Bøker utgitt av RVB Books

The book Damaged INC. is the result of a long-term project that mixes screen shots, photographs and sculptures. During several years, from the race tracks to the parking lots or farm fields showing - David Beyter 's artist followed the Big Bangers in the north of Europe. They describe themselves as a car crashing as a lifestyle. They do it for the sake of it and their motto lies in the fact of destroying cars using violent shocks, into radical compressions. The car wrecks resulting from this aesthetic of destruction are called "self-sculptures". For three years, David de Beyter followed the "Big Bangers", a community in northern Europe that car crash as a way of life. On circuits, car parks, bare fields, the artist has captured the essence of a practice that shapes the landscapes of his childhood. This long-term project combining films, photographs and sculptures will result in 3 editions (2 books and a vinyl). Damaged Inc. is the first, with its black-and-white print, its two-page collages that fragment the cars, and the slogans that illustrate the philosophy of the followers of this practice, is directly inspired by the aesthetics of the original fanzines created by the "Big Bangers".

The work Two Donkeys in a War Zone finds its source in a video of the U. S. Army available on Youtube. A drone follows an attack against an Isis camp. Between two explosions, the infrared camera briefly highlights two donkeys. This intrusion of two animals unintentionally witnessing human violence had me look for drone strike videos produced by the U. S. , Afghan or British army with moments or details that do not belong to the combat but are instead a part of ' normal life ', the off- camera's of an asymmetrical war. These photographs of operative videos, supporting military propaganda, show the conflict through the drone's eye. The operator is only looking for his target, but life carries on next to the explosion. These movements, instants of existence, signify humanity. Two donkeys in a war zone is a search, by cropping and subverting operative images, for traces of life inside pictures of death.

In Recruit, Tomoko Sawada continues her work on the autoportrait at the heart of contemporary Japanese society. This time, she explores the identity photos which Japanese students take at the end of their studies when they start looking for work. She retains the well-established formal conventions - dress, posture, neutral facial expression - but adds a subtle variation. Starting with a fixed photographic method, which imitates the photobooth with its similar lighting, unchanging framework and pose-taking, she multiplies the images by playing on her hairdo, her makeup and her facial expression. She surprises the audience by showing difference which she renders possible and visible on her face, and demonstrates therefore the relative character of all appearance. The three contact sheets of portaits are arranged in a grid in the book, giving us a global vision of the number of photographs while inviting us to look from one face to the next.