store. The theme of the works and book design were affected by Ed Ruscha’s Twentysix Gasoline Stations.
Zhou Yue，Glass Matrix，2016
In the winter of 2015, Zhou Yue went to the eastern coastline of the US and lived there for two and a half months. Except for the days she spent at her print station in Norwalk (Connecticut) the artist spent most of her time in New York and Jersey. She lived in Newport, a community of Jersey, but near New York City. Through her window, she could see Manhattan Island across the river. The structure and pattern of the book were inspired by the cubic buildings and square windows. A large paper was printed, cut and folded into cubes and squares.
Liu Wenting, 3.00 pm – 4.00 pm 20/02/ 2014 Conversation, 2015
This project represents the reflection of people’s relationships through hand gestures.
By documenting unconscious hand gestures during a conversation between two acquaintances from 3.00pm-4.00pm on 20/02/2015, the work presents the subtle variation of emotions and the content of conversation between the two people and their relationship. The artist explores the project as a book to make an intimate connection between the work and the audience. The audience joins the conversation of hands by browsing the book with their own hands also.
Shi Zhen, Memories of Things Past,
Memories of Things Past is a photo book project inspired by a diary of 19th century that the artist found by chance at a flea market in Brussels. The author of diary was a lady signed Laure Lorthioir De Mot. In the diary she recounts the stories from 1872 to 1954 of her big, brilliant family and their good old times: stories of a single lady who travelled around the world a hundred years ago, before the two great wars, and of a life filled with deep love and passion. Letters, photographs and papers are well kept, as they would be.
Yang Yuanyuan, Nearly There, Nearly Concrete, Chongqing, Dummy book, 2014－2015
This dummy book was selected as the second prize by Martin Parr on Lianzhou Foto Festival for Gucang Dummy Award Martin Parr Edition.
Before a visit to Chongqing in 2014, Yang purchased an old photo archive that documented buildings belonging to a Chongqing-based telecommunications company in the 1960s (Cultural Revolution was from 1966 to 1976). Returning to Chongqing some 50 years later, Yang attempted to locate the buildings depicted in the photo album. While a marginal few still remained, most had been bulldozed to accommodate visions of modernity. Some of the streets with antiquated names, such as “Anti-Feudal Street” had vanished after 80s. Their stories are now just a figment of its historical narrative. For those addresses that were still locatable, Yang juxtaposes photographs of the current buildings with those from the past, strengthening its historicity and continuity of the metropolis’ story.
The work leads itself to its second chapter when Yang encountered an old factory while searching for one street during the process, the second chapter is focus on two other types of locations: factories that played an important role in Chongqing’s recent development, but are currently abandoned or in disrepair; and large construction sites in the city center. Further, she juxtaposes portraits of workers that possibly belonging to the construction teams who built some of the historical buildings with the workers met upon her recent excavation of these regions, ultimately weaving a narrative that transcends a temporal-scape.
Sun Yanchu, Ficciones, 2016
The artists found the photographs in this series in antique markets. They were taken in China of 1970s or 80s. He used collaging or drawing to destroy or bring out the stories in the photos, using simply his imagination or restoration based around his knowledge of the social changes in recent years. Maybe the original photos recorded real things which happened, but were the new plots through his changes completely fabricated?
Deng Yun, Pale Fire, 2016
Pale Fire is a collection of Deng Yun’s work that explores daily sparks of his life in Japan.
BROWNIE Magazine, Issue 1, 2016
BROWNIE is a magazine about how photography can change our lives.
It is a magazine aimed at uncovering the value of photography and its relevance to everyday life. Like the iconic camera that it is named after, it believes in making photography accessible to everyone by sharing inspirational stories about life through photography.
Volume One discusses the ‘human connections’ behind photography. Through personal stories, conversations with photographers, observations and a photobook, we dive into the connections that bind our hearts, and into the disconnections that keep us safe. We look at how photography takes us behind the curtains of humanity, to see the invisible ties that make our hearts beat.
Imageless，Issue 1, 2, 3
Issue 1: Photographer: Chen Liang , Wan Xudan, Wu Yiming, Ni Liang
Issue 2: Photographer: Li Yidi, Chen Miaona. For this issue, Imageless Studio chose two photographers who lived in two cities – Tokyo and Shanghai. They have both made images in urban cities; however, in totally different ways. We edited their images, presenting them together based on their unique individual experiences.
Issue 3: Photographer: Aspirin, Cheng Yinhe. This issue is about the “island”. Photographer Aspirin travelled in Taiwan with his family and friends for about two weeks. Shot with 35mm black and white film. Photographer Chen Yinhe got a working holiday visa and went to New Zealand. Photographed with medium format camera in colour. We made each of their works into a single book, and combined these two books with a hard cover.
JPEG – Wu Liewei + Chi Xi， I Wish You Good Fortune，2016
Jiazazhi Magazine, Issue 0 Untouchable, 2016
Jiazazhi magazine is an independent photography magazine from China. The first issue is published in June 2016.
Lateral Roots, Issue 1，Photographs within Photographs, 2015
Lateral Roots is a collaborative publishing project of artists Yang Yuanyuan, Zhu Lanqing and designer Yang Lutong. The project is developed based on an interest in existing images, and references Deleuze’s concept of the “arborescent” in the title. Here, the “lateral roots” are elements other than the main subject of the image, often captured inadvertently by the photographer, and sometimes with greater significance. Lateral Roots is published in zine form, each issue is presented in a different format according to the specific theme. Lateral Roots issue 1 includes two printed matters: a zine and a wall calendar.
LOST , Issue 3, 2016
LOST is a magazine about self-discovery through travel. It is a magazine that features real stories, personal reflections and epiphanies from people around the world. It believes that travel is not about fancy hotels or tourist destinations, but about immersing oneself in some place that is entirely foreign to feel extremely uncomfortable, so that one can learn from it. It believes that travel is a state of mind.
No. 223 – VERSATILE #2 / Beautiful Things Out of the Dust issue, 2014
Versatile – A Selfish Sensitive Image Zine, mainly focuses on photographs taken by the artist called number 223. Versatile is an individual photographic album, recording 223’s cutting-edge art and his takes on pop culture, freedom and unrestraint. Following the previous No Strings Issue, the second issue, Beautiful Things Out of the Dust, includes a series of both negligible and grand scenes. In Out of the Dust, No. 223 has restrained his usual taste and habits, but still manages to enlighten the audience with some seemingly common, ever sensible “unconventional beauties.”
Liu Wenting | 3.00 pm – 4.00 pm 20/02/ 2014 Conversation
Chen Haishu | ZonaRossa
Yang Yuanyuan | Nearly There, Nearly Concrete, Chongqing
Shi Zhen | Memories Of Things Past
Every year, Fotobookfestival Kassel invites all photographers to present their so-far unpublished photobooks to an international public and to eminent experts. In 2016 Fotobookfestival have received 476 book dummies from 51 countries. Their shortlist jury selected the best 52 books. These will be exhibited at international photo events. These shortlisted photobooks, and the winners, will be presented to the public at The Library Project, during July, at PhotoIreland Festival 2016.
From these 52 titles, three winners were chosen by an international jury of experts during the 8th Fotobookfestival Kassel at the Three Shadows Photography Art Centre in Beijing. The winner of the first prize will be given the opportunity to realise their dummy as a “real” book in cooperation with their production partner, Verlag Kettler, Germany.
DUMMY AWARD KASSEL 2016 WINNERS
Honourable Mention: 40, Tomasz Laczny
Third Place: Midnight Tweedle, Zhang Lijie
Second Place: Recruit, Hiroshi Okamoto
First Place: Monsanto, a photographic investigation, Mathieu Asselin
DUMMY AWARD KASSEL 2016 SHORTLIST:
40, Tomasz Laczny (GB)
A Handful of Soil for the Whole Horizon, Liz Orton (GB)
And the Mountain said to Munzur: You, River of my Tears, Miriam Stanke (DE)
Bike Kill, Julie Glassberg (FR)
Billable Hours in 6-Minute Increments, Robin Dahlberg (US)
Blazar, Anna Krieps (DE)
Bloody Holiday, Francois Marmion (GB)
Burkini, Melina Papageorgiou (DE)
Democratic Landscape, Caro Hutchings (GB)
Don’t touch me I’m full of Snakes, Kristina Lenz (DE)
Eleganza in movimento, Ines Könitz (DE)
Empty Expectations, Ksenia Yurkova (RU)
Eunma Town, Sebastien Cuvelier (LU)
For Sale, Peter Kreibich (DE)
Hello and Welcome to Paris, Nikola Mihov (BG)
How To Fly, Pedro Guimaraes (PT)
I and Thou, Mi-Yeon Mi-Yeon (JP)
I loved my wife (killing children is good for the economy), Dieter De Lathauwer (BE)
I’ll tell you about it because I am here and you are distant, Linn Phyllis Seeger (DE)
Immo Refugee, Marco Tiberio (IT)
In Seclusion / File 44, Lena Jakubčáková (SK)
Joseph aka Sepp, Marco Leitermann (DE)
La Picnolepsia de Tshombé, Gloria Oyarzabal (ES)
Limbo, Valentino Bellini & Eileen Quinn (IT)
Los mundos de TITA, Fabiola Cedillo (EC)
Manifest, Kristine Potter (US)
Mao’s Paradise, Stefan Hammer (DE)
Me and Me, Wenjun Chen & Yanmei Jiang (CN)
Melancholic Road, Alnis Stakle (LV)
Midlands, Martin Cregg (IE)
Midnight Tweedle, Lijie Zhang (CN)
Monsanto A Photographic Investigation, Mathieu Asselin (US)
Mont Klamott, Berliner Trümmerberge, Caroline Böttcher (DE)
Naufragio, Caio Reisewitz (BR)
No Tips No Show, David Schikora (DE)
Nur zum Meer ist es ein wenig weit, Linda Nau (DE)
Olivier, Flaminia Celata (IT)
Orim Oil, Xiaoxiao Xu (NL)
ReasonPurpose, Korhan Karaoysal (TR)
Recruit, Hiroshi Okamoto (JP)
Released from Jail, Quentin Lacombe (CH)
Reservoir, Jolanta Dolewska (GB)
Sarajevo Fragments, Peter Kreibich (DE)
Seeking Moksha, Nishant Shukla (IN)
SIV-TIME CAPSULE, Dusan Djordjevic (RS)
The Alphabet Connection, Rita Alaoui & Anna-Sabina Zürrer (CH)
The Invisible: Faith as a Phenomenon, Sara Sallam (EG)
The One On The Right Is On The Left, Kai-Uwe Gundlach (DE)
Ulla & Willi, Lucie Marsmann (DE)
Volga After Volga, Ikuru Kuwajima (RU)
Welcome to UkrEuRu. Die mediale (De-)Konstruktion der Krise, Anna Bauer (DE)
Wirrungen & Willkür, Katja Vogel (DE)
Shortlisted dummies, including the winner, will be sent on tour to the following institutions: Göteborg Fotobokfestival, Göteborg (SE), Centrum for fotografi, Stockholm (SE), Galleri Entrée, Bergen (NO), Tromsø Kunstforening, Tromsø (NO), Galleri Image, Århus (DK), Fotografisk Center, København (DK), Finnish Museum of Photography, Helsinki (FI), Northern Photographic Centre, Oulu (FI), Reykjavik Museum of Photography (IS).
The winning book will be published by Kehrer Verlag, Heidelberg. Fotogalleriet oversees the Nordic Dummy Award book production and, together with The Norwegian Photographic Fund, provides production support. Additional funding might be required, relating to the parameters of the winner book.
Katarina Skjønsberg (NO), Be Good To Yourself
JH Engström (SE)
Eva Eicker (GB)
Klaus Kehrer (DE)
Kristine Kern (DK)
Marie Sjøvold (NO)
Astrid Kruse Jensen / ‘Beauty Will Always Be Disturbed’ (2014)
This book contains selected works from Danish artist Astrid Kruse Jensen’s series ‘Disappearing Into the Past’ and ‘Within the Landscape’. These two works have been created using expired polaroid film, which tint the images in hues of green and blue, embedding the images with a dream-like nostalgia, like a memory frozen in time.
Gabriela Machado / ‘Rever’ (2014)
Currently boasting over 100 million registered users, Instagram is the largest image sharing social network in the world. Gabriela Machado’s book ‘Rever’ is one of the first photobooks made up exclusively of Instagram photos. However, these images are not average everyday snapshots; they possess a decidedly artistic quality, which transcends the Instagram format.
Alexander Sedelnikov / ‘See You Later!’ (2014)
With this self-published book Russian photographer Alexander Sedelnikov investigates the fleeting moments that occur spontaneously in front of the camera as life passes us by. He says about this work and its title: “‘See you later’ is the phrase we use to postpone the inevitable. I don’t know if it means to see somebody soon or never again”.
Helga Härenstam / ‘Stories for an 87-year Old Lady’ (2012)
Helga Härenstam had her future revealed by a fortune teller; she would meet a tall, dark man with whom she would have two children; she would stay within the same profession; she would stay healthy, but eventually suffer issues with her memory, forget most things, and pass away at the age of 87. The images in this book act as a collection of memories for when this prophecy one day comes true.
Johan Sundgren / ‘By Lamplight’ (2012)
Johan Sundgren’s ‘By Lamplight’ is a collection of photographs that he took while working as a domestic personal care attendant in Stockholm between 2000 – 2006. He started bringing a camera to work and eventually started photographing his patients. This book not only depicts the realities of life as a senior, but it also demonstrates the importance of social work.
Katinka Goldberg / ‘Surfacing’ (2011)
In ‘Surfacing’ Swedish photographer Katinka Goldberg uses photographs of herself and her mother to tell the story of their relationship. The book appears like a visual collage, incorporating spontaneous snapshots of the two of them, apart and together, which highlights the ambivalence in not just their relationship, but in any mother-daughter relation.
Kyungwoo Chun / ‘Thousands’ (2008)
More than a hundred years ago a Chinese general with the name Chun went on a military campaign to Korea. He ended up being the first person in Korea with that name. South Korean artist Kyungwoo Chun visited the general’s village in China where he took the pictures for this book. “Chun” means “thousand”, which is why the project portrays a thousand people from the village.
Stephen Gill / ‘Hackney Flowers’ (2007)
Stephen Gill is based in the East London borough of Hackney where this book takes its point of departure. Gill’s images are multi-layered, containing pressed and dried leaves, berries, and various objects collected in and around Hackney. Through these images the book portrays the urban rhythm that permeates Hackney with its varied people and spaces.
Museum of Photography, Seoul / ‘Korean Photographs from the Museum Collection’ (2006)
In this book the Museum of Photography in Seoul have published some 200 historical Korean photographs from their collection of nearly 6,000 images. These photographs trace the history of Korean photography from the 1880s to the 1940s, depicting not only portraits of the imperial family, but also studio photographs from weddings, graduations, and other family events.
Jacob Aue Sobol / ‘Sabine’ (2004)
Danish photographer and member of the prestigious Magnum photo agency Jacob Aue Sobol spent his early photography career in Greenland. Here he fell in love with both the nature and culture of the land, but also with one girl in particular: Sabine. This book documents the budding love affair between two different cultures while also harboring the story of its inevitable defeat.
Trine Søndergaard / ‘Now That You Are Mine’ (2002)
‘Now That You Are Mine’ is a series of work by Danish photographer Trine Søndergaard made between 1997 – 2000. The photographs in this book are centered around the prostitutes who frequent the red-light district in Copenhagen where Søndergaard herself used to live. The images form an intimate portrait of these women’s lives on the street ruled by inconstancy, drugs, and alcohol.
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