16 colour plates
37 cm x 34 cm
Large format leporello bound book with magnetic closing system in faux leather
Publication date: April 2012
“Existing in a state of continual motion, from the hotel room to the road, the life of the travelling salesman, the commercial traveller, is experienced as a perpetual passenger, punctuated by both the shifting of place and the marking of time.”
In the mid 1970s, architect Harry Seidler designed a space for the historic Commercial Travellers’ Association in Sydney, Australia. In collaboration with Pier Luigi Nervi, he created a circular building that sprouts up from the street like a radiating flower.
For the 25th Kaldor Public Art Project, Thomas Demand’s series The Dailies occupies an entire floor of Seidler’s structure. The floor of sixteen bedrooms, which house The Dailies, extend off a circular corridor creating a labyrinthine effect. Demand’s images sit above the beds in each room, the transient scenes capturing everyday moments and objects, suspended in time like the environment around them.
Working within the parameters of his now well-known technique, Demand created carefully formed paper and card sculptures, photographed and then destroyed them. His creations are based on things he saw and photographs he took while travelling and walking the street. Demand describes the series as like Haiku poetry, simple fragments strung together to inspire reflection.
The Dailies includes contributions by designer Miuccia Prada and US author Louis Begley.
The book, a work of art in itself, expands to a 16-pointed star, its concertina pages unfurling to echo the shape of the CTA building.
(via MACK - Thomas Demand - The Dailies)
• 22 March 2012
- 32 pages,
- 8.2 x 5.8 in / 148 x 210 mm
- Black and White, Saddle-Stitch,
- Limited Edition of 120 [Numbered]
- ISBN 978-1-908889-03-4
Publisher’s Description: “In this series of photographs, I focused on the buildings and cityscapes in my hometown – Tehran – on weekend mornings when it was quieter and devoid of so many people. My aim was to show how both new and old buildings often form a strange composition and also how they give the city a new and different look. I was interested in seeing if the new buildings helped us to forget the memories of the previous ones or perhaps we feel that they are constructed in haste and that, therefore, we don’t have a chance to look back. It suggests that they are already part of the past.” - Sara Farid Amin
(via The Velvet Cell | Sara Farid Amin | Shadowplay)
• 5 March 2012
LE STYLE BOOK + 2 EDITION PRINTS
2011 / 100 Signed copies / 20,7 x 28,7 cm / 96 pages / Linnen bound with dust jacket / Black & white / English / Designed by Thomas Buxó / Edited by Yannick Bouillis and Thomas Buxó / Published by Off Print / Printed & hand bounded by DDMC, Raalte / Includes 2 signed 21 x 29,7 cm Baryt prints (including 5mm white border)
Limited edtion artist book of 100 copies including 2 black & white edition prints on Baryt paper.
This is the first publication in the Off Print artist book series. The book shows a selection of Scheltens & Abbenes black & white works made for both art & applied projects edited and designed by Thomas Buxó and Yannick Bouillis.
(via Scheltens & Abbenes Store - Product)
• 23 February 2012
Scheltens & Abbenes
Lumi : Snow
by Tero Niskanen
76 pages, softcover, 15 cm * 21 cm
Black and white, perfect bound
A original inkjet print is pasted on the cover
Printed in Estonia, edition of 500
Released in April 2011
Snow was shot between 2010 and 2011 in Helsinki, Finland. It was inspired by the snowiest winter in 100 years. The book aims to approach snow as a sensitive, independent and reflecting entity.
• 9 January 2012
Coney Island Malibu Beach
Coney Island Malibu Beach
by Benjamin Acree, Jackson Eaton & Robert S. Johnson
Published August 2011 by Big City Press, Perth, Australia
64pgs, full colour offset, 29.7 x 21 cm
Debossed and infolded softcover
Essay by Matthew Hall & conversation with Benjamin Acree
Limited edition of 500
ISBN (Australia): 978-0-9807878-3-2
Order online: http://www.bigcitypress.com.au/coney.html
This book gathers together a series of photographs taken by Benjamin Acree, Jackson Eaton and Robert S. Johnson, as they collectively passed through the United States in 2009. What is initially striking in these images is the very absence of the cultivated, dominant images, we all, as everyday consumers of imagery and photography, have as archetypes of Malibu Beach: there are no glimmering building facades, no sun-baked, oil-glistening skin, no lines of palm trees in crepuscular light. It is this absence that defines the collection; an absence which does not attempt to signify the sanctity of the condition, but provides, determinedly, its own portrait of the Real …. The photographers never presume the unfamiliar, they reveal it, they have passed through the catastrophe, have borne witness to violence of everyday life and have amassed it before us. They have given this to us, through their experiences, through their habit of seeing, they have experienced it and have laid out their attendant figures in this book.
- Matthew Hall
• 9 January 2012
Donovan Wylie, One Day Taking Photographs in Belfast
Donovan Wylie One Day Taking Photographs In Belfast
by Peter Mann
Printed in an edition of 200 copies, each with a unique cover.
This is a book about watching a photographer at work.The Photographs were taken one afternoon in 2005 during a walk around north Belfast. At the time Peter Mann and Donovan Wylie were in Belfast working on a film about the Maze prison. As well as the ongoing Maze project Magnum photographer Wylie was also making a photographic record of the military architecture in the city of Belfast itself.
Peter Mann has collaborated on film and photography projects with Donovan Wylie since they met in 2000. As well as working on the documentary films Wylie made in the early 2000’s he has edited Wylie’s last three books ‘British Watchtowers’ 2007 (Consultant editor), ‘Maze 2’, 2009 and ‘Outposts’ 2011.
The book is printed digitally and every one of the 200 copies has a completely unique cover and is numbered on the reverse, something that simply cannot be done with litho.
• 9 January 2012
Ein Magazin über Orte
“Ein Magazin über Orte” (a magazine about places) is published twice a year. It deals with a different location in every issue. The magazine collects works of various authors in the form of photographs, drawings and texts. Previous issues have been dedicated to themes like the kitchen, the desk, the crime scene, and the sea. Issue no.8 is about the paradise. It shows works of artists like Luc Tuymans, Raymond Pettibon, Ryan McGinley, Jeff Wall and Lidwien van de Ven and texts by authors such as Günter Kunert and Miranda July.
“Ein Magazin über Orte” was founded by Elmar Bambach, Julia Marquardt and Birgit Vogel. More information can be found on www.orte-magazin.de.
• 9 January 2012
Mark Klett The Half-Life of History
Photographs by Mark Klett. Text by William L. Fox
Radius Books, Santa Fe, 2011.
Hardbound. 160 pp., 40 color and 30 duotone illustrations, 9-1/2x11-3/4”.
There is a twisted steel dome in Hiroshima that stands as a grim reminder of the city’s destruction by the first atomic bomb. Halfway around the globe, on the border of Utah and Nevada, stands another ruin. The site that housed the bomber that carried “Little Boy,” Wendover Army Air Base, now crumbles from neglect. The stories and relics of Wendover describe more than just the past; they point to a historic cycle, a present increasingly filled with new threats of devastating nuclear and chemical warfare. For this book, American photographer Mark Klett (born 1952) has teamed up with William L. Fox, a celebrated science and art writer whose work focuses on human cognition and memory. Together, the two have created a fascinating visual and textual portrait of Wendover Army Air Base, examining the experience of memory in relation to the great tragedy of America’s atomic age.
(via KLETT, MARK : The Half-Life of History.)
• 14 December 2011
In his photobook CENSURA Julián Barón presents a work based on the style of “broken camera”, using powerful flashes that blind both the viewer and the photographed character and transforming that photographic error into a political language.
In that big circus that politics is, photography and censorship are allied to each other in order to manipulate people through the false use of image as a document, using large mass media to subtly but constantly mask those aspects that do not respond to the claims of the parties, blurring and distorting reality.
However, by focusing in a different way on politics and its leaders, trying to use the camera in decomposition, it is also possible to make photography censor censorship and then, negative against negative, offer something positive, some new perspectives on politicians and their superficial status, revealing how the state they defend so hardly vanishes with their actions, their images and all the paraphernalia that surrounds the ivory tower in which they believe they live in.
Editorial RM 2011
80 pages / 51 images color
23 x 16,5 cm
(via CENSURA CENSURA CENSURA)
• 29 November 2011
// White Noise by António Júlio Duarte
Hardcover | 78 pages, color | 300x300 mm
Coming out in December 2011
António Júlio Duarte has been photographing Casino’s lobbies in Macau for the last 10 years.
Shot at night, with a medium format camera and a flash, often in jetlagged mode, the lobbies became Duarte’s personal territory.
The absurd luxury of the places combined with the strangeness of the objects, and the absence of human presence, creates a strong dreamlike feeling.
We are led through a labyrinth, as if floating. The work is, both an important document about the little seen reality of Casino’s in Macau today,
and a very personal reflection about East and West, about how to relate to the world through photography.
(via Pierre von Kleist Edtions)
• 10 November 2011
Exhibition on view:
Monday, November 7–Saturday, November 12, 2011
PRINTING SHOW is a recreation of Daido Moriyama’s 1974 performance of the same name. Following the format of the original performance as closely as possible, in lieu of prints mounted on the gallery walls, visitors to the gallery will find the photographer stationed at a photocopy machine duplicating his photographic prints. As was done forty years ago, these photocopied sheets will be assembled and staple-bound with a silk-screened cover printed in the gallery space during the performance.
In 1974, the ad hoc photobook that resulted from this process, Another Country—New York, featured images from a trip Moriyama had made to New York in 1971. The photobook, which was produced as ephemera for the performance, has since become a rare collector’s item. In the 2011 recreation, the work featured will include a selection of images made in Tokyo over the last fifteen years.
Visitors to the gallery will be active collaborators in the photobook-making process. In 1974, the photographer sequenced and collated the photocopied sheets, leaving the choice of silkscreen cover to the visitor. In 2011, the visitor will select, edit, and sequence the sheets of the ad hoc photobook, titled TKY. Visitors will choose from a menu of fifty-four double-sided photocopied sheets that will be on view in the gallery space. Visitors will also make a choice of cover. All copies made during the performance interval will be signed by the photographer.
PRINTING SHOW—TKY embodies and addresses fundamental issues impacting the landscape of photobook publishing, as well as the communication of ideas in a post-digital era.
(via Aperture Foundation | Aperture Gallery | PRINTING SHOW—TKY)
• 3 November 2011