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We shower, cook and heat our homes. There is water, gas and electricity. We sit at a table, wash in a sink or rest on a couch. We are bodies among other bodies; living and dead, solid and fluid, raw and transformed, recognisable or in disguise. To live is to interact, but what are we interacting with? "The domestic encyclopaedia" is a collection of stories that explore(...)
Domestic encyclopaedia: Oblique encounters of domestic space
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We shower, cook and heat our homes. There is water, gas and electricity. We sit at a table, wash in a sink or rest on a couch. We are bodies among other bodies; living and dead, solid and fluid, raw and transformed, recognisable or in disguise. To live is to interact, but what are we interacting with? "The domestic encyclopaedia" is a collection of stories that explore the material body of architecture, of houses. In the midst of ongoing ecological disaster and increased alienation from nature it invites you to travel beyond the screen, to practice attention and probe the nature of domestic space.
Théorie de l’architecture
Paris Review Winter 2025
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Hélène Cixous on the Art of Criticism: “There’s a feminist discourse that women can’t do it all. This is what many women experience, and it’s very difficult. But I am not like that.” Alice Oswald on the Art of Poetry: “You come at poetry with the momentum of having failed. It’s only when other communication is absolutely impossible that a poem has to exist.” Prose by(...)
Paris Review Winter 2025
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Hélène Cixous on the Art of Criticism: “There’s a feminist discourse that women can’t do it all. This is what many women experience, and it’s very difficult. But I am not like that.” Alice Oswald on the Art of Poetry: “You come at poetry with the momentum of having failed. It’s only when other communication is absolutely impossible that a poem has to exist.” Prose by Eve Babitz, Marlene Morgan, Alec Niedenthal, Gwendoline Riley, and Elias Rodriques. Poetry by Millicent Borges Accardi, Monzer Masri, Alice Oswald, Jana Prikryl, and Ed Roberson. Art by Ali Banisadr, Pippa Garner, Joan Jonas, and Mieko Meguro; cover by Adebunmi Gbadebo.
Revues
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"As a young man I arrived in New York from England at the end of 1967 and was amazed at what I found. After staying for a number of years I moved back to Europe but kept returning to the USA armed with plenty of Kodachrome and Tri-X to record a country that never ceased to excite and amaze me." - John Heseltine
John Heseltine — New York 1967–1977
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"As a young man I arrived in New York from England at the end of 1967 and was amazed at what I found. After staying for a number of years I moved back to Europe but kept returning to the USA armed with plenty of Kodachrome and Tri-X to record a country that never ceased to excite and amaze me." - John Heseltine
Monographies photo
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A collection of photographs by photographer Grenville Horner capturing cafes & snack bars in South West London in the mid 70s.
Grenville Horner — Cafes & Snack Bars South West London 1975–1976
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A collection of photographs by photographer Grenville Horner capturing cafes & snack bars in South West London in the mid 70s.
Monographies photo
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One day in 1973, acting on a whim, Daniel Meadows and Martin Parr, final year photography students at Manchester Polytechnic, attended a Granada TV open day to view the newly reconstructed set of Coronation Street. There they learned that location filming of the popular soap opera was shortly to end. This was because wholesale regeneration of Salford’s housing stock was(...)
Daniel Meadows & Martin Parr — June Street, Salford 1973
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One day in 1973, acting on a whim, Daniel Meadows and Martin Parr, final year photography students at Manchester Polytechnic, attended a Granada TV open day to view the newly reconstructed set of Coronation Street. There they learned that location filming of the popular soap opera was shortly to end. This was because wholesale regeneration of Salford’s housing stock was sweeping away the ranks of Victorian terraced streets and their paving of stone setts, the very features which defined how a TV audience expected ‘the north’ to look. If the drama were to continue to look like itself, exterior scenes would henceforth be shot only at the studio. This discovery inspired Meadows and Parr to go looking for a former classic ‘Street’-like location to document before the bulldozers moved in. They settled on June Street in Ordsall, twenty houses which were still fully occupied. Over eight weeks or so, using the college Hasselblad and a bright photoflood lightbulb (screwed into the ceiling socket), they photographed each household — adults, children, dogs, cats, the budgie and, in one case, a tortoise — sitting together in their front rooms. When it was all done, they invited everyone to take part in a group photograph.
Monographies photo
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These black and white images were taken between 1968 and 1999, initially as a result of my interest in the demolition and clearance of the built environment between the Newport Bridge and the Transporter Bridge in Middlesbrough. From here, this body of work expanded to include Port Clarence, High Clarence, Haverton Hill, Seaton Carew and Hartlepool, all of which were to(...)
Peter Benson — Teesside 1968–1999 series. 2 Books.
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These black and white images were taken between 1968 and 1999, initially as a result of my interest in the demolition and clearance of the built environment between the Newport Bridge and the Transporter Bridge in Middlesbrough. From here, this body of work expanded to include Port Clarence, High Clarence, Haverton Hill, Seaton Carew and Hartlepool, all of which were to become parts of what is now Teesside.
Monographies photo
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New York City in the 1970s was a world away from the shiny, modern metropolis we see today. The city was facing serious challenges—budget cuts, rising crime, and entire neighbourhoods falling into neglect. For many, it was a tough time, but for photographer Camilo José Vergara, it was an opportunity to document a city in transition. His street photography captured the(...)
Camilo José Vergara — New York 1970s series. 3 Books
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New York City in the 1970s was a world away from the shiny, modern metropolis we see today. The city was facing serious challenges—budget cuts, rising crime, and entire neighbourhoods falling into neglect. For many, it was a tough time, but for photographer Camilo José Vergara, it was an opportunity to document a city in transition. His street photography captured the highs and lows of urban life, showing us not just the struggles, but also the creativity and determination of the people who called New York home.
Monographies photo
The body of Europe
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A ghost is haunting Europe: the ghost of Europe itself. It is a ghost without flesh and bone – a vanishing body that seems to satisfy itself with a vague geographical description. At best Europe refers to the sister of Cadmus, once upon a time abducted by Zeus. Can’t we do better? Is Europe condemned to incarnate itself in a name whose sole reality is to be the one of a(...)
The body of Europe
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A ghost is haunting Europe: the ghost of Europe itself. It is a ghost without flesh and bone – a vanishing body that seems to satisfy itself with a vague geographical description. At best Europe refers to the sister of Cadmus, once upon a time abducted by Zeus. Can’t we do better? Is Europe condemned to incarnate itself in a name whose sole reality is to be the one of a political strategy, of a way to deal with crisis? Wouldn’t it be time that we start to interrogate what Europe could mean beyond ghosts and petty politics? After all, it is very well possible that what we call Europe has a body, has a corpus – and that this corpus is no other than the ensemble composed by the fragments of its literary history. What if Europe was not a matter of geography or politics, but a matter of literature – a matter of sense and sensibility: a way to welcome what, in a human body, makes it alive?
Théorie/ philosophie
$55.00
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The book brings together the voices of artists, scientists, farmers, and bakers from the BAU community. Through the lens of cooking, food, and conviviality, these voices weave together reflections on vital themes: community, landscape, ecology, and climate change. What can a taste of future landscapes be? This volume gathers artists, scientists, farmers, bakers from the(...)
The taste of future landscapes
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The book brings together the voices of artists, scientists, farmers, and bakers from the BAU community. Through the lens of cooking, food, and conviviality, these voices weave together reflections on vital themes: community, landscape, ecology, and climate change. What can a taste of future landscapes be? This volume gathers artists, scientists, farmers, bakers from the BAU Community.Through the lens of cooking, eating and coming together they explore pressing themes such as community, landscape, ecology and climate change.The book is published on the occasion of the 10th anniversary of BAU, Institute for Contemporary Art and Ecology established south of the Alps. Set in a multilingual area, we regard the landscape as a living site where different forms of life interact and leave traces.
Théorie du paysage
Midwife of the intellect
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How could a Rhineland mystic of the 13th century help us better navigate the 21st? In a provocative reading of the work of Meister Eckhart, Peter Sloterdijk offers a compelling answer: What medieval mysticism teaches us is that all there is doesn’t exist per se—everything only exists in relation. For Eckhart, living on Earth is the same as the Holy Trinity: in a(...)
Midwife of the intellect
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How could a Rhineland mystic of the 13th century help us better navigate the 21st? In a provocative reading of the work of Meister Eckhart, Peter Sloterdijk offers a compelling answer: What medieval mysticism teaches us is that all there is doesn’t exist per se—everything only exists in relation. For Eckhart, living on Earth is the same as the Holy Trinity: in a symbiosis, a form of co-relationship forgotten for too long. The triumph of individualism led to the shared illusion that humans, like everything else on the planet, had an essence, an identity, a being. But nothing could be more false. What everything is, is the others. What everything is, is a shared relationality. We are not alone—we are also all others; we depend on them. In the Anthropocene, when planetary symbiosis has never been more jeopardized, shifting our metaphysics and recalling lessons such as those of Meister Eckhart has become vital.
Théorie/ philosophie