Fotografi

A book of 65 black and white photographs showing Singapore's landscapes in a unique way. Although Singapore is called the Garden City, it's image is of a modern metropolis. This book dispels that myth by showcasing Singapore's landscapes.

Paris ist die Stadt des Lichts in all seinen Facetten. In den 1920er Jahren leuchtet La Ville des lumières besonders hell und wird zum Mekka für Kreative aus aller Welt . Es ist das Jahrzehnt von Coco Chanel und Joséphine Baker, Art Deco und Surrealismus, Cafékultur und Kabarett. Die berühmtesten Künstler der Epoche, die später Klassische Moderne genannt wird, stehen in regem Austausch miteinander - darunter Marcel Duchamp, Francis Picabia, Pablo Picasso, Re¿ne Clair, Sonia Delaunay, Andre¿ Breton, Paul E¿luard, Max Ernst und Salvador Dali¿ . Das kreative, sexuell ausschweifende Leben boomt - Bohème ist das Wort für diese Lebensweise. Komponisten wie Igor Strawinsky , Dichter wie James Joyce oder Ernest Hemingway und Exilanten aus dem Osten wie Constantin Brancusi oder Marc Chagall bereichern die illustre Szene am Montparnasse und tragen dazu bei, dass die Moderne sich in kürzester Zeit zu ihrem Höhepunkt aufschwingt. Dieser Band wirft Schlaglichter auf über 30 herausragende Werke aus Architektur, Malerei, Bildhauerei, Film, Fotografie, Design und Mode , darunter Fotografien von Brassaï und Man Ray, Giacomettis surrealistische Schwebende Kugel , Bunuel/Dalís Andalusischer Hund , Picassos anmutiges Drei Frauen an der Quelle oder die Erfindung der Eleganz im Kleinen Schwarzen von Coco Chanel. Das Aufblühen von Kreativität, Vielfalt und savoir vivre machen Paris bis heute zum Sehnsuchtsort von Nachtschwärmern, Genießern und Liebhabern der schönen Künste.

A new photo book journeys into the fragile landscapes and everyday lives of WLT partners in Argentina's Patagonia. '100% (Ciento por Ciento)' is the latest book of photographs by Colin Dodgson made in partnership with the World Land Trust. It captures the trip that Colin made in the company of WLT Ambassador Jonny Lu to two WLT-funded wildlife reserves in Southern Argentina. "All species deserve to exist, no matter how insignificant they may seem", Jonny Lu, WLT Ambassador. This is the second book that Jonny and Colin have collaborated on with WLT, having produced Deeper Green in 2019 which focused on Belize's rainforests. Whilst scientists have their own - often high tech - ways of documenting nature, Colin uses an analogue camera to capture the environment around him. 100% portrays the subtle details of nature conservation work that are not often seen; from messy office desks and dirty car windows to rangers playing saxophone. Rocks that speakSomancurá is an indigenous Mapuche word, meaning "the rock that speaks". 100% illustrates the character of La Meseta Somuncurá, the vast volcanic rock plateau where WLT partner Fundación Hábitat y Desarrollo work. A windswept landscape with "horizon in every direction", it communicates stories of evolutionarily distinct species. The El Rincon Stream Frog (Pleurodema somuncurense), is a muse for the book and is what you see on opening the first page. Its survival hangs in a delicate balance. The frog, alongside the small thumb-sized Naked Characin fish also featured in the book, have evolved to survive only in the Valcheta which is constantly heated by hot springs. The breath of whalesThe other key location for many of the book's images is the Estancia La Esperanza nature reserve. Situated along the coast, the intense blue sea and rhythmic waves are a contrast to the dusty, orange tones of the Somuncurá Reserve. 100% contains images of the charismatic research station where Fundación Patagonia Natural monitors the migration of Southern Right Whales.

Out of Order is a collection of images I found between 2008 and 2013 on office liquidations websites that buy the entire stock of furniture from offices going out of business. Among the offerings of used office desks for sale are the office plants whose job it was to make office employees feel more human - to give them something to care for in these synthetic modular spaces. The objects pictured in these images are the aftermath and by-products of a Modernism infused with a disparity between free market optimism and its dystopic result.

The starting point of Laurence Aëgerter's facsimile Cathédrales, is the 1949 catalogue Cathedrals and churches of France, published by the Ministry of Public Works, Transport and Tourism. The artist placed the book by the window in her studio and allowed the incidence of natural light to impact a reproduction of the façade of the Saint-Étienne cathedral in Bourges. She photographed the book every minute during two hours, obtaining 120 photographs of light variations upon this unique image. The play of shadow and light of the Gothic architecture in the orignal photograph, is superimposed by a new shadow that slowly glide on the cathedral and, imperceptibly but irreparably, swallows it up. Aëgerter's photographs contain thus three stratified layers of times : the 12th century, 1949 and 2012. Cathédrales presents a photographic sequence and as we turn the pages, we are aware of the temporal dimension of this visual exploration, a metaphor of transcience.

Landscapes presents a previously unpublished series by Marina Gadonneix who, over years of research, has brought together a collection of singular images: blue or green overlays, used as neutral backgrounds for special effects in cinema and on television. Images between abstraction and figuration, place and non-place, fullness and emptiness, these landscapes, once subtracted from their matrix, may only be considered as images in their abstract representation. And these are indeed landscapes in the accompanying fiction, "Blackout," a text written for the series of images by Marcelline Delbecq. Between fiction and reality, real landscapes and mental landscapes, vision and drifting, the text, in its written form as well as in its form as a soundscript, may either add to or take away from the images, whose visual impact appeals to what's happening off screen as well as to what is beyond consciousness.

This publication brings together a series of images portraying sisters Marie and Lucie Cornil, wearing garments from their grandmother's archive, Genevieve G. A photographic project realized by Ewa Kluczenko and Patrick Bienert. Edited by Florine Bonaventure.

Vivier met Sophie through a casting agent around four years ago. "I was looking for a very athletic woman for a photoshoot," she recounts. "When I met Sophie, I was not only fascinated by her powerful, sculptural body but I was also drawn to her face which is sweet, feminine and tender. I felt that Sophie had a lot to say through her bodybuilding practice - it is, or at the time was, a reconstruction of herself in both an allegorical and a physical sense. "Sophie embodies many of the qualities that the photographer seeks to convey through her work: the architectural nature of the bodybuilder's form encapsulates both the subject and object dynamic that so intrigues Vivier, while simultaneously blurring the boundaries between preconceived notions of femininity and masculinity. "I felt that by reshaping herself with a very intimate, strong and personal motivation to feel good and comfortable with her own image, Sophie was reshaping the criteria of what the feminine body is supposed to be. " (Another Magazine)

F#1-13 is a collection of photographs, sculptures, wind barbs and texts around a gridded flag that blew for thirty-nine days in Citadel Park, Ghent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements - taken at the same instant as the photographs - were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums. This book is made with the kind support of the Cultural Department of the City of Ghent, School Of Arts/KASK, Ghent and Smoke & Dust/019.

The tension between the real world and the parallel world is intensified in these perplexing portraits of morphsuits. The design and theatricality of public space extends into the private realm. Self-design is a statement in the virtual arena that is the Internet. How do I present myself to the other's gaze? Which lifestyle do I use to construe an imaginary identity? How can I become someone else? In their Zentai suits these morphers succeed in escaping from the obligatory, omnipresent perception, the pressure of being seen, all the time, everywhere. They are encapsulated and unrecognisable in a completely enclosed form, vanishing into a trans-human identity that suddenly infiltrates reality in the home or hotel room where Lybeer portrays them. - Inge Henneman

Dominique Somers' work 00A consists of a remarkable compilation of found images. The title of the series refers to the starting-point markings printed between the sprocket holes on the leader of a 35-mm photographic film. Somers has been collecting the first, automatic exposures made on this 00A frame of the negative strip for years. They are the result of a photographic practice that in today's digital age has almost become a form of archaeology: when positioning a roll of analogue film in the camera, one has to release the shutter a few times and wind a couple of frames forward to reach the starting position (1A) of the unexposed part of the spooled film. It is precisely these throwaway shots, made while loading the camera before the real work begins, that Somers has appropriated. The 00A image is given, not made. It is the antipode of the naïve, redundant photography of amateurs and journalists, the users of 35-mm cameras. As a series, 00A investigates the boundaries of the technical and conceptual identity of photography. With the support of the Flemish Government and KASK & CONSERVATORIUM School of Arts Gent

Texts by Terry R. Myers and Nicholas HatfulOliver Osborne is not the first painter to make pretty choice paintings that are about choice, or, better yet, about doing something about choice itself: something critical yet open, timely yet mindful of history. The categories in which his paintings could be situated remain well-placed themselves not because they have been kept in their place as dogma but rather because many artists have worked hard to resist those aspects of choice that have too often and too easily become limiting, if not exclusionary and reactionary. Abstract, representational, high, low, painting, picture, even colour and line are less likely than maybe ever to fit into any construct of either/or. Not that long ago any hint of such a resistance to definition was usually taken as evidence of a lack of commitment or conviction, a verdict rendered more often than not on the basis of modernist doctrine. Now, of course, new painters are emerging after postmodernism has moved from theory to doctrine itself, and, to my eyes (and ears), it's clear that another paradigm is emerging, one that pushes against not only the either/or but also any continuation of the 'death of painting' narrative. It seems to me that that story now seems to many of these emerging painters as having been exhausted by those of us who lived through a parent-child relationship with both modernism and postmodernism that was (and may still be) ambivalent. There have been, fortunately, some agile and reliable 'runaways' such as Laura Owens, who, as demonstrated in a recent interview, is very much on point  about what the death of painting wasn't able to extinguish: 'painting does things , and why wouldn't you use all the things it does?'This is the attitude adjustment that emerging painters such as Oliver Osborne have taken on and then intensified to up their game. Well versed in crucial aspects of image culture (its production and analysis), and with an anything-but-lacking desire for the material conditions of making and, yes, the dexterity of both hand and brain, Osborne has already established in his work that the long-standing ways and means of painting (long, long before modernism) are not all that played out after all.

Graduations is a booklet with portraits of former students (from year 1974-1978) at the Dutch Art & Design Academy, the Gerrit Rietveld Academie, all found in an unpublished archive at the academy. Along with the portraits a collection of fictional text, which touches upon the time after graduating and the education as an artist/designer.

Great American Eclipse is a collection of photographs by Christian André Strand captured in Casper, Wyoming during the total solar eclipse in 2017 and from the streets of Brooklyn in the period Trump got elected president in the US. The strikethrough of America in the title of the book demonstrates a divided country. The book's non-linear sequencing shows a personal story with these two separate events as a starting point.

A leg fixed in plaster ("gips" in Japanese) means a limitation to everyday life that will last for several weeks. Japanese photographer Asako Narahashi had an exhibition planned for the following month when she broke her left pinky toe and had her leg covered in a cast in April of 1991. Not yet having taken enough photographs to cover the walls of the gallery, she decided to document her life with her leg in plaster. "[T]he reason I didn't want to look back on these photos until now was also because I didn't want to be reunited with myself as I appear in them. Memory is a vague thing, recalling only the good things or forgetting and rearranging things as is convenient. Reunions with one's younger self are bitter-sweet and sour. [...]Though I had reviewed the contact prints carefully at the time, when I've looked back over them in the intervening twenty-five-plus years, I've seen things I didn't think of before, and things that I hadn't noticed back then look newly striking or charming now. On the other hand, some shots that I selected before are embarrassing, and I probably wouldn't choose them now. "- from Asako Narahashi's afterword

"Swimming on the Building" is a collection of Tao's early work, which received the Grand Prix at the 18th "Hitotsubo Award" and made her the youngest winner at the time. Tao captures the city and its details just as she sees them on her usual walk to school,she is neither longing for Tokyo nor showing a sense of emptiness. A change in the time axis, a weapon hidden in a gap between buildings, everyday life in downtown- when Saori Tao finished swimming, the shape of Tokyo was more then ever present.

Photos_x000D_Ari Marcopoulos, GX1000_x000D_@nickseesnickshares_x000D__x000D_Published on the occasion of_x000D_Printed Matter's NY Art Book Fair at MoMA PS1_x000D_September 21-23, 2018