Ville Palladiane
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Ville Palladiane takes shape through details, margins, atmospheres, and traces of contemporary life within the historic villas designed by Andrea Palladio. A complex and classical theme - at times seemingly obvious - was approached by students with curiosity, enthusiasm, and a touch of genuine naïveté, resulting in a visual narrative that captures Palladio’s timeless, yet(...)
Ville Palladiane
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Ville Palladiane takes shape through details, margins, atmospheres, and traces of contemporary life within the historic villas designed by Andrea Palladio. A complex and classical theme - at times seemingly obvious - was approached by students with curiosity, enthusiasm, and a touch of genuine naïveté, resulting in a visual narrative that captures Palladio’s timeless, yet strikingly modern, architectural universe. This volume is part of Prospettive, a photographic documentation project by the Istituto Centrale per il Catalogo e la Documentazione, curated by Carlo Birrozzi and Alessandro Coco. Produced during the 2023–24 Architectural Photography course led by Alberto Sinigaglia at ISIA Urbino, the work contributes to ICCD’s ongoing exploration of architectural themes through student perspectives.
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Established sometime around the 1st or 2nd century BCE, Tashkent is the capital city of Uzbekistan and the largest metropolis in Central Asia benefiting from its historical role as geographic crossroads, its developed resources, and its thriving multiculturalism. Previous Soviet rule was established in 1917—which over six decades heralded transformations in Tashkent’s(...)
Karel Ballas: Tashkent Modernism
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Established sometime around the 1st or 2nd century BCE, Tashkent is the capital city of Uzbekistan and the largest metropolis in Central Asia benefiting from its historical role as geographic crossroads, its developed resources, and its thriving multiculturalism. Previous Soviet rule was established in 1917—which over six decades heralded transformations in Tashkent’s culture, identity, and, of course, its landscape and architecture. In this volume, realized in collaboration with the Uzbekistan Art and Culture Development Foundation, photographer Karel Balas reveals the modernist architecture of Tashkent through a collection of never-before-seen photographs.
Monographies photo
James Andrew Rosen: aphasia
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"aphasia" is divided into the four seasons, ver (spring), hiems (winter), autumnus (fall), and aestas (summer), symbolizing in this context the various stages that bridge the moments before, during, and after transformational moments. The linearity of the seasons is disrupted throughout the book through the use of translucent pages, highlighting their transformation. In(...)
James Andrew Rosen: aphasia
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"aphasia" is divided into the four seasons, ver (spring), hiems (winter), autumnus (fall), and aestas (summer), symbolizing in this context the various stages that bridge the moments before, during, and after transformational moments. The linearity of the seasons is disrupted throughout the book through the use of translucent pages, highlighting their transformation. In ver the book opens with a stream of dreamy and very light images, representing peace and stasis, these are the moments before. In hiems, the pallet turns very cold, the images are set on black, with various figures in states of flight or distress. Autumus presents moments of both discovery and decay, dual aspects of healing processes, and finally, aestas, features a return to the vitality of the outside world.
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Fusako Kodama 1960-1980
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Between agitation and lightness, Fusako Kodama depicts the effervescence of modern Japan. From 1960 to 1980, she captures the atmosphere of places and the energy of people.Movement is constant; disorder occurs at times; gestures are carefree and instinctive: Fusako Kodama captures forward momentum. Her spontaneous photographs summon surprising perspectives where subjects(...)
Fusako Kodama 1960-1980
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Between agitation and lightness, Fusako Kodama depicts the effervescence of modern Japan. From 1960 to 1980, she captures the atmosphere of places and the energy of people.Movement is constant; disorder occurs at times; gestures are carefree and instinctive: Fusako Kodama captures forward momentum. Her spontaneous photographs summon surprising perspectives where subjects appear slightly out of sync. Between restlessness and lightness, Fusako Kodama portrays a certain effervescence of modern Japan. From 1960 to 1980, she captures the atmosphere of cities and villages inhabited by animated beings. Through her unusual and spontaneous framing, the prolific photographer casts a gaze that is both gentle and vibrant over twenty years of Japan. 1960-1980 is the first book by Fusako Kodama published in the West, where she is still relatively unknown. This work aligns with the ongoing efforts of Chose Commune, which aims to shed light on contemporary Japanese photographers beyond their country of origin.
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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.
Monographies photo
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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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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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