Cairo's Plaster Casts
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Artisanal production in Cairo takes place in open-air workshops and directly on the street. Stucco producers in the city are grouped into clusters where interior walls and facades are covered with patterns and serve as a catalogue of ornaments. The result is often chaotic and grotesque. Decorative styles of the Belle Époque are deconstructed and reassembled as a spatial(...)
Cairo's Plaster Casts
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Artisanal production in Cairo takes place in open-air workshops and directly on the street. Stucco producers in the city are grouped into clusters where interior walls and facades are covered with patterns and serve as a catalogue of ornaments. The result is often chaotic and grotesque. Decorative styles of the Belle Époque are deconstructed and reassembled as a spatial collage, while symbols from pop culture are juxtaposed with historical forms. In his photos, Luc Merx reveals these unique aesthetics and diverse references to building practice and art history. The plaster casts reflect Egypt’s contradictory relationship to its colonial past, to modernity, and to the country’s own identity.
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Beatriz Banha: Midday moon
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Much like the moon, which does not cast its own light but reflects the sun’s, the photographs in ''Midday Moon'' appear to represent the world, but are, in fact, an echo of Beatriz Banha’s particular universe. This is a world seen askew: hands mid-gesture, textures half-revealed, objects both tactile and out of place. Banha’s presence is constant but never central.(...)
Beatriz Banha: Midday moon
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Much like the moon, which does not cast its own light but reflects the sun’s, the photographs in ''Midday Moon'' appear to represent the world, but are, in fact, an echo of Beatriz Banha’s particular universe. This is a world seen askew: hands mid-gesture, textures half-revealed, objects both tactile and out of place. Banha’s presence is constant but never central. She operates just outside the frame, like a satellite held in orbit. The places that formed her, the house she grew up in, territories in and around Évora, everyday scenes and familiar spaces — are all touched by something unfamiliar: the agency of photography. Flash brings surfaces into sharp relief while casting doubt on their meaning. Obstacles impair our recognition of figures in portraits. Lush still-lives appear gift-wrapped in plastic bags. The scenes appear real enough, yet they feel slightly detached, as if lit by an otherworldly source. ''Midday Moon'' might be a study in perception. A kind of lunary where the moon is rarely seen, but rather what it lights up: a world estranged from itself. An elusive account, equally distanced and affectionate, of the relationship between the real world and Banha’s own, in which photography acts as our interpreter.
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Is nature a place, an all-encompassing system, or an ideal that we carry within us? The work of Bas Ketelaars (NL) emerges from an interest in the problem of representing nature. A nature that is unreachably far away and yet all around us. Ketelaars explores the landscape in a personal and experiential way, interested in both the means of photography and drawing, in order(...)
Bas Ketelaars: The edges of landscape
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Is nature a place, an all-encompassing system, or an ideal that we carry within us? The work of Bas Ketelaars (NL) emerges from an interest in the problem of representing nature. A nature that is unreachably far away and yet all around us. Ketelaars explores the landscape in a personal and experiential way, interested in both the means of photography and drawing, in order to create images where different systems produce the image together. "Edges of landscape" is a work in itself in which Ketelaars combines his photographic material with drawings in an experimental manner for the first time.
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Well known for his photography of landscapes and suburban housing, and for his use of detail and luminous color, acclaimed American photographer Todd Hido casts a distinctly cinematic eye across all that he photographs, digging deep into his memory and imagination for inspiration. Newly revised and expanded, ''Intimate Distance: Over Thirty Years of Photographs, A(...)
Todd Hido: Intimate distance. Revised and expanded edition
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Well known for his photography of landscapes and suburban housing, and for his use of detail and luminous color, acclaimed American photographer Todd Hido casts a distinctly cinematic eye across all that he photographs, digging deep into his memory and imagination for inspiration. Newly revised and expanded, ''Intimate Distance: Over Thirty Years of Photographs, A Chronological Album'' includes ten years of new work since the book’s first publication, including breathtaking new images from his travels to Iceland, Norway, and Japan, where he brings both a familiar eye and an expansive new vision. Though Hido has published many smaller monographs of individual bodies of work, this gathers his most iconic images, along with many unpublished works to provide the most complete and comprehensive monograph charting his career. The book is organized chronologically, showing how his series overlap in exciting ways. David Campany introduces the work and looks at the kind of cinematic spectatorship the work demands.
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Ying Ang: Fruiting bodies
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Visual artist Ying Ang reimagines the mushroom as both a biological form and feminist metaphor – an emergent, generative force that challenges dominant narratives of fertility and the female body. She examines how the fetishisation of fertility shapes cultural perceptions of women, nature, and reproduction, questioning whether growth and abundance must always serve a(...)
Ying Ang: Fruiting bodies
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Visual artist Ying Ang reimagines the mushroom as both a biological form and feminist metaphor – an emergent, generative force that challenges dominant narratives of fertility and the female body. She examines how the fetishisation of fertility shapes cultural perceptions of women, nature, and reproduction, questioning whether growth and abundance must always serve a reproductive imperative. The fungal model is a form of fertility that is rhizomatic rather than hierarchical, collective rather than possessive, disruptive rather than obedient. Just as mycelium persists unseen beneath the forest floor, connecting and shaping ecosystems, women continue to shape society in profound ways.
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''As Far as You Can See'', presented by COMMERCE, is the first comprehensive collection of Erik Kessels’s books, spanning from 1997 to today – including his latest, ''Incomplete Encyclopaedia of Touch''. This richly illustrated volume traces over two decades of Kessels’s artistic, editorial, and photographic explorations. Internationally known for his work with vernacular(...)
Erik Kessels; As Far As You Can See
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''As Far as You Can See'', presented by COMMERCE, is the first comprehensive collection of Erik Kessels’s books, spanning from 1997 to today – including his latest, ''Incomplete Encyclopaedia of Touch''. This richly illustrated volume traces over two decades of Kessels’s artistic, editorial, and photographic explorations. Internationally known for his work with vernacular photography and visual storytelling, Kessels has crafted a body of work that captures the human, the everyday, and the absurd - one book at a time. The publication includes a new text by critic and curator Francesco Zanot, structured as a series of concise reflections - one for each book - offering a fragmented yet cohesive insight into Kessels’s evolving visual language. Designed by Cabinet Milano, the book features a modular layout that integrates video stills made in collaboration with Riccardo Ruffolo and Enrico Zanetti, also part of the accompanying exhibition.
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In the south of the Netherlands lies the limestone plateau of the Sint-Pietersberg. As early as the Middle Ages, people started using limestone as a building material. Underground mining resulted in an immense network of caves, its corridor walls preserving a huge living archive, left behind by block breakers, tourists, people in hiding, soldiers, and priests. Fossils of(...)
Sven Gerhardt: The mountain's breath
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In the south of the Netherlands lies the limestone plateau of the Sint-Pietersberg. As early as the Middle Ages, people started using limestone as a building material. Underground mining resulted in an immense network of caves, its corridor walls preserving a huge living archive, left behind by block breakers, tourists, people in hiding, soldiers, and priests. Fossils of Sauria have been found, sieges have taken place, people have disappeared, and treasures have been stored (such as Rembrandt's Night Watch). Around 1960, Jan Spee started photographing these corridor walls, which he meticulously mapped and organised. Compiled by Sven Gerhardt (NL), this book gives an overview and provides context and cross-references to Spee’s images.
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Joints of Eastern Europe represent a long-standing tradition of resourceful craftsmanship, deeply rooted in a region historically associated with manual labour. These joints symbolise the hands that have shaped much of Europe, embodying contextual resilience and an instinctive problem-solving approach that reflects the identity and empiricism of both the joints themselves(...)
Natasha Krymskaya: Joints of Eastern Europe
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Joints of Eastern Europe represent a long-standing tradition of resourceful craftsmanship, deeply rooted in a region historically associated with manual labour. These joints symbolise the hands that have shaped much of Europe, embodying contextual resilience and an instinctive problem-solving approach that reflects the identity and empiricism of both the joints themselves and the workers who create them. Visually distinct, the joints serve as powerful markers of Eastern European culture, representing inventive solutions born from everyday necessity. This unique form of craftsmanship is characterised by spontaneous, often temporary solutions that, over time, evolve into enduring fixtures. With their rough elegance and structural creativity, these fixtures inspire architects and engineers alike, balancing beauty and functionality.
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Pompeii has supposedly been already ‘fully photographed‘. But now the internationally renowned architectural photographer Hans Georg Esch and his team are opening up astonishing new perspectives on the over 2,500-year-old Roman city, which was buried when Mount Vesuvius erupted in 79 AD. Known for their iconic images of the architecture of global mega-cities, the(...)
Hans Georg Esch: Pompeii, the architectural eye
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Pompeii has supposedly been already ‘fully photographed‘. But now the internationally renowned architectural photographer Hans Georg Esch and his team are opening up astonishing new perspectives on the over 2,500-year-old Roman city, which was buried when Mount Vesuvius erupted in 79 AD. Known for their iconic images of the architecture of global mega-cities, the photographic work of the team HGEsch in Pompeii shows the excavated sites as part of today’s metropolis of Naples at the foot of the volcano and illustrates the parallels and connections between ancient urban planning and our contemporary cities. For the first time, the exhibition presents more than 80 of these magnificent photographs of what are probably the best-preserved remains of ancient Roman cities worldwide, taken from a 21st century perspective. The once vibrant and lively, then buried and now in ruins urban structure becomes more tangible than ever before.
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Vivian Maier
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L'histoire de Vivian Maier (1926-2009) est celle d'une nanny ayant traversé sa vie dans le silence avant d'être révélée comme photographe. Autodidacte, elle invente son langage à la croisée de la photographie humaniste et de la street photography. Qu'elle s'intéresse aux enfants ou aux quartiers ouvriers, elle représente ceux qui sont les oubliés du rêve américain. Ses(...)
Vivian Maier
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L'histoire de Vivian Maier (1926-2009) est celle d'une nanny ayant traversé sa vie dans le silence avant d'être révélée comme photographe. Autodidacte, elle invente son langage à la croisée de la photographie humaniste et de la street photography. Qu'elle s'intéresse aux enfants ou aux quartiers ouvriers, elle représente ceux qui sont les oubliés du rêve américain. Ses autoportraits témoignent d'une quête d'identité au sein d'un monde où elle ne semblait pas avoir de place.
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