Los arbustos de la muerte
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"All photographs are memento mori." - Susan Sontag
Los arbustos de la muerte
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"All photographs are memento mori." - Susan Sontag
Photography monographs
Aún te espero
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On the eve of the Women’s Day manifestations of 2021, the Mexican government erected metal barricades surrounding the National Palace—the seat of federal executive power—in the heart of Mexico City. This was meant to prevent damage by demonstrators and, therefore, "protect the heritage of all Mexicans and avoid confrontation...a wall of peace that guarantees liberty and(...)
Aún te espero
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On the eve of the Women’s Day manifestations of 2021, the Mexican government erected metal barricades surrounding the National Palace—the seat of federal executive power—in the heart of Mexico City. This was meant to prevent damage by demonstrators and, therefore, "protect the heritage of all Mexicans and avoid confrontation...a wall of peace that guarantees liberty and protection from provocations," in the words of the President's spokesman. On Saturday, March 6, the feminist collective Antimonumenta CDMX decided to paint the barricades with the names of recent victims of femicide in Mexico. Over the next few hours, hundreds of women spontaneously gathered to honor the absent women, writing their names and leaving flowers: an offering to remember them, to not forget, and, by doing so, to honor them.This series of photographs documents the barricades that were intervened in those days so that they may still be read.
Photography monographs
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How do we challenge the prevailing visual discourse of contemporary architecture? Is there a more harmonious architectural production path? Can we inhabit Earth without annihilating the very conditions sustaining us and others? "Dominio" confronts architecture’s grand narrative by illuminating its production processes. These images strive to trigger a critical(...)
Dominio: This is a book on architecture
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How do we challenge the prevailing visual discourse of contemporary architecture? Is there a more harmonious architectural production path? Can we inhabit Earth without annihilating the very conditions sustaining us and others? "Dominio" confronts architecture’s grand narrative by illuminating its production processes. These images strive to trigger a critical introspection about architectural production and its socio-ecological footprint, while contesting the dominant visual narrative that perpetuates its existence. This publication, then, is a mosaic of queries, contradictions, and internal conflict. It serves as my introspective critique of how my role as an architectural photographer might have inadvertently contributed to architecture’s fetishization.
Photography monographs
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(...) no better place than this information zone, we would say 2020, but the same could be said: we remembered it from a talk we saw recently, yes, it was those years, I woke up with the phrase, it shook. and more signs. Never 1 sense. Like that imitacionmecaniPizza, like that time you were in the pictorial tour hahaha / which society The 24 hrs. fortuitous encounters.(...)
Daniela Bojórquez Vértiz: Pictorial turn (hahaha)
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(...) no better place than this information zone, we would say 2020, but the same could be said: we remembered it from a talk we saw recently, yes, it was those years, I woke up with the phrase, it shook. and more signs. Never 1 sense. Like that imitacionmecaniPizza, like that time you were in the pictorial tour hahaha / which society The 24 hrs. fortuitous encounters. Atravesxdx By The Date That Is Part Of The Photo ARRRGH How suspicious, right? The non-submission to visibility of the Neveruse white from the tube. The question is Xq better Bye the anecdotal / ¡Achtung, capitalísticaaa!!! Hahaha and the production of the (...) sensitive - the diverse, the food substances, EVERYTHING YOU SAY, yes, from from from from from from from from from from from from from from from from from from from
Photography monographs
Alice Zukofsky: Sunset
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Richly textured images printed in black and white. Objects, skin, microscopic entities.
Alice Zukofsky: Sunset
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Richly textured images printed in black and white. Objects, skin, microscopic entities.
Photography monographs
Sonia Madrigal: Te
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Across the public spaces of Nezahualcoyotl and Chimalhuacan cities (state of Mexico), declarations of love are graffitied on a regular basis. In other parts of these same neighbourhoods, dozens of bodies of young women have also been found, victims of extreme violence, exercised mainly by their intimate partners, relatives or acquaintances. Many others have disappeared.(...)
Sonia Madrigal: Te
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Across the public spaces of Nezahualcoyotl and Chimalhuacan cities (state of Mexico), declarations of love are graffitied on a regular basis. In other parts of these same neighbourhoods, dozens of bodies of young women have also been found, victims of extreme violence, exercised mainly by their intimate partners, relatives or acquaintances. Many others have disappeared. Sonia Madrigal documents these spaces in her series, "Te".
Photography monographs
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Ce livre rassemble pour la première fois le travail en Irlande d'Akihiko Okamura à l'occasion de la numérisation de ce corpus quasi inédit, accompagné de textes qui contextualisent son travail dans l'histoire de l'époque et celle du médium photographique. Pendant les Troubles, la lutte pour l'indépendance qui dura de 1969 à 1998, l'Irlande du Nord a attiré un grand nombre(...)
Akihiko Okamura: Les souvenirs des autres
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Ce livre rassemble pour la première fois le travail en Irlande d'Akihiko Okamura à l'occasion de la numérisation de ce corpus quasi inédit, accompagné de textes qui contextualisent son travail dans l'histoire de l'époque et celle du médium photographique. Pendant les Troubles, la lutte pour l'indépendance qui dura de 1969 à 1998, l'Irlande du Nord a attiré un grand nombre de photojournalistes étrangers venu documenter les événements. Certains d'entre eux ont trouvé un sujet qui les touchait personnellement, les poussant à dépasser les codes du photojournalisme. C'est le cas du photographe japonais Akihiko Okamura qui a réalisé un travail unique et remarquable en couleur dans les premières années du conflit, et qui est curieusement encore méconnu aujourd'hui. Né à Tokyo en 1929, Akihiko Okamura s'est distingué comme l'un des grands photographes de guerre de sa génération, opérant notamment au Vietnam au début des années 1960. Il est toujours très respecté au Japon, mais son travail et son expérience en Irlande, essentiels à la fois dans son oeuvre et pour sa vie personnelle, ont été peu explorés. Okamura est arrivé sur l'île avec sa famille en 1969 et y a vécu jusqu'à sa mort en 1985. Il a photographié son quotidien et les alentours, mais a vite été pris d'intérêt pour le nord du pays et sa lutte pour l'indépendance. Son attachement à ce pays et à son histoire l'ont conduit à produire l'une des oeuvres photographiques les plus significatives réalisées par un photographe étranger, mêlant à la fois cette simplicité du cadrage et du sujet, très japonaise, à une force dans la composition pour des sujets plus violents. En Irlande, il s'est éloigné du photojournalisme pour développer un témoignage plus personnel.
Photography monographs
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"Glasraum" is the result of a collaboration in the fields of architecture and photography. Set within the interiors of a remodelled office by Ganko, with pictures by Louis De Belle, the book occupies a liminal state between documentation and composition. Favouring a certain classicism in the strand of the modern tradition both authors identify with, Glasraum explores the(...)
May 2024
Ganko, Louis De Belle: Glasraum
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"Glasraum" is the result of a collaboration in the fields of architecture and photography. Set within the interiors of a remodelled office by Ganko, with pictures by Louis De Belle, the book occupies a liminal state between documentation and composition. Favouring a certain classicism in the strand of the modern tradition both authors identify with, Glasraum explores the deliberate ambiguities embedded in a seemingly aloof approach to the construction of both space and image.
Nigel Shafran: Workbooks
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''Workbooks'' is an extensive book that gathers together a creative lifetime of collecting, imagining, sketching and recording by British artist Nigel Shafran from 1984-2024. Below, writer David Chandler reflects on Shafran's Workbooks. ''These working documents are informal books, but, partly in preparation for decisions that will later define the actual(...)
Nigel Shafran: Workbooks
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''Workbooks'' is an extensive book that gathers together a creative lifetime of collecting, imagining, sketching and recording by British artist Nigel Shafran from 1984-2024. Below, writer David Chandler reflects on Shafran's Workbooks. ''These working documents are informal books, but, partly in preparation for decisions that will later define the actual publications, they are carefully assembled and richly embellished. Each is filled with drawings, notes and bits of everyday ephemera as well as photographs, and each has a particular aesthetic, with an easy feeling for material craft as well as visual simplicity and clarity that is characteristic of Shafran’s intuitive organising principles and his entire working process''.
Photography monographs
Rahim Fortune: Hardtack
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Flour, water, and salt. These are the sole ingredients that make Hardtack: a Civil War-era food long-associated with survivalism, land migration, and its extremely long shelf life. Drawing from this history as a metaphor for the long-enduring nature of Black culture and traditions, Hardtack uncovers the roots that tie Fortune's native landscape to the conflicts and(...)
Rahim Fortune: Hardtack
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Flour, water, and salt. These are the sole ingredients that make Hardtack: a Civil War-era food long-associated with survivalism, land migration, and its extremely long shelf life. Drawing from this history as a metaphor for the long-enduring nature of Black culture and traditions, Hardtack uncovers the roots that tie Fortune's native landscape to the conflicts and nuances associated with the post-emancipation Americas. In the follow-up to his breakout monograph I can't stand to see you cry, Fortune borrows from the language of vernacular and archival photography to interrogate the historical relationship of his community to photography; rooted in the landscape, Fortune often uses sites of historical and cultural interest as a guide but not a subject, implying the deep ties that bind modern Black communities resiliently to their regions, in the face of both adversity and joy.
Photography monographs