Bøker utgitt av RM Verlag SL

Textures and palimpsests of the politicalScratched, scarified and incised photographs depict the grim physical reality of decades of political struggle across various locales in Chile, Argentina, Colombia, Peru, Cuba and Mexico.

Latin American female photographers reflect on personal and collective struggleShowcasing 12 Latin American female photographers--Adriana Lestido, Luz María Bedoya, Johanna Calle, Helen Zout, Claudia Donoso, Rosa Gauditano, Leonora Vicuña, Carla Rippey, Carolina Cárdenas, Milagros de la Torre, Paz Errázuriz and Rosario López--Black Sun reflects on personal and collective tragedies.

An exquisitely produced survey of Eamonn Doyle's searing, strange views of Dublin's streets This volume looks at the recent work and the meteoric rise within the photography world of the Irish photographer Eamonn Doyle (born 1969). An established electronic music producer in his hometown of Dublin, Doyle returned to photography after a 20-year break and produced the Dublin trilogy, a series of instant photobook classics: i (2014), described by Martin Parr as "the best street photo book in a decade," ON (2015) and End. (2016). Doyle's newest body of work, K, is his most mysterious and personal. Titled after the Irish tradition of keening, a vocal lamentation for the dead, the series was born partly out of personal loss, and features spectral figures set against dramatic natural landscapes. Eamonn Doyle features selections from each of the photographer's major recent series, a group of early dark room prints and works from Made in Dublin (2019), a collaborative book project Doyle undertook with writer Kevin Barry.

Spanish photographer Jordi Esteva (born 1951) spent five years in the five great oases of the Egyptian desert capturing the diversity of cultures within these confined areas and the fragility of these ways of life in the face of the encroaching globalized world.

The otherworldly beauty of Barcelona-based printing duo Angel Albarrán and Anna Cabrera's recent photographic interventionsFor years, Barcelona-based Angel Albarrán (born 1969) and Anna Cabrera (born 1969) have been the printers for museums and world-renowned photographers. Recently they have branched out as artists themselves, experimenting with new and traditional print techniques and exhibiting worldwide. In addition to mastering traditional techniques such as platinum prints and cyanotypes, they have developed a unique print technology: printing photographs with pigments on thin Japanese paper, which is then placed over gold leaf, imbuing the images with an otherworldly quality. One of the most gorgeously produced volumes of recent years, Albarrán Cabrera: Remembering the Future demonstrates the extraordinary beauty of the duo's masterful photographic and printing techniques. Frequent trips to Japan inform the content of these photographs, which are often beautifully abstracted by their print treatment.

Catalogue gathers photographs of prostitutes that where provided to select clients of a brothel in Mexico City and shown to Calderon by his uncle, when he was thirteen years old, so he could undergo his "Initiation into manhood"

This book, originally published in 1930, is a facsimile edition of the first monograph devoted to the great Mexican illustrator and engraver José Guadalupe Posada (1852-1913). It reproduces more than 400 prints from Posada's vast production, collected by Pablo O'Higgins from those that could be located and identified at the time. The images of these high-spirited, at times macabre, broadsheets include the famous calaveras, or skeleton caricatures, along with illustrations for songs, corridos (traditional ballads), and religious prayers. With their striking visual qualities, they enriched the tradition of the popular Mexican print. In addition to the images, the book includes an introduction by Frances Toor, the legendary editor of the magazineMexican Folkways, and an essay by Diego Rivera on Posada. According to Rivera, the importance of this publication resided in its refusal to allow Posada to sink into oblivion. It was therefore a "cornerstone," "the first permanent record of the work of José Guadalupe Posada." His illustrations, in spite of being appreciated and still in use at the time, circulated without his name and the recognition he deserved.