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Zygmunt Rytka (1947–2018) was an intermedia artist associated with the Polish neo-avant-garde of the 1970s and the independent artist community of the 1980s. In his conceptual work, he combined a philosophical and artistic study of nature and perception with ironic reflections on contemporary media and politics. The artist saw the camera as an instrument that creates a(...)
Zygmunt Rytka: Stones, Ants, and Television
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Zygmunt Rytka (1947–2018) was an intermedia artist associated with the Polish neo-avant-garde of the 1970s and the independent artist community of the 1980s. In his conceptual work, he combined a philosophical and artistic study of nature and perception with ironic reflections on contemporary media and politics. The artist saw the camera as an instrument that creates a convention and begins to influence reality. The book—the first monograph of his photographic work in English— is a comprehensive collection including early conceptual cycles, works dealing with consumer culture, politically charged analytical studies of the language of mass media, and works focusing on the relationship between culture and nature. There is commentary on the cycles provided by notes from the author, an interview conducted by Anna Maria Lesniewska, and new texts by David Crowley, Karol Hordziej, and Daniel Muzyczuk.
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“Desert Spirals” by Sybren Vanoverberghe presents a new series of photographs taken in the captivating Moroccan desert. The images portray artifacts, shelters, and ancient engravings amidst the vast landscape. They capture the transient structures of human presence, built with materials often repurposed or left behind. Vanoverberghe’s artistic approach delves into(...)
Sybren Vanoverberghe: desert spirals
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“Desert Spirals” by Sybren Vanoverberghe presents a new series of photographs taken in the captivating Moroccan desert. The images portray artifacts, shelters, and ancient engravings amidst the vast landscape. They capture the transient structures of human presence, built with materials often repurposed or left behind. Vanoverberghe’s artistic approach delves into traces of a recent or forgotten past, capturing the essence of the desert’s nothingness. The photographs create a compelling visual journey that merges contemporary scenes with ancient engravings. Through photography, Vanoverberghe captures these traces with evocative associations and powerful compositions. “Desert Spirals” offers a glimpse into the enigmatic beauty and timeless nature of the seemingly barren desert.
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Alick Phiri: Lusaka Street
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Lusaka Street is an exploration of Zambia’s photographic past through the eyes of Zambian image-maker Alick Phiri. One of the few surviving black photographers that had access to the medium from the 1960s through the 1990s in Lusaka – a time when the use of the camera was restricted in the country – Phiri was trained at Lusaka’s Photo Art Studios before opening his own(...)
Alick Phiri: Lusaka Street
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Lusaka Street is an exploration of Zambia’s photographic past through the eyes of Zambian image-maker Alick Phiri. One of the few surviving black photographers that had access to the medium from the 1960s through the 1990s in Lusaka – a time when the use of the camera was restricted in the country – Phiri was trained at Lusaka’s Photo Art Studios before opening his own studio in Kanyama, making photography an integral part of his life. His unseen before photographic archive provides a rare insight into the everyday experience of people in the city. Even more importantly, his work is a document of the process of self-determination and self-representation of black Zambians at the time, recounted through situational portraits taken in the subject's domestic sphere. A testament to the relevance of lens-based media within Zambia’s geographical, historical and social context, a tool for reimagining the past and reading the present.
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Over a period of forty years, Hélène Binet has photographed both contemporary and historical architecture – this is the complete monograph of her work, with two extensive critical essays. Marco Iuliano details Hélène Binet’s background, from her childhood in the Italian fishing village of Sperlonga and in Rome, through her early ‘discovery’ of architectural photographer(...)
Hélène Binet: Architectural Photographers
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Over a period of forty years, Hélène Binet has photographed both contemporary and historical architecture – this is the complete monograph of her work, with two extensive critical essays. Marco Iuliano details Hélène Binet’s background, from her childhood in the Italian fishing village of Sperlonga and in Rome, through her early ‘discovery’ of architectural photographer Lucien Hervé, to other significant influences, like the collaborations with Daniel Libeskind, John Hejduk and the connections at the Architectural Association (AA) in London where she met Zaha Hadid. The essay highlights in detail Binet’s approach to photography, her process and archive.
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A changing landscape for Stoke-on-Trent in the 1980s, by Mark Campbell. Series of 2 books.
Mark Campbell: Stoke-on-Trent 1983–1986 series 2 books
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A changing landscape for Stoke-on-Trent in the 1980s, by Mark Campbell. Series of 2 books.
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The Casa de Serralves is a celebrated modernist icon. Designed between Porto and Paris (1925-43), in the superimposed work of five architects, the villa is revealed through large scale photographs by João Carmo Simões and edited drawings. This referential work brings together avant-garde and traditional desires – an ambiguity that forged generations of architects.
João Carmo Simões: Casa de Serralves
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The Casa de Serralves is a celebrated modernist icon. Designed between Porto and Paris (1925-43), in the superimposed work of five architects, the villa is revealed through large scale photographs by João Carmo Simões and edited drawings. This referential work brings together avant-garde and traditional desires – an ambiguity that forged generations of architects.
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Avec « Non Fiction », Henri Kisielewski explore la frontière de plus en plus poreuse entre réel et fictif en photographie. En retournant sur les lieux de faits divers parus dans les journaux pour créer une série qui s’apparente à une fiction, il crée une tension poussée à l’extrême via une multitude de stratégies visuelles, déployées pour brouiller les pistes. Les images(...)
Henri Kisielewski : Non fiction
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Avec « Non Fiction », Henri Kisielewski explore la frontière de plus en plus poreuse entre réel et fictif en photographie. En retournant sur les lieux de faits divers parus dans les journaux pour créer une série qui s’apparente à une fiction, il crée une tension poussée à l’extrême via une multitude de stratégies visuelles, déployées pour brouiller les pistes. Les images s’accumulent pour donner vie à un récit fluide et multiforme. À chacun de l’interpréter, d’y trouver ses clés de lecture, de lui donner du sens. À travers « Non Fiction », la vie quotidienne se transforme : chaque fenêtre cache des secrets, chacun devient un personnage, chaque objet un indice ou une pièce à conviction. Tout est vrai, tout est faux, mais une chose est sûre : la vérité est au moins aussi étrange que la fiction.
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Guillaume Techer : Neige
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Photos prise par Guillaume Técher lors des mois de Février, Mars et Avril 2023.
Guillaume Techer : Neige
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Photos prise par Guillaume Técher lors des mois de Février, Mars et Avril 2023.
Harry Gruyaert : Homeland
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Dans ce livre, Harry Gruyaert nous invite à découvrir son homeland, la Belgique, pays qu’il sillonne depuis plus de soixante ans. Flamand de naissance, Gruyaert sait depuis longtemps que sa terre natale est « un endroit visuellement intéressant dans lequel il se passe des choses incongrues ». Son intuition très subtile de la couleur alliée à sa capacité à retranscrire(...)
Harry Gruyaert : Homeland
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Dans ce livre, Harry Gruyaert nous invite à découvrir son homeland, la Belgique, pays qu’il sillonne depuis plus de soixante ans. Flamand de naissance, Gruyaert sait depuis longtemps que sa terre natale est « un endroit visuellement intéressant dans lequel il se passe des choses incongrues ». Son intuition très subtile de la couleur alliée à sa capacité à retranscrire l’essence des lieux sont perceptibles dans ce large corpus d’images à la fois « historiales et épicuriennes » comme le souligne l'écrivain Brice Matthieussent. Sens du grotesque, du sarcasme, banalité, mais aussi émotion et une certaine tendresse s’esquissent au fil d’images de carnaval, de processions religieuses, de cafés-concerts, de petites localités hérissées de maisons en briques... Quatre porfolios d’images en noir et blanc, partie plus méconnue de l'œuvre du photographe, viennent ponctuer, sur un papier différent, cette immersion visuelle de ce voyage au plat pays.
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Yorgos Lanthimos’s filmography, lauded for its ambitious world-building and absurdist explorations of human relations, has established him as one of the most distinctive auteurs in contemporary cinema.?i shall sing these songs beautifully draws on his renowned visual language to tell a haunting new story through photographs Lanthimos made on the set of his latest(...)
Yorgos Lanthimos: I shall sing these songs beautifully
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Yorgos Lanthimos’s filmography, lauded for its ambitious world-building and absurdist explorations of human relations, has established him as one of the most distinctive auteurs in contemporary cinema.?i shall sing these songs beautifully draws on his renowned visual language to tell a haunting new story through photographs Lanthimos made on the set of his latest feature,?"Kinds of Kindness" (2024), inhabiting an ambiguous space between the real locations of New Orleans and the otherworld of cinema. Interwoven throughout are new texts by Lanthimos which evoke the fragmented lyricism of Sappho, from whose poetry the book takes its title. Lanthimos makes all his photography, both still and moving, on analogue film, relishing the creative intimacy the medium involves. These previously unseen colour and black-and-white images became a part of the formation of his new film's world. Here, they become fragments that elaborate an entirely new story, rich with the tensions and unsettling atmospheres that Lanthimos has made his own.
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