Italia in Miniatura
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Between the late 1970s and mid-1980s, Luigi Ghirri made a series of photographs meditating on the landscape of his native Italy, all within the grounds of a single theme park in Rimini, Emilia-Romagna. The popular tourist destination Italia in Miniatura presents scale models of Italy’s major natural and architectural landmarks, brought together in surreal proximity.(...)
Italia in Miniatura
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Between the late 1970s and mid-1980s, Luigi Ghirri made a series of photographs meditating on the landscape of his native Italy, all within the grounds of a single theme park in Rimini, Emilia-Romagna. The popular tourist destination Italia in Miniatura presents scale models of Italy’s major natural and architectural landmarks, brought together in surreal proximity. Ghirri photographed this fabricated world with a characteristic sensitivity for visual coincidence and irony, illusion and reality, ambiguity and artifice. Reflecting on photography’s own processes of shrinking and representing, these images are among Ghirri’s most distinctive, playful, and conceptually compelling. This new book presents the entirety of Ghirri’s In Scala series, expanded with numerous previously unseen images, and places them in conversation with work by the park’s founder and designer, Ivo Rambaldi. Rambaldi’s maps, sketches, collages, and reference images, made on exhaustive research trips across Italy, offer an analogous exploration of the possibilities and paradoxes of miniaturisation. Their frank functionality resonates with Ghirri’s embrace of the perspective and tools of the ama-teur. From the dialogue between these meticulous works of representation and fabrication we discover the possibility that, in Ghirri’s words, "Perhaps it’s in this very space, one of total fiction, that truth is concealed." This publication is brought together by curators Ilaria Campioli, Joan Fontcuberta, and Matteo Guidi, and includes new essays by the curators and by author Simon Garfield. It is completed by a series of images by photographer and theorist Joan Fontcuberta in response to Ghirri’s and Rambaldi’s encounters with the park.
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Dafydd Jones: Screen time
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Dafydd Jones is recognized as one of the world's leading social photographers, which over the years has given him unique access to an extraordinary range of social events - from exclusive parties, to the races, to fashion shows, film festivals and debutantes balls• His keen eye, and an instinct for the absurd, has allowed him to capture the behaviour of people who are(...)
Dafydd Jones: Screen time
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Dafydd Jones is recognized as one of the world's leading social photographers, which over the years has given him unique access to an extraordinary range of social events - from exclusive parties, to the races, to fashion shows, film festivals and debutantes balls• His keen eye, and an instinct for the absurd, has allowed him to capture the behaviour of people who are either unaware of or indifferent to the camera. ''Screen time'' explores a variety of social situations, from the mundane to the exalted, and features celebrities, actors, models and even the occasional princess - all glued to their phonesAlmost everyone uses a smartphone, and most of us are addicted. In this book, photographer Dafydd Jones shows us just how pervasive our screen addiction has become. In almost every social situation, he shows how the smartphone has killed conversation and changed the way we look at the world. ''In the eighties and nineties,'' says Jones, ''when I photographed young people at parties or balls, I'd find them chatting each other up, or smooching in corners. Now I see them sneaking looks on their iPhones, checking on their Instagram feeds, or whatever it is they're hooked on. They hardly talk to each other, or make eye contact at all. And it's not just a generational thing - it afflicts the oldies too. Who knows what impact it's having in the bedroom. It's probably a race to see what will wipe out humanity first - global climate change or screen-induced sexual indifference.''
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This book examines the ways in which a historic, and so-called 'traditional' city quietly mutated into one that was modern in its own terms not only in form but also in its use and meaning. Through a study of Delhi, the author challenges some prevalent dichotomies and myths in architecture and urbanism and identifies an interpretation of modernism that expands upon(...)
avril 2005, London
Indigenous modernities : negotiating architecture and urbanism
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This book examines the ways in which a historic, and so-called 'traditional' city quietly mutated into one that was modern in its own terms not only in form but also in its use and meaning. Through a study of Delhi, the author challenges some prevalent dichotomies and myths in architecture and urbanism and identifies an interpretation of modernism that expands upon conventional understandings of it. Conventional discourse in the West defines modern as the antithesis of that which is 'not-modern' or is 'traditional.' Many scholars have debated the significance of the words and most agree that the very word 'tradition' was a modernist creation that variously implied backwardness, threatened by change, resistance to innovation. The first part of this book reflects on the transformations and discontinuities in built form and spatial culture and calls into question accepted notions of the static nature of what is normally referred to as 'traditional' and 'non-Western' architecture. The second part is a critical discussion of Delhi in the nineteenth and early twentieth centuries. It expands upon conventional understandings of modernity in a way that wrenches free the city's architecture and the society from the objectified realm of the exotic while also acknowledging cultural conditions of modernity and modern architecture outside the West. Stepping outside Western canons, this project looks at late nineteenth and early twentieth century architecture to include them in a conversation on architecture that has typically focused on Western Europe and North America. Finally, the author seeks out the 'indigenous modernities': the irregular, the uneven, and the unexpected in what uncritical observers might label a perfectly coherent 'traditional' built environment; or in the influence of local society and institutions on forms that appear modern by conventional standards in the West.
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The artist & the garden
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This extraordinarily beautiful book gathers together and examines for the first time a delightful collection of English gardens rendered by artists from 1540 to the early nineteenth century, many of which are unknown. Sir Roy Strong, widely recognized for his(...)
The artist & the garden
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This extraordinarily beautiful book gathers together and examines for the first time a delightful collection of English gardens rendered by artists from 1540 to the early nineteenth century, many of which are unknown. Sir Roy Strong, widely recognized for his expertise in both art history and garden history, surveys garden pictures ranging from Elizabethan miniatures to eighteenth-century alfresco conversation pieces, from suites of paintings of a single garden to amateur watercolors. He inquires into the origin of the English garden picture genre, its development prior to the invention of photography, its greatest exponents, its reliability as historical evidence of actual gardens, and its place within the larger European tradition of picturing the garden. The English, Strong observes, were slow in picturing the reality of their gardens. Until well into the Stuart age, the garden in art served as a symbol, and only gradually did this give way to the impulse to record the facts of contemporary garden-making. In the backgrounds of portraits of Jacobean and Caroline garden owners, the garden is no longer an emblem; it becomes instead a document demonstrating the owners' pride in their gardens made in the new Renaissance manner. By the Georgian age the garden has moved from the back to the foreground of pictures, and whole families place themselves amid the glory of their self-fashioned landscapes. Both house and garden at this point assume a separate identity, each calling for an individual record. And by the nineteenth century, the author shows, the garden detaches itself from owner and house to be recorded for its own sake, as a single image at first, and later in a series. With some 350 fully annotated illustrations, this lovely book offers a unique record of three hundred years of English gardens and what they meant to those who owned and portrayed them.
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octobre 2000, New Haven
Jardins
Palestine
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«Plomb durci» (2008-2009), «Pilier de défense» (2012), «Bordure protectrice» (2014): les trois dernières offensives militaires d'envergure menées par Israël contre Gaza ont fait des milliers de morts du côté palestinien et donné lieu à de nouvelles expropriations de terres en Cisjordanie. Ces guerres de conquête israélienne ont ravivé, chez les militant.e.s de la justice(...)
février 2016
Palestine
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«Plomb durci» (2008-2009), «Pilier de défense» (2012), «Bordure protectrice» (2014): les trois dernières offensives militaires d'envergure menées par Israël contre Gaza ont fait des milliers de morts du côté palestinien et donné lieu à de nouvelles expropriations de terres en Cisjordanie. Ces guerres de conquête israélienne ont ravivé, chez les militant.e.s de la justice sociale, le besoin d'exprimer leur solidarité avec le peuple palestinien et l'importance de renouveler le vocabulaire politique lié à cette question.Dans cet ouvrage en partie rédigé dans le feu de l'action, à l'été 2014, Noam Chomsky et Ilan Pappé, deux ardents défenseurs de la cause palestinienne, mènent une longue conversation dirigée par Frank Barat, militant des droits de la personne. Pour eux, le problème palestinien est depuis le début un cas évident de colonialisme et de dépossession, même si on préfère le traiter comme une affaire complexe soi-disant difficile à comprendre et, plus encore, à résoudre.Leurs échanges portent à la fois sur le sionisme en tant que phénomène historique, la pertinence d'analyser la situation en Palestine comme un apartheid, l'efficacité de la campagne Boycott, désinvestissement et sanctions (BDS) et la viabilité de la solution à un ou à deux États...Tour d'horizon de la question palestinienne, ce livre a le mérite d'envisager la situation en Palestine comme un baromètre de la répression politique. Car l'injustice qui accable le peuple palestinien a des ramifications partout dans le monde. «De Ferguson à Barcelone, en passant par Mexico, nombreux sont les gouvernements qui calquent les méthodes employées par Israël pour opprimer les Palestiniens. Leur recours aux mêmes tactiques et, souvent, aux mêmes armes démontre que les Palestiniens servent maintenant de cobayes - et que la Palestine est devenue un grand laboratoire» -- Frank Barat.
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157 pages : illustrations (chiefly color), portraits ; 25 cm
Basel : Birkhäuser, [2024], ©2024
Form follows love : building by intuition : from Bangladesh to Europe and beyond / Anna Heringer, Dominique Gauzin-Müller.
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157 pages : illustrations (chiefly color), portraits ; 25 cm
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Basel : Birkhäuser, [2024], ©2024
livres
Information as Material Leeds Beckett University 2021
livres
Information as Material Leeds Beckett University 2021
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Photographer Rinko Kawauchi (1972–), known for her expressive mastery of gentle color suffused with light, has revealed the mystery, radiance, frailty, and strength of life in all its forms since her earliest works. Her gaze falls equally on the fragile and delicate beings in her immediate vicinity, be they flora and fauna or family members, and the vast workings of the(...)
Rinko Kawauchi: M/E On this sphere, Endlessly interlinking
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Photographer Rinko Kawauchi (1972–), known for her expressive mastery of gentle color suffused with light, has revealed the mystery, radiance, frailty, and strength of life in all its forms since her earliest works. Her gaze falls equally on the fragile and delicate beings in her immediate vicinity, be they flora and fauna or family members, and the vast workings of the earth, such as volcanoes and glaciers formed over long eons. The unique sensibility underlying her photography reveals the connections between these subjects, which all shimmer with the same vital glow. This will be her first major exhibition in Japan in six years, showcasing the essence of Kawauchi’s oeuvre through work from the past decade combined with never-before-seen images from her archives. M/E, the main subject of this exhibition and inspiration for its title, is a new series Kawauchi began shooting in 2019. The letters stand for ''Mother'' and ''Earth,'' combining to form both ''Mother Earth'' and ''Me.'' At a glance, the series’ images of Iceland’s volcanoes and ice floes and Hokkaido’s snowy landscapes may seem distant and unrelated to the everyday scenes from the COVID-19 pandemic that accompany them in the series. However, both types of image depict events now taking place on the planet we live on, and Kawauchi’s artistry alerts us to the connection between them. This exhibition invites the viewer to reconsider a range of questions about the workings of human life and our relationship with nature. In this exhibition catalog, Kawauchi herself has composed a sequence that allows visitors to relive the three-dimensional exhibition space, from the core series of the exhibition such as the new ''M/E,'' the yet unpublished ''4%,'' and ''An interlinking'' with new images, to her latest video work. The exhibition also includes a conversation with Haruo Saji, who was an influence on Kawauchi’s practice, and three essays, of which one is written by Masatake Shinohara, exploring the current state of Kawauchi’s work through both imagery and text. By changing the format and paper for each series, despite its simple binding, the book becomes a multilayered volume that embodies the depth of the exhibition.
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Lattina.
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1 online resource.
[Place of publication not identified] : Lateral Addition, 2015.
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[Place of publication not identified] : Lateral Addition, 2015.
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1 online resource.
[Place of publication not identified] : Lateral Addition, 2016.
A Partial Exegesis of Cricket, its Laws and Rituals.
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1 online resource.
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[Place of publication not identified] : Lateral Addition, 2016.