Photobook Week Aarhus 2015
8 — 10 Oct

 

2nd Edition

2nd Edition


Welcome to the second edition of the Photobook Week Aarhus, hosted at the Aarhus School of Architecture’s Library. The festival is a collaboration between Gallery Image, The Jutland Art Academy & The Aarhus School of Architecture. The programme, curated by international experts under the direction of independent curator Moritz Neumüller, represents an ongoing investigation on the development and role of the photobook as an artistic media.

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GALLERI IMAGE
Aarhus School of Architecture
Det Jyske Kunstakademi

A very special
overview of the photobook.


In the last years, the photobook has been recognised as one of the most democratic and diverse media of our time. A large community of self-publishers, editors of zines and books is now served by half a dozen of international events dedicated exclusively to the medium, some of them in our neighbouring countries, others as far away as Melbourne and New York. What makes Photobook Week Aarhus stand out from these events is the concept of The Library Within the Library and the moderated talks by international experts in the field.

This year’s ambitious program includes selections of photobooks and zines from Asia, Australia, Brazil, Japan, Ireland, and of course, Scandinavia, while the talks and conversations center around Architecture & Photography, Narrative Spaces and the study of the medium itself, investigating both the Photobook and Artists’ Books.

Highlights include Danish photographer Keld Helmer-Petersen’s posthumous exhibition of archive materials that document the work process behind Black Light, curated by Anne Elisabeth Toft, as well as a selection of recent Japanese books and zines, curated by Mikiko Kikuta.

A special feature will be Paul Kranzler’s unpublished videos Anton and Aloisia that belong to the now-famous project Land of Milk And Honey, a direct and utterly personal work depicting his elderly neighbours in Linz, Austria. They reveal “how the other side lives”, in country that prides itself of being socially balanced and just. An intense and often challenging encounter for the viewer, both of the book, and the video.

The Studio Magdalene, a cultural production company based in Sao Paulo, will contribute a selection of contemporary Brazilian photobooks, curated by its directors Iatã Cannabrava and Claudi Carreras.

Pirkko Siitari, an independent curator based in Helsinki with extensive experience of working with photography and contemporary art, has curated a selection of Finnish art photobooks.

Another view at the same region comes from the The Asia-Pacific Photobook Archive, a not-for-profit open-access physical archive of self-published and independent photobooks in Melbourne, Australia.

Adding to the offer, you will find the winners of the Nordic Dummy Award and the Dummy Selection of FotobookFestival Kassel. Finally, The Library Project from Dublin, consisting of more than 1200 photobooks from 200 publishers around the world, will present a new selection of Irish publications and latest international highlights from its shelves, as curated by its Director Ángel Luis González.

The exhibitions are supplemented by artist talks, debates and conversations, during the three-day event. The booksellers section showcases galleries, publishers and institutions, such as Antipyrine, Galleri Image, Space Poetry, Museumsbygningen, ARCHITEGN, Archipelaget, KATALOG – Journal of Photography & Video, PhotoIreland, The Jutland Art Academy, and bt:st verlag, with selected titles from their shelves.

Also on offer this year, the free and popular two-day Photobook Dummy Doctoring Workshop allows artists to present their dummies to international professionals to gain valuable feedback and advice.

Join us in our celebration of the photobook in the unique setting of a library dedicated to Art and Architecture, and with such a great selection of publications and experts from around the world. Photobook Week Aarhus provides the perfect opportunity to familiarise yourself with the history, present and future of the photobook, both in a national and international context.

Full Programme
of Events

At the Aarhus School of Architecture, Nørreport 20, Aarhus.

Architecture & Photography


2pm—Round Table: The Photobook as Work & Method

Architects and photographers discuss the photograph and the photobook as work and method.
Participants: Laura Stamer, Architect and Photographer (DK); Anne Elisabeth Toft, Architect, Associate Professor, PhD in Architecture and Photography, AAA (DK); Jens Frederiksen, Architect and Photographer, Associate Professor, KADK (DK)
Moderator: Claus Peder Pedersen, Architect, Head of Research, PhD, & Photographer, AAA (DK)

4pm—Conversation: Keld Helmer-Petersen & Black Light

A conversation with Jens Frederiksen about his collaboration with late Danish photographer Keld Helmer-Petersen, world famous for his pioneering colour photography and photobooks of the mid-20th century. Taking as its point of departure the last work of Helmer-Petersen – the photobook Black Light (2014) – this conversation aims at discussing his sources of inspiration, his working methods and techniques and his experiments with new digital tools.
Accompanying the exhibition Keld Helmer-Petersen, Photography and the Photobook, this conversation offers an exclusive insight into the visual world of Helmer-Petersen.

ParticipantsJens Frederiksen, Architect and Photographer, Associate Professor, KADK (DK); Anne Elisabeth Toft, Architect, Associate Professor, PhD in Architecture & Photography, AAA (DK)

5pm—Reception & Opening of: Keld Helmer-Petersen, Photography & the Photobook

Celebrating the work of Danish photographer Keld Helmer-Petersen this exhibition showcases archive materials that document the work behind the book Black Light (2014).
Curator: Anne Elisabeth Toft, Architect, Associate Professor, PhD in Architecture and Photography, AAA (DK) in collaboration with Jens Frederiksen, Architect & Photographer, Associate Professor, KADK (DK)
Exhibition Architect: Karen Kjaergaard, Architect, Exhibition Director, AAA (DK)

Keld Helmer-Petersen exhibition runs 8th October to 8th November at the Aarhus School of Architecture, Nørreport 20, Aarhus

Narrative Spaces

In collaboration with The Danish School of Media & Journalism.


12noon—Lecture: The Photobook as a medium

José Luis Neves, PhD student in Art and Design at the University of Ulster, gives a talk on his research into the photobook as an artistic medium.

1.45pm—Conversation: Photobooks, Magazines & Printed Matter

A critical view on photobooks and their significance as artistic work, medium, and concept, and the role of the printed image in our contemporary society.
Participants: Jens Friis, Curator & Editor-in-chief of KATALOG (DK); Moritz Neumüller, Curator (AT/ES); José Luis Neves, PhD student in Art and Design (PT/UK).

3pm—Round Table: Videos, Photos, and Books

The Austrian artist Paul Kranzler will present two unpublished videos that have been produced as complementary works to his now-famous book Land of Milk and Honey, and the Barcelona-based photographer Toni Amengual, comments on his award-winning book PAIN, a critical survey on contemporary Spanish society.
Participants: Paul Kranzler, Photographer (AT); Toni Amengual, Photographer (ES)
Moderation: Moritz Neumüller, Curator (AT/ES).

4pm—Photobook Dummy Doctoring Workshop I

Dummies will be doctored on a first-come-first-served basis by experts. Free of charge, in an open setting, and open to all.
Experts: Mathias Kokholm, Independent Publisher and Curator (DK), Paul Kranzler, Artist (AT), Louise Sidenius, Editor and Curator (DK), Toni Amengual, Artist (ES), Ebbe Stub Wittrup, Artist (DK), Lars Kiel Bertelsen, Associate Professor, PhD in Photography, Aarhus University (DK), Moritz Neumüller, Curator (AT/ES),Beate Cegielska, Director Galleri Image (DK), Jesper Rasmussen, Artist, Head of the Jutland Art Academy (DK), Pirkko Siitari, Curator (FIN) and Jens Friis, Curator and Editor-in-chief of Katalog (DK).

Photobook and Artists’ Books


11am—Talk by Jens Friis, Curator and Editor-in-chief of Katalog (DK)

On the history of the photobook, its importance as a communication tool for artist and its place in institutional collections.

12noon—Lecture: Finnish Artists’ Books & Photobooks.
Pirkko Siitari, Curator (FIN)

Pirkko Siitari, independent curator based in Helsinki and former Director of Kiasma Museum of Contemporary Art, speaks about her selection of Finnish Photobooks on view at the Aarhus School of Architecture, and about the Finnish photobook scene in general.

2pm—Round table: Why Books?

A critical view on photobooks and their significance as artistic work, medium, and concept, and the role of the printed image in our contemporary society.
Participants: Ebbe Stub Wittrup, Artist (DK); Mathias Kokholm, Independent publisher and curator. Founder of Antipyrine press (DK); Lars Kiel Bertelsen, Associate Professor, PhD in Photography, Aarhus University (DK); Louise Sidenius, Editor and Curator of the Officin space, Copenhagen (DK)
Moderator: Jesper Rasmussen, Artist, Head of Det Jyske Kunstakademi, Aarhus (DK)

4pm—Photobook Dummy Doctoring Workshop II

Your second chance to get your book dummy reviewed by experts in the field, free of charge, in an open setting, and open to all.
Experts: Mathias Kokholm, Independent Publisher and Curator (DK), Paul Kranzler, Artist (AT), Louise Sidenius, Editor and Curator (DK), Toni Amengual, Artist (ES), Ebbe Stub Wittrup, Artist (DK), Lars Kiel Bertelsen, Associate Professor, PhD in Photography, Aarhus University (DK), Moritz Neumüller, Curator (AT/ES),Beate Cegielska, Director Galleri Image (DK), Jesper Rasmussen, Artist, Head of the Jutland Art Academy (DK), Pirkko Siitari, Curator (FIN) and Jens Friis, Curator and Editor-in-chief of Katalog (DK).

All events are free 

and everyone is welcome.

Book Collections
on Show

At the Aarhus School of Architecture, Nørreport 20, Aarhus.

Asia Pacific Photobook Archive


Chris Bowes, Money Talks, 2014
Through his day job as a bank teller, Chris Bowes encounters defaced currency more often than most of us. One of his duties is to remove such banknotes from circulation, which are recycled and replaced in the cash flow.

Alex Thebez, Feelings and Similar Items vol 2, 2014
Feelings and Similar Items is a compilation of pictures from the everyday. Initiated by Alex Thebez, the series is a way to create coherent narratives from seemingly disparate images made through a compulsive desire to photograph.

The Institute of Critical Zoologists, ICZ Phylliidae Studies, 2011
This paper by Hiroshi Abe, who is the winner of 2008/9 Phylliidae Convention, reports the results of the 26th Phylliidae Convention. Millions of years of evolution by natural selection have given us what we classify today as the order Phasmatodea. None can be quite distinct as in the family Phylliidae. The first scientists to observe these leaf insects once claimed that ‘plants can now walk’

Waterfall, Invisible Cities, 2013
The fifth edition of waterfall is comprised of a collection of works that imparts a monochrome perspective on our world, whether it be urban landscapes, people, objects or animals. As expressed by editor and art director Shauba Chang, it is a very minimal way of seeing, but expressed in a personal, sentimental way, one that puzzles together our relationship with the city through scattered fragments and comparisons. Through various texts and photographs, the city is depicted not as a concrete presence, but instead as an elusive and subjective concept.

Pulp Matter, Tough Guys, 2014
A series of black & white portraits of local indigenous dudes living on Groote Eylandt in Northeastern Australia.

Todd Anderson Kunert, The Situation We’re In, 2014
The Situation We’re In was an installation at Strange Neighbour in 2014 that included: 19 colour prints, suspension cables, and a 9 channel audio installation. The exhibition was accompanied by a 7” Vinyl and this artist book.

Geraldine Kang, Tell Me Something I Don’t Know, 2014
Tell Me Something I Don’t Know is Geraldine’s personal dialogue with Singapore. Connoting both as resignation towards circumstances and a renewed curiosity, the show is a result of Geraldine’s physical explorations of the land.

Tay Kay Chin, Made in Singapore, 2014
In Made in Singapore, Tay Kay Chin explores the life of the foreign workers who come to a little island in search of a better life. Through the journey of Salim, a construction worker who came to Singapore from Bangladesh almost 18 years ago, the Platform co-founder attempts to answer questions: What did they leave behind? Who did they leave behind? What did they sacrifice? What brought them here?

Darren Soh, For My Son, 2013
Darren Soh explores the architecture in Singapore which may soon be torn down. Featuring the recently-torn-down Queenstown cinema, an old estate at Commonwealth Close (which Darren grew up in) and the lesser-known Mathilda house in Punggol, these images are dedicated to Christian, Darren’s son, so that he may learn to appreciate these structures when he grows up.

Kevin Wy Lee, Bay of Dreams, 2013
Kevin Wy Lee looked at the Marina Bay area, drawn by its dazzle and theater.
Singapore is a nation of dreams and dream-chasers, and the Bay area is where it’s all on display for the world to see. Kevin Wy Lee, also known as Ox Lee, is the founder of Invisible Photographer Asia, one of the most prominent online portal for photography in Asia.

Sean Lee, Two People, 2013
Sean Lee created Two People, an extension of Homework, which won him the 2011 ICON de Martell Cordon Bleu award. Exploring the relationship between his parents and interpreting it through his lens, the black-and-white images depict a surreal view of Sean’s idea of his parents.

Kelvin Skewes, Nauru, 2014
Nauru: What was taken and what was given, examines the complicated history and current issues in the tiny Micronesian island nation. Its economy, once reliant on phosphate mining, now relies on aid from other countries. Nauru is also host to three of Australia’s regional refugee processing centres, where over 900 asylum seekers currently reside. Skewes’ photographs provide a launching point for interrogations of modern day colonialism, Nauru’s future and Australia’s responsibility in the region

Li Kejun, The Good Earth, 2012
Inspired by the traditional cartoon characters representing happiness, Li Kejun pays respects to the happy-go-luck country folks who have paved the road for the urbanization and economic development.

Felix Wilson, Jacob Raupach, William Horan, Radiata, 2013
Radiata is a historical archive that explores the mythology of the timber industry through a collection of selected newspaper images from the Tumut timber boom of the 1980s. The work navigates between historical propaganda and banal vernacular, questioning the reliance of rural townships upon resource-based industries.

Rennie Ellis, Cup Fever, 1987
At the Melbourne Cup, Rennie Ellis was everywhere – in the car park amid the parties and sumptuous lunches, on the members’ lawn where the fashion queens parade, in the hubbub of the betting ring, in the public stands with the battlers and out on the grass with the ‘zanies’ in their craziest of clothes. His photographs taken over three decades of the Melbourne Cup, capture the excitement, the magic and the special energy of the day.

Briony Galligan, Not Like Flying, 2013
Not Like Flying imagines and examines personal and art historical forms and how they intersect with geographic borders and global migration to create hybrid Modernities. This book includes artwork made in response to the history and archive of Lugwig Hirschfeld-Mack, a Weimar Bauhaus trained artist deported and interned in Australia in 1940 with 2,000 other Germans predominantly of Jewish descent.

Yi Hui, Winds from Aydingkol, 2012
Beautiful portraits by Chinese photographer Yi Hui. Yi Hui’s motive of making photographs is rooted in her desire to document the people around her life. Her subjects are mostly female — her daughter, her sisters, friends and relatives. She only photographs people who are extremely close and dear to her.

Diane Inc, Diane Photographic Journal Vol.1, 2014
The aim of the journal is to place the work of a group of like-minded photographers together in one place. It is the thought process and outlook that joins this group together, not necessarily the photographic content. The seven photographers had 6 pages each to dill, and were told they could shoot something for the project or raid their archives. Unseen photographs were the priority. None of the photographers knew who was using what picture of collection, so looking through the book for the first time was a surprise for everyone involved (except me). The secondary aim is for this project to grow naturally to include photographers from around the world.

Jack Taylor, Republik Singapore, 2014
Taken entirely on 35mm film this records a recent holiday in Singapore. The publication displays Jack’s travels in less tourist based areas, capturing the people and the place within.

Bruce Connew, I Must Behave, 2009
I Must Behave was published by Vapour Momenta Books, the pocket-sized publishing arm of Catherine Griffiths and Bruce Connew. This is an unsettling observation of the experience of globalisation: where we are, who we are and what we are, we can’t quite say. Perhaps the sense of anxiety and disconnection apparent in these images is also a manifestation of the personal and social controls and restrictions we submit ourselves to.

Doug Spowart, Hitting the Skids, 2012
A flipbook of nearly every skid mark on the Stuart Highway between Renner Springs and Banka Banka Station, handmade by Doug Spowart.

Dylan Ooster, Do You See What I See, 2014
A collection of photographs taken between 2011 − 2013.

David Straight, Part Transit, 2012
Part Transit follows one of the rarest celestial events – the transit of Venus, whereby Venus appears as a small, black disk moving across the face of the Sun.

Lloyd Stubber, Zeal, 2013
One island, two friends, seven days, three thousand kilometers, one (not so) wicked camper, five jump-starts, twenty five CD’s, nine skateparks and too many thugstances…
The zine follows the photographer on a short two-man trip through New Zealand’s vast South Island. Dedicated to his travelling companion (whose photographs didn’t work out), the photo diary captures their week together living out of a Winnie the Pooh themed Wicked Camper.

Tomoaki Makino, Tokyo Soap Opera, 2005
The Women of Tokyo Soap Opera live in sanctuaries reminiscing their youth. The portraits show the buried traces of their beauty and their hidden desire for self-expression quenched by going on stage in front of the camera.

Ka Xiaoxi, A Fragment of China’s Youth, 2011
For this book, Ka is lifting the blanket and gives you an intimate insight into his personal environment and the young urban china.

Pablo Bartholomew, The Calcutta Diaries, 2012
My engagement with the Haka Chinese community in the Tangra area, this group who lived, owned and ran leather tanneries – and in a diminished way still does – was my first endeavour to document a community in transition, coming to terms with themselves, marginal, closed but proud, and friendly. It was also a way to look at my mixed Indian and Burmese origins and find away to deal with these churnings in my late teens and early twenties.

Bruno Quinquet, The Salaryman Project, 2012
“A study of the sense of the season in Tokyo’s business districts. Published as a business agenda.”

Sam Seager, Broken Things, 2013
Photographs from a journey through Tohoku, a year after the 2011 earthquake and tsunami, exploring the persuasive sense of stasis and loss found along hundreds of kilometres of coastline.

Anne Ferran, Prison Library, 2014
Prison Library assembles traces of the former Fremantle Prison Library in Western Australia. It is the outcome of Anne Ferran’s search for evidence of a library that once existed inside Fremantle Prison. The library existed until the closure of the maximum-security, convict-built prison in 1991, with the last two decades of its operation being the most active and sucessful.

The evidence collected in the book includes archival documents, reports, 1970s photographs, objects, books and Ferran’s photographs of the library space as it exists now.

Weilun Chong, Please Mind the Gap Singapore, 2013
The MRT (Mass Rapid Transit) in Singapore sees people from all walks of life passing through everyday. With each train that pulls up at the stations, these passengers will hear the familiar announcement to “Please mind the platform gap” echo across. This was the inspiration that turned into a compilation of photographs documenting the hustle and bustle of Singapore through the narrow gaps between trains and platform doors, aptly named, Please Mind The Gap.

Paul Batt, Service Station Portraits, 2008
This series is part of an ongoing project documenting the self-reflective moments on the faces of individuals, at the service station below my apartment. The transitory nature of a service station means that patrons don’t arrive there as such. The customer’s intention is their imminent departure and the purpose of their arrival. This nature of not being an intended destination or in a sense a ‘non place’, gives a melancholy to people’s habitation of it as their minds are elsewhere. Using a long (professional sports) telephoto lens I tried to capture these moments.

Mamuk Ismuntoro, Tanah Yang Hilang, 2014
In 2006, Indonesia experienced a disaster – the Porong, Sidoarjo mud eruption: the biggest mud flow in the world that became a long-term mission and project for photographer Mamuk Ismuntoro to capture the changes in this area from one year to another. Tanah Yang Hilang (The Lost Lands) is a book that tries to revoke our memories of the disaster. Most Indonesians still remember a vast population had to be relocated having lost their livelihood. Now what is left from the disaster is a vast, empty surfaces of mud that until now cannot be rebuilt.

Saori Ninomiya, Requiem, 2012
The author has a very superficial view of art. Of course some works that are now accepted as great were made for commercial reasons or to express the artist`s concept of beauty, but can any of these criteria be applied to the work of van Gogh or Bosch, even Picasso or Miro? While Saori Ninomiya`s works contain beauty, if perhaps a terrible beauty, these criteria are woefully inadequate in explaining the reasons the work came into being and their intensity.

Emma Phillips, Volcan, 2014
A dummy book presenting Emma’s selection of damaged photos of volcanoes.

James H. H. Morgan, China and a Gold Chair, 2013
James Morgan’s exhibition at the Victorian Artists Society China and a Gold Chair in the Middle of the Road explores the process of change, which is so evident in Melbourne’s Chinese sister city, Tianjin.

VA, Say Your Peace Now, 2014
An accompanying catalogue for the exhibition Hang ‘Em High (Blanc Gallery in 2014). Published by Saturnino Basilla in the Philippines.

Isabella Capezio & Rita Revell, Upper Room, 2013
Handmade, cyanotype concertina book and cassette by Rita Revell and Isabella Capezio. This release is made to order, each print being unique with imperfections from the printing process. Comes with a jewel case cassette and handmade o-card casing.

The Library Project


Alex Sinclair, Srianta, 2013
This project details a criticism of the ongoing use of Shannon Airport by U.S. Military. It follows a fictional narrative depicting the worst possible scenario for Ireland being complicit in aiding the U.S. fight wars in the Middle East. A strain of influenza, known colloquially as the Millipede virus, takes shape in the landscape of Ireland.

Anthony Haughey, The Edge of Europe, 1996
Anthony Haughey’s series of colour photographs are an evocative portrayal of the complex relationship between the West of Ireland, its landscape and people, and Ireland’s diaspora on the East Coast of America. Ireland’s diaspora, the largest single population movement of the 19th century, has created huge global network of people claiming to be of Irish origin. The United States has become a home to millions of Irish people, a symbol of hope and economic freedom to many, whilst retaining unbreakable family ties with their homeland. In the last US census, forty million people claimed Irish ancestry.

Anthony Haughey, Disputed Territory, 2006
Anthony Haughey’s Disputed Territory series investigates the continuing conflict over territory, rights and ownership of land in Europe. What makes this significant is that such a focus is too often dissolved in a lazy rhetoric of globalisation i.e. borders don’t mean anything anymore. Whilst borders have moved throughout history, their meaning and function in flux, their consequence as a power effect remains.

Christine Redmond, Sea Change, 2014
This body of work was taken in the Forty-Foot in Dublin Bay. With the donning of bathing suits, the overt signifiers of class and status, as well as social inhibitions, are rendered invisible thanks to the equality brought about through the activity of swimming. Indeed, for many, the swim has become a regular year-round ritual and an important aspect of their lives where the constraints of everyday existence are washed away by the sea.

Ciarán Óg Arnold, I Went to the Worst of Bars, 2015
This is Ballinasloe, a sandstone town in the easternmost corner of Galway in Ireland, seen through the eyes of a native. Within the rabble, Arnold trails after the cast-offs, invisible men who spend their time in murky corners, choosing to do nothing but drift and drink. Ballinasloe is a mouth; in Irish, mouth of the ford, mouth of the crowds. “We claim to hate it here”, writes Arnold, “but the truth is that we choose to stay, hiding from reality, drowning in drink and wanting to be left alone as we await whatever fate is in store.”

David Farrell, Innocent Landscapes, 2001
In May 1999, The Northern Ireland Bill was passed in the House of Commons; it provided an amnesty to help the identification and location of people who had disappeared during the ‘Troubles’. Six locations were identified and became known as the ‘Sites of The Disappeared’. These were the burial places of eight people murdered by the IRA in the 1970s and early 1980s.

David Farrell, The Swallowing Tree, 2014
I made my first photograph of what I would subsequently term The Swallowing Tree during the first search in 1999 for the bodies of Kevin McKee and Seamus Wright at Coghalstown Wood, Wilkinstown. These two young men belonged to a small group of people who became known as the Disappeared from the conflict in Northern Ireland

David Greene, Where We Are, 2014
A year long look at modern Ireland. A lot has been said, reported and written about Ireland in the last 5 years. Soundbites, headlines, rhetoric. A single phrase sums it up – Where We Are. A political phrase that starts where it ends, making it the perfect metaphor for talking in circles. The idea is that by looking, not talking, we might get a clearer sense of where we are.

Dragana Jurisic, Yu: the Lost Country, 2015
Between the silences which seem to envelope the older generation and the ennui of the young, Jurisic’s Yu is the landscape of still and mournful places, in which the weight of the past forces itself upon everything. Rebecca West valiantly fought to believe in the future of Yugoslavia. Dragana Jurisic traces the effects and aftershocks of its disintegration in the subtlety of her colours, her capacity for intimacy and the intelligence and empathy with which she sees what was once Yugoslavia

Eamonn Doyle, i, 2014
Eamonn Doyle has been photographing his fellow Dubliners since the early ‘90s and has developed a unique approach to his street portraiture. Despite the close range muggers-eye-view, the images remain respectful, reverent, almost in awe of the mysterious figures they depict. The photographs give us mere fragments of their subjects’ narratives yet enough to inspire feelings such as kinship and compassion. His photographs suggest that every life has weight and drama, even if its meaning is ultimately elusive.

Eamonn Doyle, On, 2015
Eamonn Doyle’s second photo-book ON follows his previous book i, a collection of street portraits from Dublin city centre. In ON, black and white figures stalk across Dublin streetscapes, by turns lost, menacing, wary, browbeaten or entranced – but always at odds in some way with their environment. As in i, the photographs were mostly taken on Dublin’s Parnell Street and O’Connell Street. But here the historic role of those two streets as zones of resistance, protest and insurrection is far more present. The figures are dynamic – muscles taut, heads in mid-turn, bodies in motion.

Fiona Hackett, Self Storage, 2015
Yi Fu Tuan’s claim that ‘space is security and space is freedom…’ is embodied in the self-storage spaces on the peripheries of cities and towns. These spaces which store material possessions reflect who we are and how we now live in our contemporary world. Through photographs and stories Self Storage documents these spaces and the life experiences which bring people into them.

Garry Loughlin, Between Spaces, 2014
Whilst there is a photography tradition of documenting the American road trip, I felt that traveling by bike would expose me to opportunities and encounters that could be overlooked if travelled by car or bus. Taking a slower pace and being on my own speed allowed me, as an observer passing through small American towns, to see the beauty in the banality of everyday life. I feel the decision to cycle not only gave me a stronger connection the landscape but also to the people I met along the way.

Grainne Quinlan, White Crane Spread Wings, 2013
A studied observation of Tai Chi enthusiasts in Hong Kong. One finds these elderly enthusiasts throughout the city; along pedestrian crossovers, tiled promenades, beneath the highways and in officially designated areas. The interest is not in photographing the complexities and techniques of these movements but rather the individuals who participate in this unique routine. The individual appears entranced and otherworldly, removed from their surrounds and absorbed in a performance. As movement is stilled within the frame, the nature of this performance is amplified and as such human form and expression are central to this work.

John Duncan, Bonfires, 2008
John Duncan’s Bonfires documents a long-standing tradition of bonfire building by Protestant communities in Belfast, Northern Ireland. The bonfires are built in preparation for annual 12th July celebrations, which commemorate the defeat of James Stuart at the Battle of the Boyne in 1690. The imposing bonfire structures are a powerful provocation with which Protestant identity is asserted and a sense of solidarity and continuity is re-affirmed.

John Duncan, Trees from Germany, 2003
Trees from Germany shows the ongoing regeneration of Belfast, a City attempting to emerge from a troubled past. Duncan explored the city from many different viewpoints and offers a mixture of the old, the new and the transitional, and in some instances all of the above within one frame.

Kate Nolan, Neither, 2014
Neither is an exploration into the hearts of young women in Kaliningrad. The first generation to have grown up after the collapse of the Soviet Union, they look to define their identity in this small island within Europe. The women Nolan has been living with and sharing with have generously opened up their homes and their minds to allow her to better understand this link between place, identity and history.

Kathrin Baumbach, Colombian Skateboarders, 2013
In a world where traditional male role models are scarce, and there is security in numbers, young skaters on Bogotá’s street look to each other to keep themselves safe, free of the influence of the drug trade, and eagerly looking forward to a day where their recreation might well lead to their salvation

Kenneth O’Halloran, The Handball Alley, 2013
These are relics of a once vibrant chapter of Irish life. The ruins of these abandoned alleys, mapped and photographed by O Halloran, bear silent testimony to a feature of Ireland that has perished through time and modernisation.

Kevin Griffin, Omey Island: Last Man Standing, 2013
Kevin Griffin’s Omey Island, Last Man Standing tells the story of Pascal Whelan and his life on Omey Island, County Galway. Pascal is a former stuntman who travelled the world plying his trade in movies, TV and live shows. However after the death of a work colleague, and friend, during a live show Pascal’s career was finished. Pascal returned to Omey Island where he lives alone to this day.

Laura Curran, Lots of Cake!, 2014
Lots of cake! is a discourse on family structure and how celebration can be used as a mode of escapism. This project began as a chronicle of special occasions, emphasising the role that the photographer´s mother plays in creating important moments, and evolved from a document into a revelation of her character and imagination.

Linda Brownlee, Achill, 2010
Photographed in their favourite spots, near their homes or sites chosen by Brownlee, these adolescent figures – resting or only hesitating within the cameraʼs frame – draw the eye into and across the islandʼs contours, revealing the shape of the land through the intimacy of their relationship to it. A tranquillity pervades Brownleeʼs photographs that, despite rain or wind, stems from a sense of belonging. Her careful images capture the moody portrait of a place.

Martin Cregg, Midlands, 2015
Over a ten year period Midlands has explored and mapped the physical transitions which are as a direct consequence of the promise of the National Spatial Strategy, and the physical effects of the failures of this plan – from 2004, until it was abandoned in 2013. The work began at the height of the Celtic Tiger period – the promises of re-populating and re-generating the midlands region were, on paper, strategically created to give economic stability to the region.

Matthew Thompson, Instance, 2014
Deliberate references to classical culture highlight the continual remaking of history and question the authority of the “definitive” memory. In observing the role history plays in our understanding of self, we witness the relationship between time’s layering and the conditioned nature of our own perception.

Maurice Gunning, Familie: Family, 2014
Familie: Family is an intimate photobook revealing the home life of children with disabilities in Romania. We encourage an increase in supports given to families, ensuring that these children can continue to live within the family home.

Miriam O’Connor, Attention Seekers, 2012
We spend much of our daily lives caught up in busy routines, unobservant of the curious details that make up the visual world we are passing through. Irish artist Miriam O´Connor´s photographic series Attention Seekers lingers on these often overlooked traces, singling them out with an attentive and subtle gaze that imbues them with a mysterious and magical vitality. Attention Seekers is concerned with the representation of everyday scenes, spaces and people encountered by the photographer, and O´Connor has a unique talent for discovering infinite possibilities of image-making amidst the quotidian banality, slicing out those details which petition for attention.

Miriam O’Connor, The Legacy Project, 2013
The NWCI initiated The Legacy Project to challenge mainstream representations of women and work and to look instead at the alternatives. There were four core commissions led by artists Miriam O’ Connor, Sarah Browne, Anne Tallentire , Ailbhe Murphy and Ciarán Smyth of Vagabond Reviews. These commissions aimed to create another kind of public dialogue that would amplify the advocacy work of the NWCI, the membership, interested communities and individuals. They are equally about the contribution artists make to our knowledge of the world.

Patrick Hogan, Still, 2012
Patrick Hogan’s partly autobiographical photographs present an intimate view of his everyday encounters and surroundings in a remote area of County Tipperary where he has lived for the past two years. His compelling portraits, dense still lives, brooding interiors and pensive landscapes convey a sense of uncertain anticipation and quiet foreboding. Though modest and focused in geographical scope, Hogan’s powerful images explore expansive existential themes of love, fragility, decay and loss.

Paul Gaffney, We Make the Path by Walking, 2013
Over the past year I have walked over 3,500 kilometres with the aim of creating a body of work which explores the idea of walking as a form of meditation. My intention has been to create a series of quiet, meditative images, which would evoke the experience of being immersed in nature and capture the essence of the journey. The images seek to engage the viewer in this walk, and to communicate a sense of the subtle internal and psychological changes which one may undergo while negotiating the landscape.

PhotoIreland, New Irish Works, 2013
Introducing works by 25 Irish and Irish based Photographers. Published to accompany the exhibition with the same name, produced during PhotoIreland Festival 2013.

PhotoIreland, Martin Parr Best Books of the Decade, 2011
This is a selection of 30 representative photobooks from the first decade of the twenty-first century, hand-picked by one of the greatest photographic bibliophiles on the planet; a small but ambitious project, dedicated to the promotion of a medium that for many photographers has become the most significant method to show their work and creative vision. It is a subjective list of works, a random number in chronological order, and based on the personal criteria of a booklover. Each book is briefly introduced by Martin Parr, before giving the word to the authors themselves.

Richard Gilligan, DIY / Underground Skateparks, 2014
A skateboarding book like no other, this collection of stunning colour photographs from around the world reveals an authentic, unsentimental view of an often over-glamorised subculture. The Irish photographer and skateboarder Richard Gilligan spent four years traveling through Europe and the U.S. to photograph homemade skateparks.

Richard Gilligan, Time/Line, 2009
Time/Line is an edited collection from Richard’s 10 years shooting skate culture nationally and internationally. The book is a small, modest format and we tried to keep the design to a minimum and let the images speak for themselves. The cover image wraps over front and back with the name and title on the spine to create the least impact on the image. The typography is inspired by the mechanical type found at the edge of film and which features on images throughout the book.

Richard Mosse, Infra, 2012
Infra offers a radical rethinking of how to depict a conflict as complex and intractable as the ongoing war in the Democratic Republic of Congo. Mosse depicts the rich topography, inscribed with the traces of conflicting interests, as well as rebel groups of constantly shifting allegiances at war with the Congolese national army. Mosse uses a type of color infrared film called Kodak Aerochrome. Originally developed for military reconnaissance and now discontinued, it registers an invisible spectrum of infrared light, rendering the green landscape in vivid hues of lavender, crimson, and hot pink.

Richard Mosse, The Enclave, 2013
For the last three years, Richard Mosse has photographed in eastern Democratic Republic of Congo, a region in which a long-standing power vacuum has resulted in a horrifying cycle of violence, a Hobbesian “state of war,” so brutal and complex that it defies communication, remaining stubbornly outside global consciousness. The Enclave is the culmination of Mosse’s recent efforts to radically rethink traditional representations of conflict photography, drawing on artistic and documentary strategies in equal measure.

Sean Hillen, Melancholy Witness, 2013
Melancholy Witness is the published collection of the images of Sean Hillen’s lauded exhibition of photography, documenting the years of The Troubles in Northern Ireland. Combining personality with documentary history, what emerges is a powerful and compelling story of unrest, beauty and change. The photographs are like black and white time machines that bring back the desolation and danger of the Troubles. The images have a documentary accuracy, but it is the aura of melancholy witness that marks them as the work of Sean Hillen.

Simon Burch, Prospect, 2014
The photographs are taken in the Llano Estacado, an area in the South-Western United States which was colonised in the 1800’s, and has subsequently been developed with intensive agri-business. The geographer, Yi-Fan Tuan, has defined landscape as ‘an ordering of reality from different angles. It is both a vertical view and a side view. The vertical view is, as it were, objective and calculating. The side view, in contrast, is personal, moral and aesthetic’. It is the how the two views, the objective and the subjective, interact and how this can be seen in a utilitarian environment.

Simon Burch, Under a Grey Sky, 2009
Made over four years, the work explores the rain-soaked peatlands of Ireland’s central plain, the most intensively industrialised landscape in the country. The work presents a dichotomy between the desolation and emptiness of the peatland, and the latent energy it holds for the community. These are negative spaces providing a positive utility, albeit at the cost of their own destruction. Laced between the worked bogs are villages whose inhabitants are intrinsically linked to the land, either by past generations who have been locked in by economic needs, or others seeking to live where they feel free.

Willie Doherty, Disturbance, 2011
Willie Doherty is renowned for his video installations and photographs. DISTURBANCE surveys the artist’s works from the early 80s to today, including his most recent video, Ancient Ground, shot earlier this year on the peat bogs of County Donegal, which focuses upon barely visible traces of human trauma within a rural terrain.

Yvette Monahan, The Time of Dreaming the World Awake, 2014
This body of work is based in a small region in Southern France. It centres on the story of Bugarach, the ‘magic’ mountain connected to a Mayan prophecy which indicated that the world as we know it, would end on December 21st, 2012. The prophecy claimed that this date would mark the beginning of a new era for humanity; a new and sublime future and some believed that Bugarach was to be the first bastion of this modern Arcadia.

 

Latest Arrivals to the Collection

Archive of Modern Conflict, AMC 2 Journal: Issue 2, Four Stories, 2012
The second issue of AMC2 journal features the funerary practices of the Fali tribe of Cameroon, Martin Parr’s appreciation of the concrete hotels of the Spanish Costas, the tragic story of Henri Gaudier-Brzeska’s love Sophie, Ian Jeffrey’s history of Berlin’s KaDeWe department store and much more.

Archive of Modern Conflict, AMC2 Journal: Issue 9, Amore e Piombo, 2014
Published to coincide with the exhibition Amore e Piombo: The Photography of Extremes in 1970s Italy at the 2014 Brighton Photo Biennial (2014), Issue 9 of AMC2 looks at the tumultuous era of Italy’s Years of Lead – a period when bombings, kidnappings and assassinations became the standard currency of Italian politics.

Achive of Modern Conflict, AMC 2 Journal: Issue 12, Shining in Absence, 2015
This AMC2 issue is about the space left by the disappearance of photography both as an idea and as a material object. It is also a memento mori for Frido Troost (1960–2013) the Dutch photo historian and archivist. His organisation ICM (Institute of Concrete Matter) in Haarlem was acquired by AMC London shortly before he died. He is missed by many friends for his warmth and innate understanding of the boundless nature of photography.

Carlos Spottorno, Wealth Management, 2015
The goal of this book is to reflect about the language of banks and other influential organisations. It’s aim is to portray how he sees the world of the ultra-wealthy and their agents. A supposedly better life where money doesn’t always bring happiness, and the ultimate luxury is to be invisible, inaccessible, and therefore invulnerable.

David Magnusson, Purity, 2014
David Magnusson’s compelling portraits offer a nuanced view on the Purity Ball phenomenon in America. During a Purity Ball young girls promise to live pure lives before God, and to remain virgins until marriage. In return their fathers sign a commitment promising to protect their daughters chastity. After reading about the Purity Ball phenomenon, Magnusson became increasingly captivated by the growing popularity of these homegrown rituals. Equipped with a large-format camera, he portrayed fathers and daughters who participated in Purity Ball ceremonies from 2010 to 2011 in Louisiana, Texas, Colorado and Arizona.

Harvey Benge, Lucky Box: A Guide to Modern Living, 2002
This is Harvey Benge’s fifth book on the subject of urban landscape. Benge lives and works between Auckland and Paris. His interest lies in the strange anthropology of cities, observing and making photographs of the unusual and overlooked in the human landscape where nothing is as it seems.

Janire Nàjera, Moving Forward, Looking Back, 2015
This project started in March 2014 with a road trip across the Southwest of the Spanish photojournalist Janire Nájera. She and her assistant Matt Wright followed the footsteps of trader Antonio Armijo, who opened the route of the Old Spanish Trail between the states of New Mexico and California in the 19th century. During her trip, Janire met and interviewed Spanish descendants to analyze how the traditions of the first settlers have merged with local cultures influencing the creation and identity of today’s pueblos and cities, revealing some traces of Spanish intangible heritage that remains across these states.

JH Engström, Långt Fårn Stockholm, 2013
Långt fårn Stockholm (Far from Stockholm) finds JH Engström on a journey into the surrounding world away from the big city. Shifting between isolated small communities and the untamed wilderness of the Swedish landscape – Engström weaves the two worlds with portraits of ‘dance bands’, youths etc and juxtaposing them amongst icy rivers, forests and disappearing roads. By weaving these themes, Engstrom tells at once a poetic solitary and contemplative story whilst returning to the heart and structure of the small community.

Juli Sing, Kataster, 2014
Kataster comes in three parts: The first part is on the Abbild, which could be translated only as the image of an image. The second one is on the Autobahn, the third one is on a Nature Reserve. The images are in dialogue with three texts on the subject matter. The book was published in an edition of 500.

Mark Cohen, Dark Knees, 2013
Mark Cohen, a major figure in street photography since the 1970’s. He has been relentlessly photographing his hometown, Wilkes-Barre in Pennsylvania and its surroundings. He wasn’t interested in drawing a social portrait of this coal town, he kept for more than forty years the distant eye of a stranger, always alert. On an impulse of a split second, Cohen would go very to close to his subjects to take what has become his iconic “grab shots” often blinding them with the artificial light of the flash.

Martin Parr, Chinatown 1984, 2015
Martin Parr is a British documentary photographer, photojournalist and photobook collector. He is known for his photographic projects that take an intimate, satirical and anthropological look at aspects of modern life, in particular documenting the social classes of England, and more broadly the wealth of the Western world.

Peter Martens, American Testimony, 2012
Dutch photographer Peter Martens was a versatile street photographer. His way of working was inspired by the long American tradition of engaged and personal documentary photography, but he went one step further and developed into a radical photographer who took a stand for the disadvantaged and outcast. Tirelessly he captured world’s injustice and bad luck millions of people suffer from, fixed in confrontational, grainy images.

Peter Puklus, One and a Half Meter, 2012
I collect the portraits of the people around me. I map and document those who are close to me in one way or another (I collect memories). Slowly I will get to everybody. Relatives or friends, the important thing is that the photograph can be the symbol of my relationship to them. Or the relationship of the people in the photograph. Or that personal secret, one’s eyes may reveal. I capture a moment, the magic of which lies in trust; intimacy and photography, in other words, the story of love, friendship and identity.

Rimaldas Viksraitis, Grimaces of the Weary Village, 2010
Rimaldas Viksraitis cycles around the desolate farms of his native Lithuania with a camera tied to his bike. The resulting photographs expose the post-Soviet disintegration of village life, against a funny-sad backdrop of perennial drunkenness and buffoonery. The book’s images were selected by famed photographer Martin Parr, who describes Viksraitis’ works as “slightly insane and wonderfully surreal.”

Rob Hornstra, Empty Land, Promised Land, Forbidden Land, 2013
In Empty land, Promised land, Forbidden land, we explore the unknown country of Abkhazia on the Black Sea. Abkhazia broke away from Georgia after a short, violent civil war in ’92-’93 and was recognised as independent in 2008 by Russia, Venezuela, Nicaragua and the atoll of Nauru. We have spent the last four years travelling through the country, seeing how it is slowly trying to claw its way out of isolation. We visited the refugees in Georgia and described the attempts made by the Abkhazian government to repopulate the empty, war-ravaged country with new immigrants.

Ron Jude, Lago, 2015
In Lago, Ron Jude returns to the California desert of his early childhood as if a detective in search of clues to his own identity. In a book of 54 photographs made between 2011 and 2014, he attempts to reconcile the vagaries of memory (and the uncertainty of looking) with our need to make narrative sense of things. Using a desolate desert lake as a theatrical backdrop, Jude meanders through the arid landscape of his youth, making note of everything from venomous spiders to discarded pornography.

Shunsuke Shiinoki, Encyclopedia of Flowers, 2012
Encyclopedia of Flowers is a visual exploration of the breathtaking floral arrangements by Makoto Azuma—encounters of unusual, sometimes exotic plants that wouldn’t typically occur in nature. With his meticulously composed photographs, Shunsuke Shiinoki exposes the flowers’ tenuous existence, their fragile forms, continuous metamorphoses, and inevitable decay.

Brazilian Books


A selection of books from the young Brazilian publisher Editora Madalena, created in 2013 by Claudia Jaguaribe, Claudi Carreras and Iatã Cannabrava, born with a vocation for experimenting and supporting the production of contemporary photography, both Brazilian and Latin American. The editors are all linked to contemporary photography – whether as photographers, curators or critics. Their projects seek to work in a creative manner, in content and form, in constant research on language and visual narrative, while at the same time making space for innovative graphic possibilities that bring together the content and the book as an object. This selection of photobooks shows how Latin American artists see and present their national reality and contradiction, in times of turmoil and changes.

 

Ronald Ansbach,  A Grande Seca, 2015
The Big Dry is a circular, imaginary perambulation through the city of São Paulo, from the historic center towards its edges and back, assembled from juxtapositions that reveal a self-devouring city in constant mutation. The book is an exploration into the generic, global city, suspended between its physical presence and its image.

Claudio Edinger, O Paradoxo Do Olhar, 2015
In The Paradox of the Look, the photographer seeks to portray the intimate way and the universal way of seeing the world, through images taken in Rio de Janeiro, São Paulo, Bahia, Amazon, Santa Catarina, Paris, Venice and Los Angeles. The selective focus, which highlights certain details in an image, while others appear out of focus, is a metaphor for our numerous contradictions in our daily life.

Gabriela Machado, Rever, 2014
The book Review is more than a poetic look at the daily life of the author, Gabriela Machado. It is also the first publication to gather images from the world of the photo-sharing network Instagram. With a diary-style language, the volume brings a gentle chromatic treatment and a delicate look.

Claudia Jaguaribe, Entrevistas, 2014
A book that brings together more than 70 neighborhoods of São Paulo, such as Jaguaré, Morumbi, Bras, Água Funda and Jardins, among others. Claudia Jaguaribe shows us panoramic images of interior spaces, showing its inhabitants and its windows to the outside world, always in twilight. The choice of shooting at this time is due to the desire to find people at home, after work. In each picture we see the contrast between the colossal built mass of the city and the intimate side.

Iatã Cannabrava, Pagode Russo, 2014
Iatã Cannabrava’s first photographic project is revealed almost 30 years later in this re-publication called Russian Pagoda. Cannabrava was in Russia in 1985 to participate in the World Festival of Youth and Students for World Peace. There, he witnessed the beginning of the end of the Cold War, or the dismantling of the Iron Curtain. The result is a gaze directed at urban scenes, common subjects, and common people, whereby the ordinary and the banal become the main focus of the investigation.

José Diniz, Periscope, 2014
Brazilian photographer José Diniz has been swimming and making pictures up and down the coasts of South America, from Brazil to Uruguay, for more than eight years. With a very particular perspective, like the one of a periscope out of the bottom of the water, he navigates with his camera through sensations such as lack of balance, vertigo, tension, harmony, continuous movement, the sound of the ocean and the taste of salt.

Lucas Lenci, Desaudio, 2013
“An invitation to listen to the silence,” is how Cassio Vasconcellos presents the book of photographs Desaudio, a publication that contains 27 images, collected between 2007 and 2012, in which the photographer consolidates his search for a formal unity and language. The images explore a wide range of places such as Tokyo, Punta del Este, Maldivas, Río de Janeiro and Sao Paulo, presented as quiet spaces and with a few human figures.

Claudia Jaguaribe, Sobre São Paulo, 2013
This book is the result of four years of research of photographer Claudia Jaguaribe, on the city of São Paulo. Flying over the city with a helicopter, Claudia registers buildings and all the vast architecture, creating a kind of mosaic of skyscrapers. For Claudia, the vision of this megalopolis could only be understood from the heights, given the magnitude of the city. The accordion binding reinforces the concept of the infinite city that grows without limits.

Gustavo Lacerda, Albinos, 2013
The photophobia caused by the absence of melanin lead this people to live literally in the shadow. As photography is basically light, the photographer Gustavo Lacerda thought it would be instigating and revealing to bring them to the position of “protagonists”. Between 2009 and 2014 he worked on this project and experienced a great challenge: research, locate and try to convince some of these people to come into his studio and let them be photographed.

Julio Bittencourt, Ramos, 2015
Brazilian photographer Julio Bittencourt explores the “Big Pool” of Ramos, in Rio; an artificial lake that draws together people from the 15 favelas surrounding it. When most people think of beaches in Rio, images of the beautiful Copacabana or a sunset in Ipanema usually come to mind. However, a few miles from these icons of the Brazilian landscape sits an artificial lake not far from a polluted beach. Here is where thousands of people live in the surrounding favelas, or slums of Rio choose to go every summer. Julio Bittencourt, a young Brazilian photographer, was fascinated by the uniqueness of this place, which has resulted in this book.

Laura Del Ray & Alziro Barbosa, Hart, 2015
There is no order. You know there is none. And it’s dense. Blue thickness laughing at your blind faith in the frame (or in the manipulation?). The landscape is not the ecological back cover of your city, it’s just a different sort of war. Another technology. The engine you do not understand, the one that makes you surrender. Violence you haven’t perpetrated. And it ignores you. All sea is amniotic. In the oblivion of dreams, a question arises: is reality an open sea or a moist, dark tract where the next is to be born?

Asian Books

A selection of books from Asia made by Manik Katyal, Director of Emaho Magazine.

Zhang Wei, Artificial Theater
Hajime Kimura, Scrap Book
Kürsat Bayhan, Away From Home
Zhang Wenxin, Five Nights, Aquarium
Halil, I Am Playing Ping-Pong Now
Hideka Tonomura, They Called Me Yukari
Peyman Hooshmandzadeh, A People Of Horse
Tay Kay Chin, Spooks
Miti Runangkritya, Thai Politics No.3
Prabuddha Dasgupta, Edge Of Faith
Farshid Azarang, The Book Of Amnesia
Xiaoyi Chen, Koan
Blank Pages Of An Iranian Photo Album
Yoshinori Mizutani, Yusurika
Koji Takiguchi, Sou
Hiroshi Takizawa, Mass

Japanese Books


This year, we are able to present 70 Japanese photobooks published within the last 10 years and selected by Mikiko Kikuta, an independent curator based in Tokyo. Traditionally, Japanese photography has been closely linked to the printed matter, more than exhibitions, since the 1950s. It used to be very important for a photographer to show the new work in magazines such as Camera Mainichi or Asahi Camera and then making a book, as a next career step. Yet in the 80s and 90, some of these magazines closed down and big publishers stopped publishing photobooks, because quite few became big sellers.

In the last 10 years, there was a large shift in the publishing of photobooks in Japan. Many photographers returned to self-publishing, in the spirit of Daido Moriyama’s work at Provoke, in the end of the 60s, and Araki’s Sentimental Journey in the 70s. On the other hand, more than 10 new publishers specialised in photobooks were founded. Graphic designers started to be interested in the medium as well, because it gave them a stage to exhibit their talent.

Mikiko Kikuta is an independent curator, born in Tokyo, where she lives and works. She has curated more than 50 exhibitions of photography and contemporary art in Japan and Europe. She has been the artistic director of European Eyes on Japan since 2002 and the artistic director of Shiogama Photo Festival in Miyagi, Japan, since its beginning.

 

Keiko Nomura, Soul Blue, 2012
This is Keiko Nomura’s fifth book, published as the final chapter of the long-term series about the lives of women. Travelling through the past and the present, Tokyo and other cities, the photographer looks back on her own life as well the changing urban landscapes.

Lieko Shiga, Rasen Kaigan, 2013
Shiga’s photographs from Kitakama are different from her previous work in that they were produced over more than four years, in collaboration with the local residents. This personal connection is noteworthy and it might not be far-fetched to say that Shiga is operating more as an “organiser” than as a “photographer”. Although Rasen Kaigan acknowledges the March 2011 tsunami disaster by which Kitakama was severely affected, this is far from a book of “tsunami photos”. The images in this book call to mind many things outside the realm of photography: surrealism, land art, happenings, sculpture and the presence of Japanese “earth spirits,” to name just a few.

Rinko Kawauchi, Ametsuchi, 2012
In this project, Kawauchi, shifts her attention from the micro to the macro. The title, Ametsuchi, is comprised of two Japanese characters meaning “heaven and earth,” and is taken from the title of one of the oldest pangrams in Japanese. In Ametsuchi, Kawauchi brings together images of distant constellations and tiny figures lost within landscapes, as well as photographs of a traditional style of controlled-burn farming (yakihata) in which the cycles of cultivation and recovery span decades and generations. Punctuating the series are images of Buddhist rituals and other religious ceremonies, an attempt to transcend time and memory.

Taiji Matsue, Gazetteer, 2005
This is a book on aerial landscapes, shot by Taiji Matsue around the world, from the South-American Altiplanos to Alpine peaks, the jungles of Malaysia to the deserts of Texas. The landscapes are shot only when the sun hits the highest point of the day.

Taiji Matsue, CC, 2005
Taiji Matsue is most known for his large-scale aerial photographs from around the world. In CC, Matsue suggests a “new map of Japan”, offering views not only of architectural structures, but of city scenes, rural terrain and coastlines as well.

NaoTsuda, Masato Seto, Akane Asaoka, Document Fukushima, 2006
Three Japanese photographers were commissioned to make a work about Fukushima nuclear plant. The work was completed before the earthquake and tsunami that caused the plant to have a reactor meltdown.

Mao Ishikawa, Hot Days in Okinawa, 2012
Mao Ishikawa was born in 1953 in Okinawa. She participated in Tomatsu Shomei’s Workshop in 1974. Her work is strongly related to Okinawa, an island with a complicated history – it has been a Japanese colony and was the only battle field between America and Japan during World War II. Many civilians were killed by both sides. After the war it was occupied by the U.S. army and is still home to a large U.S. military base.

Takashi Suzuki, Bau, 2015
Takashi Suzuki was born in 1971 in Kyoto where he lives and works today. A graduate from the Photography Department of The Art Institute of Boston, Boston, MA, U.S.A., he has also been a guest student in the class of Thomas Ruff at Kunstakademie Düsseldorf, Germany. There are 4 different covers to this edition.

Nobuto Osakabe, Hanabi, 2015
The Hanabi series expresses a longing for the universe. Using fireworks photographed on paper, I am trying to realize the universe I haven’t seen with my own eyes. What kind of lights would there be, if I could ever able to go to the space? I would never be bored photographing the brightest spectacle.
This is Nobuto Osakabe’s first photobook.

European Eyes on Japan vol.13, 2012
European Eyes on Japan vol.14, 2013
European Eyes on Japan vol.16, 2014
Ongoing since 1999, this project consists in inviting European photographers to Japan, to record images of the various prefectures of Japan, on the theme of contemporary Japanese people and how they live their lives.
The photographs shot in various locations around Japan are collected the following year in the European Eyes on Japan publications and in exhibitions featured in cities throughout Japan and Europe. Works that have completed the exhibition circuit are then donated to their prefectures of origin as part of the cultural heritage of their later generations.

Takuma Nakahira, selected by Satoshi Machiguchi, Takuma Nakahira 1000, 2014
During the preparations for Takuma Nakahira’s 2003 exhibition at the Yokohama Museum of Art, a large amount of black-and-white prints made by the artist – all previously unknown to the public eye – were discovered. These photos were shot in a Yokohama suburb close to the artist’s home, thought to be taken between 1978 and the late 80s. Nakahira would start the day with a walk in his neighbourhood, on his bicycle, to take photos, and then develop the prints himself. From the large amount of unearthed prints, only “photos that feature cars” and “photos that also feature cars” were selected and compiled into a massive book.

Trip Zine by Newfave 02, edited by Dasuke Yokota and Hiroshi Takizawa, AMS, 2015
The second edition of the Newfave Trip Zine is made up of photographs Daisuke Yokota and Hiroshi Takizawa took on their trip to the Netherlands in September 2014. There are two different versions, edited respectively by Yokota and Takizawa who picked their favorites out of more than 10,000 photos. Through their personal selection, the two photographers’ interest in their surroundings becomes clearly visible, while it also gives the viewer a peek at how Yokota and Takizawa have grown from editing not only their own, but also each other’s material.

Mika Ninagawa etc, On Happiness, 2003
On Happiness : contemporary Japanese photography. Catalogue for an exhibition held at Tōkyō-to Shashin Bijutsukan, Sept. 9-Oct. 5, 2003.

Naruki Oshima, Armin Linke etc, Appearance: Urban Space Interpreted Through Photography, 2007
Catalogue from the group show “Appearance:Photography Reveal the Depth of Contemporary Urban Space” featuring the photographers Oliver Boberg, Candida Hoefer, Armin Linke, and Naruki Oshima.

Takashi Homma, New Documentary, 2011
Takashi Homma started out in advertising and fashion magazines in the late 1980s, and moved to London in the early 90s where he worked for legendary cultural magazines like i-D and met a few photographers who produced their own works by diverse methods. Upon his return to Japan, his own photographic works capturing the landscape and people of Tokyo’s suburbs were published in Tokyo Suburbia. This exhibition catalogue focuses on his work since 2005 and draws our attention to his new approach of dynamically exploring the diversity and polysemy of photography. Essays by Elein Fleiss, Noi Sawaragi and others.

Takashi Homma, M, 2010
Takashi Homma’s M series is about mass-produced food and images. He created silk-screen prints based on photographs of McDonald’s all around the world, which is an appropriate medium to demonstrate the endless proliferation of fast food restaurants around the world. M was published on the occasion of an exhibition at Gallery 360, Tokyo. This first edition was limited to 500 copies, each with a unique cover screen print.

Taiji Matsue, JP0205, 2013
Taiji Matsue has been steadily producing flat photographic representations of large-scale earth surfaces in locations all around the world. This volume presents the latest works in his JP series of aerial photographs of regions throughout Japan, focusing here on the prefectures of Aomori and Akita in Northern Honshu. Matsue’s aerial photographs suggest a “new map of Japan”, offering views not only of architectural structures, but of city scenes, rural terrain and coastlines.

Tomoki Imai, Light and Gravity, 2009
Tomoki Imai was born in Hiroshima in 1974. He graduated from Tokyo University of the Arts in 1998. In his works Mahiru – In the Middle of the Day (2001) and Light and Gravity (2009), Imai photographed everyday landscapes such as streets, forests and ordinary rooms. These tranquil works convey Imai’s sincere attitude toward the act of looking. In recent years, Imai’s work has turned towards questions of visibility and invisibility. This concern can be seen in books like Semicircle Law and A Tree of Night.

Takashi Yasumura, Domestic Scandals, 2005
Some of Yasumura’s photos break over your eyes with simple perfection that transcends any stance: a rose in a bud vase next to a stack of toilet paper. It would be an optimistic leap to say that this is some kind of celebration of the everyday. But in the estranged domestic space Yasumura creates, there is still a straining beauty. If you’re not a fan of what some German and northern European artists have been doing with their own mute things and quotidian but well-lit spaces, don’t look here. The essays that accompany the book have their own largely consumerist interpretation, hinting at the surrender of tradition.

Yui Amano, First Love, 2014
The young photographer Yui Amano creates handmade photobooks and First Love is the latest issue. Mobile phone portraits of young people in spontaneous situations, making love, spraying graffitis or cooking lunch are counterposed with urban and suburban landscapes.

Ryuichi Ishikawa, A Grand Polyphony, 2014
The Okinawan people have maintained their pride for Okinawa Island at all costs, regardless of who controlled it. The islands have constantly fallen victim to people’s greed and sorrow. However, for my generation, this was simply a given, something that started long before we were born. You might say that this history, made up of conflicts and invasions, is a basic human problem. To those of us who have freely consumed chocolate and coffee beans since we were children, it was impossible to change the life that we had grown accustomed to. We simply had to deal with the contradictions and the frustrations they created.

Risaku Suzuki, Stream of Consciousness, 2015
Catalogue of solo exhibition for the show Stream of Consciousness, shown at MIMOCA, Japan, 2015. In 1990, Suzuki held his first solo exhibition, and in 1998, he published his first photobook, Kumano, which looked at his native Kumano region of Japan. Kumano took the form of a narrative sequence, as did his Piles of Time. His approach won acclaim as a new form of photographic expression, and in 2000, he received the 25th Kimura Ihei Award for photography.

Takashi Kuraya and Yusaku Yamazaki, My Sweet Chii-chang, 2015
This Zine – published in an edition of 100 – was made by two young photographers, and is thus divided into two parts, so you have to turn the book around when you reach the middle spread. Accordingly, it has two different title pages, each in its own style.

Shuhei Motoyama, SM Tabloid, 2005
These large-format yet slim publications feature Motoyma’s pictures taken while travelling in Japan and abroad. Mostly in black and white (except volume 11), they feature images taken often at night, in bars, at festivals and public events.

Shinryo Saeki, Aisatsu, 2009
Aisatsu means “greetings” in Japanese, and the book presents itself quite boldly. The cover and binding of the book is all bright red and white, colors which have a specific meaning In Japanese culture: life and death. This motif is reflected throughout the book, not only through images with strong red and white elements, but also the juxtaposition of images dealing with these themes. Perhaps it’s because he is a monk that he’s able to think so clearly, and at times almost humorously, about these questions. Saeki shows a light, human touch in dealing with these heavy topics.

Tomoko Yoneda, After the Thaw, 2014
This book is comprised of work done while Tomoko Yoneda visited Hungary and Estonia in 2004. Yoneda’s work is based on a fundamental understanding of photography as recording, not only one that is visible in reality, but also what we project through the memory and history. Through the era of long resistance, it played a role in the independence and democratisation and in engineering the collapse of the Soviet Union in the two countries. Behind the serene landscape photographs lurk drama and history. After the Thaw, a critical photo collection, is published in a world situation that continues to shake.

Yoshinobu Uchida, Miki Matsuoka etc., Kyushu, 2015
Zine from three young photographers from Kyushu area (the southern part of Japan). They try to look with fresh eyes on their own land. This is the third edition of this project.

Isamu Sakamoto, Chuko Jazz, 2012
Sakamoto Isamu was born in 1979 in Osaka and is known as one of the most talented photographer of the Japanese mid-generation. Chuku Jazz is published in 66 limited copies. Each book has different handmade covers.

Yoshinaga Masayuki, I’m Sorry, 2013
Because my friends were old-fashioned, anachronistically domineering husbands, their wives have consulted me on many occasions about the unquestioning acceptance of such behavior in old times. As a photographer, I wanted these types of husbands to think more about the perspective of their wives, which is what gave me the idea of photographing quarrel scenes in which the husbands are being dominated by their wives. When considering the characteristics of contemporary society, one thing that constantly stands out is the strength and sagacity of women. I hope these photographs give at least a small taste of the strength and menace conveyed by these women.

Shingo Wakagi, Eiji and Hiro, 2015
Shingo Wakagi is a commercial photographer and a filmmaker. This project is about his childhood friends: Eiji and Hiro. Both are cerebrally handicapped. He took photographs of them just for joy, but Eiji died suddenly from an accident and so the photographer decided to publish this book.

Daido Moriyama, Record No 1-5, 2008
It has been thirty-six years since Moriyama first began with his personal photographic magazine and now the first five issues originally published between 1972 and 1973 have been re-issued through this reprint. Authentically reproduced, with the photographers hallmark, grainy images, the five thin, yet captivating, volumes come handsomely packaged in this edition. A valuable slice of early Moriyama that provides a unique insight into an important phase of his development. Complete Reprint Edition, Publisher: Akio Nagasawa

Itaru Hirama, Last Movement I and II, Itaru Hirama, 2013
Itary Hirama is mostly known for his portraits of musicians and dancers. These two books, published at the same time, show the last performance of Min Tanaka, considered one of Japan’s most important Japanese dancers. Hirama’s contemplative images echo the way that Tanaka’s body movements dialogue with the surrounding landscape, the rocks, the water and the trees.

In-between, issue 1-13 / 2005
For this project, 13 Japanese photographers, created a 14 volume series of groundbreaking photo collections, covering the 25 countries of the EU. Each photographer visited the countries as “in-betweens” linking Japan with Europe between July 2004 and February 2005. While there, they each used their own distinct point of view to capture the various aspects of this difference.

Yusuke Yamatani, Use/Before, 2015
Use/Before is upcoming Japanese photographer Yamatani’s third book. Inspired by polaroid film, Yamatani knew it was not possible to produce perfectly clear images, capturing the fans of his punk band, but he sees the band as being ‘out of time’ like expired film. Limited edition of 100.

Go Itami, This year’s model 01, 2015
Why is the heart moved by this image, what moves the heart? I want to explore the whereabouts of the force that occurs beyond these words.
Reflection, repetition and layers intertwine to embody just a few of the complex visual motifs of the images presented before us in Itami’s publication This Year’s Model. The images are both powerful and private, presenting intimate and intensely detailed worlds, in which the ordinary is transformed into images which are remarkably singular. Limited edition of 800.

Go Itami, Study, 2013
Study is the fifth book by Japanese photographer Go Itami. Although he had already self-published a series of four books under the title Mazime, he thought it was a good chance to let others work with his images. The editor made basic requests and based on these, the designer brought them into shape. The result is an interesting book never seen before, where Itami lists some things in a symbolic way: light, shadow, horizontal and vertical lines, many layers, colours, geometrical patterns, etc. Limited edition of 500.

Yoshinaga Masayuki, Sento, 2012
Sento means “public bath”. Sento has been a very popular custom in Japan and it served as a salon for men to meet and talk to friends. Now it is a less popular custom, as most Japanese people have a bath at home. The photographer used to visit Sento in his hometown, Juso, when he was younger.
Limited to 1000 copies, 5 different covers.

Yoshinori Marui, Yoshinori Marui 2000-2010, 2010
This book consists of 3 photo books: The Map (2000-2005), Along the Coastline-from Cape Kyan to Mabuni (2005-2008) and Collecting Light (2008).
Limited to 200 editions.

Masafumi Sanai, Taisho, 2005
Taisho is a self-publishing house by the photographer Masafumi Sanai. Sanai has been a very popular photographer since 2000 and this is the first book from his publishing house, the cover is hand-scribed by Sanai.

Shuhei Motoyama, Sekai I, 2010
This book features all photographs the photographer took in a five hour period in a park in Okinawa. The format of the book is a popular paperback size in Japan. The 200 black and white images are mostly of abandoned places and houses that have fallen to pieces.

Yumiko Utsu, Out of Ark, 2009
Born in Tokyo in 1978, her saturated, fecund photographs are inspired, at turns, by the natural world, food, sex and Manga. This career-spanning exhibition monograph had been much awaited. In Utsu’s world, the sumptuousness of glossy food photography collides with unsettling and erotic anthropomorphic deviations. Kittens with octopus eyes, priapic carrots, decomposing tomatoes, and parasite-infested dolls walk the line between desire and disgust. Exhibited in Tokyo and London, Out Of Ark is an essential introduction to Utsu’s work that will disturb, amuse, revolt and delight, in equal, or not so equal, measure.

Yosuke Suzuki, Curry and Rice, 2013
This is the first art book by photographer Yosuke Suzuki, who is otherwise known for commercial work. The images are numerous and fragmentary, clearly mapped or mutually mixed-up, strange configurations of Showa retro relics and other knick-knacks.

Wataru Yamamoto, Drawing A Line, 2013
A line stretches out from the woods. Cutting through the wild, chaotic forest, it lures us in from outside the frame – reaching out and pulling us in, in a playful and seductive invite. Formulaic and concise, the work is also witty and poetic. Countless coiled or taunt wires that all lead to the photographer, but if we’re paying close attention, a straight line is never so straight. It always strays, breaks its path, deviates, and meanders off in a new direction – leading us astray.
Limited to 500 editions.

Kiyoshi Suzuki, Hundred Steps and Thousand Stories, 2010
Kiyoshi Suzuki is an important Japanese photographer who passed in 2000. He has been not been well known outside of Japan. This is the catalogue from a small retrospective exhibition from 2010.

Daisuke Nakashima, Each Other, 2008
Daisuke Nakashima published his first book Each Other in 2008, the year following his obtaining of the Canon New Cosmos Prize. This award is now considered one of the gateways into the world of photography in Japan, especially since the emergence in the late 1990s of the informal group of onna no ko shashinka (also called “girly photographers”), who have done a clean sweep of equivalent prizes. Nakashima’s work seems in direct continuity of onna no ko shashinka clichés, both from a technical point of view and from the subjects chosen.

Hiroshi Nomura, Slash, 2010
The images in this photobook are all taken from Google Streetview, from countries such as Spain, Portugal and the U.S. The theme of the book is borders, and the author uses a very thin transparent paper, sometimes printed on the verso. Slash represents Nomura’s exploration within such places, where our perceived privacies and intimacies once private are now unavoidably unrestricted.

Takashi Kuraya, A Glimmer of Light, 2012
The winner of SGMA photo prize 2011. The photographer’s father was handicapped and he both loved and hated his father. He did not confront this problem for a long time but then his father suddenly died. In this book, he traces his father and his life.

Ryudai Takano
How to Contact a Man, 2009
Parapara – Softcream, Toothbrushing, 2009
Parapara – Maria, Toshihisa, 2009
In 2006, Takano received the 31st Kimura Ihei Award for his photo book In My Room. Themed on sexuality, his photographs expose inter-human relationships by depicting the naked body. His works have been featured in numerous exhibitions in Japan and abroad and are included in the collections of the Tokyo Metropolitan Museum of Photography and The Japan Foundation.
All three books were published together, in limited editions of 1000.

Asuka Katagiri, Light Navigation, 2007
Katagiri opens his camera’s shutter to the open sky and distills the essences of light, air and colour into meditative photographs vibrating with gently energy. Capturing sky, air and light as substance and colour, Katagiri creates tangibility from the intangible. Free of any post-production, his work does not demand that the viewer interpret it with signifiers and references, instead, it asks us to stop and contemplate a moment of light.

Kotori Kawashima, Mirai-chan, 2011
A photographic document of a little girl’s first year. So cute and vibrant. As the Japanese expression goes – Kawaii!
This book sold 110,000 copies.

Kotori Kawashima, Myojo, 2014
After the publication of his well received work Mirai-chan Kawashima began his fascination with Taiwan its people and its culture. Over a period of three years, Kawashima made over 30 trips to the country taking more than 7 million photographs during his trips. Within his publication Myojo (Star), Kawashima beautifully captures the people whom he met and those whom he spent time with. The images are soft and tenderly capture each encounter with the individuals and places in which he found himself in, exploring and portraying Taiwan with an approach which is full of nostalgia and familiarity. Kotori received the Kimura Ihei prize for this book.

Patrick Tsai, Modern Times, 2012
Modern Times is a photo book about the wonders of modern China by Patrick Tsai. Tsai was born in NY and moved to Japan after staying in Taiwan and China.

Koji Onaka, Lucky Cat, 2013
Koji Onaka likes to see himself as the king of self-publishing in Japan. He studied with Daido Moriyama at his workshop CAMP. Lucky Cat is a delightful collection of domestic, mostly interior shots of the prosaic and mundane profound. Unfortunately, the question isn’t that simple. Fortunately, we have Onaka to thank for not needing to provide an answer.

Shinoda Yu, Medium, 2015
The winner of SGMA photo prize 2013. Photography for Photography is one of the important theme of the younger generation of Japanese photographers.

Yoshinori Mizutani, Colours, 2015
Mizutani captures everyday scenes, which are nevertheless curious or strange, in vibrantly colored and graphically composed photographs. His second book collects images from the series Colours, which he shot focusing on colour and forms, and posted on Tumblr daily over four years. His style of intently focusing on the surface of his subjects brings various signs of contemporary society to light.

Nobuto Osakabe, Holiday Making, 2015
Whether lounging in city parks or snapping photos at a popular tourist trap, the subjects of Japanese photographer Nobuto Osakabe‘s Holiday Making appear as miniature caricatures bustling across the sprawling scenery. Examining the art of leisure time, Osakabe indirectly highlights key characteristics of Japanese culture and tradition. It is Japan’s population density that allows for larger considerations of contemporary freedom and identity. Despite the daily grind and our desire to ‘just be ourselves,’ Holiday Making hints that, even at play, we are all creatures of a predictable assembly.

Yoshinori Mizutani, Yusurika, 2014
Nature was always part of my childhood. I moved to Tokyo when I was eighteen, and since then I always sought nature. As I observed nature, I came across the buzzer midge, or yusurika in Japanese. Yusurikas inhabit freshwater areas such as rivers and ponds in groups, sometimes forming swarms. Reflecting the flash of the camera, each yusurika turns into a small white ball of light, and transforms into something fantastical, like fairies existing in the natural world.

Koji Takiguchi, Sou, 2014
Sou begins as Takiguchi’s mother-in-law is dying of cancer, and very quickly we are introduced to her husband, whose health and sanity begins to crumble shortly after her death. We then witness a euphoria of love and romance–resulting in the conception and birth of Takiguchi’s son. His beloved cat Ponta dies, followed by a rapid and harrowing decline of his father-in-law’s health and subsequent final passing. Throughout, archival images from the past are laid directly on dried pressed flowers, a fitting metaphor as once verdant and lush, they are now desiccated, but still redolent and beautiful.

Hiroshi Takizawa, Mass, 2015
Hiroshi Takizawa’s Mass is composed of recent photographs that concentrate on new interpretations of materials such as concrete and stone – the materials used to raise buildings.
In his photographs, Takizawa uses them to create new motifs. The photos featured in the book are of many sizes placed on two differently textured types of paper. The pages are separately cut and the size of each page differs from the next, a special kind of bookbinding being applied. As a result, every page of Mass literally has a different mass, visually replicating opening up a new space every time a page is turned.

Eriko Koga, Issan, 2015
Issan by Eriko Koga contains a selection of images taken in and around Mt. Koya over a period of a year. Drawn to the areas of Koyasan, Koga regularly visited the town after participating in an art event called “Happy Maker” in 2009. Taking images during her visits, Koga’s images reflect a personal and intimate portrayal of her encounters.

Photobook Award Encontros da Imagem, Braga


These eight photobooks were selected by the Jury of this year’s 25th edition of the Encontros da Imagem, in Braga, formed by Dieter Neubert, Director of Fotobookfestival Kassel, Moritz Neumüller, Curator of the Photobook Week Aarhus, and Pierre Bressard, director of Éditions Bessard. Some of the works have been published or self-published, others are still dummies. What they all have in common is that they are fresh and daring, visually and conceptually.

Francesco Amorosino, The Rome Guide for Terrorists, 2014
Katarzyna Zolich, Katalog Miejsc Niewidzialnych, 2014
Ben Krewinkel, Looking for M., 2015
Ana Galan, Viv(re) la Vie, 2014
Jordi Daví Martí, Hanami, 2015
Bianca Benisch, Between two Worlds and More than Two Times, 2014
Laura El Tantawy, In the Shadow of the Pyramids, 2014
Hoi Kisyu, Maga Maga, 2015 (Winner of the Prize)

Contemporary Finnish Photobooks


This selection of contemporary Finnish photobooks is selected by independent curator Pirkko Siitari, based in Helsinki. The books are published by different publishers, some self published, and are all monographs.The selection includes publications by Elina Brotherus, Ilkka Halso, Markus Henttonen, Nanna Hänninen, Jaakko Heikkilä, Tiina Itkonen, Rita Jokiranta, Sanna Kannisto, Anni Kinnunen, Raakel Kuukka, Janne Lehtinen, Ville Lenkkeri, Anni Leppälä, Niko Luoma, Susanna Majuri, Marja Pirilä and Marjukka Vainio.

Pirkko Siitari is a former director of Contemporary Art Museum Kiasma (2010-2015) where she also worked as a chief curator (2008-2010). Before Kiasma, she was a director of Kerava Art Museum (2004-2008). In 1999-2004 she worked as a chief curator of Finnish Museum of Photography and in 1989-1999 she was a director of Northern Photographic Center in Oulu.

Jaakko Heikkilä, Silent Talks, 2011
Jaakko Heikkilä has long been interested in the questions of cultural identity and minority communities around the world. In Silent Talks he meets people on the shores of the White Sea, in New York’s Harlem, or on a Brazilian island. Empathy for his subjects appears in his intimate and poetic images.

Markus Henttonen, Silent Night, 2013
In this publication Markus Henttonen photographs urban landscapes and culture, devoid of the people usually occupying these spaces. Markus Henttonen is known for his images of urban life in big cities like New York, Los Angeles, and Barcelona centered on the theme of man’s relationship to his environment. In Silent Night he is photographing urban culture without people, American houses surrounded with Christmas light decorations.

Tiina Itkonen, Avannaa – Photographs of Greenlandic Landscapes, 2014
Tiina Itkonen has been documenting Greenland since the mid 90`s. Over the years she has developed a close relationship to the country and its people. Ecology is an inescapable theme in her work, inviting us to consider the special value of the Arctic region and the local and global ramifications of climate change.

Sanna Kannisto, Fieldwork, 2011
Since 1997 Sanna Kannisto has spent several months per year living alongside with biologists in the rainforests in Peru, Brazil, French Guyana and Costa Rica. Adopting elements of her companions´s scientific methods and concepts, she developed her own form of visual research.

Anni Leppälä, Young Artist of the Year, Tampere Art Museum, 2010
Leppälä ´s images are like fragments trying to find a space for an overview, a familiarity and a closeness that can unite the viewer and the artist.
She says that for her photographs are like fixed points in the process of change and alteration. They open up for observation and they allow the viewer to step closer. One can gather trust and confidence in recognizing something in them, but simultaneously, photographs have another kind of nature – a side turning towards the invisible and the unidentified. What finally becomes recognized can be something “outside” the image, something out of sight – something imperceptible.

Ilkka Halso, Gallery Anhava, 2005
Halso approaches the restoration of nature through the means of technology and science, showing dystopian visions of man’s relationship to nature, and his confidence in technology to solve the problems caused by his own activities.

Niko Luoma, Time Is No Longer an Obstacle, 2012
Luoma’s abstract images are process-based works that are created through the analogue process of exposing a negative to light. Each negative is exposed multiple times, sometimes into the thousands. Light is his material and subject, and his concerns encompass process, repetition and seriality.

Anni Kinnunen, Personal Landscape, 2015
Anni Kinnunen addresses the relationship between man and nature and the influence of the environment on the development of identity. Several of her works are based on performance and on incidents that last for only a moment, which the camera makes visible.

Marjukka Vainio, Light of the Earth, 2006
In Vainio´s photographs of plants, leaves, roots, flowers are viewed as individuals, objects and portraits. Form, colour and structure are the focus and everything unnecessary is eradicated.
Her journey with plants has led Marjukka Vainio to an increasingly sparse and reduced form of expression.

Janne Lehtinen, Where the Earth Ends, 2014
This publication is the result of the Lehtinen’s residency period in France. Lehtinen`s performative images are about his personal, inner landscapes as well as about his relations to specific space.

Raake Kuukka, Letters to a Daughter, 2011
Rachel Kuukka has been working with her personal family histories for years putting herself and her family members into the pictures. With this publication she has moved to the present day when following her daughter growing and looking at her identity, which is both Finnish and African.

Rita Jokiranta, Untitled, 2013
Rita Jokiranta works with moving image, photography, installations, light and sound. This publication documents her works from 2005 to 2013 and is published by the artist. Her art explores the dynamic between image, event and interpretation were reality and dreams are merging.

Nanna Hänninen, Recordings, 2007
The images are of cities, buildings, factories, cemeteries, airports – hectic urban spaces using a mixture of lights in the scenery and a long exposure so that they become almost like short movies. The cityscape images are basically drawings of the artist’s body movements that can be seen on photographic material as rhythmical light lines. The images are divided into different surfaces, the abstraction and the pictorial surface, the human presence and photography as media. The subject and the scenery melt into a single image.

Marja Pirililä, Carried by Light, 2014
By transforming spaces into ”dark rooms” Pirtilä captures the dreamlike reflections of light and the merging of interior and exterior worlds. With the age-old method Pirilä scans the subconscious layers of our environments and mental landscapes.

Ville Lenkkeri, Existence Doubtful, 2014
The third book of Ville Lenkkeri Existence Doubtful consists of pictures from Antarctica and Tierra del Fuego as well as of a text that uses the physical journeys as a frame, but takes side steps to subjects like humanism, colonialism, greed, representation and the potentials of photography. The book celebrates the matters and events of doubtful nature as well as illusions and uncertainties that shake the reality-based world order and save us from the expected, safe and controlled.

Elina Brothers, 12 Years Later – Short Story by Riikka Ala-Harja, 2015
Twelve years ago, photographer Elina Brotherus arrived in Chalon-sur-Saône, France, for an artist residency. Now, she returns to the exact same site in France as a very different person. Looking back at herself those twelve years ago, she is able to reflect on how far she has come and how much has changed. In her photographs, she is confronting both herself in the moment and herself that existed.

Susanna Majuri, Dummy, 2015
Susanna Majuri photographs her female models in a mythical environments, in landscape or under water. In view of her technique she explains: The water is the most remarkable. It carries bodies. Water is color. The shimmer and the deep green. My challenge is to see the reality in a non-traditional light. When I am shooting pictures, I have a premonition that something strange is about to happen.

Fotobook Festival Kassel Dummy Award 2015


375 photobooks from all over the world were entered for the 2015 International Photobook Dummy Award. Fifty of them were chosen for a shortlist of books that have been exhibited at international photo events in Kassel, Dublin, Madrid, Oslo, Paris, Rome, Braga and now are on view in Aarhus. From these 50 titles, 3 winners have been chosen by an international jury of experts at the Fotobookfestival Kassel in June of this year.

FIRST PRIZE
The dummy book Home Instruction Manual entered in the competition by Jan McCullough is a real discovery in 2015. Jan is a photographer from Belfast with a weak spot for manuals, books that tell you how to do things. For this project she searched the internet for tips on how to build your perfect home. After collecting all the tips, Jan rented a house and followed all the instructions given to her. She photographed the end result; a home with a forced personality. Something you can’t say about Jan McCullough, a natural talent to watch out for.
Erik Kessels

SECOND PRIZE
Kumiko Motokis’ White Fang is based on an actual dog fight that took place in Aomori in Northern Japan in early 2014. It moves cleverly between colour and black-and-white imagery: colour for the build-up before the event; black and white for the fight scenes; colour for the brutal outcome. Varying between formal, straight-up portraiture, and Antoine D’Agataesque blurred imagery, along with well-placed inserts on the history of dog fighting in Japan, this book perfectly manages to walk the fine line between the gruesomeness of this ancient and brutal practice and the well-crafted aesthetic of a modern-day photo book.
Curt Holtz, Prestel Publishing

THIRD PRIZE
Oliver Blobel’s Amateure, on German amateur camera clubs is both a funny and illuminating body of work. Taking a subject matter that I have never seen explored before , he shows the club outings, the print competitions being judged and studio sessions of these camera enthusiasts. This is photography at it’s best, where an apparently boring subject is turned into a hilarious and yet very dry set of photos.
Martin Parr

Christoph Bangert (DE), Hello Camel
Mary Ellen Bartley (US), Reading Robert Wilson
Uwe Bedenbecker (DE), Dialectics of Nature
Diogo Bento & Jorge Almeida (PT), Journey [1]
Oliver Blobel (DE), Amateure – Liebhaber der Fotografie
Julia Borissova (RU), Address
Federico Ciamei (IT), Travel Without Moving
Matthew Connors (US), General Assembly
Marian Coppieters (BE), While Your Heart Sleeps In Your Chest, My Sleeve Is Pounding Loud
Mauro Corinti (IT), Rhapsody
Annelies de Mey (BE), One Eye Two Legs No Journey
Sigrid Ehemann (DE), I Want Pink. The Perfect Manual to Sakura
Max Eicke (DE), Dominas
Kathrin Esser (DE), Strömby
Yoshikatsu Fujii (JP), Incipient Strangers
Baptiste Giroudon (FR), Study on the Nature of a Variable Geometry
Aras Gökten (DE), Arkanum
Alexander Hagmann (DE), Korpus
Lucy Helton (GB), Actions of Consequence
Thomas Locke Hobbs (US), I Know At a Glance
Jannis Keil (DE), Wie Weissrussland nur besser
Karina-Sirkku Kurz (DE), Ungleichgewicht
Lucy Levene (GB), The Spaghetti Tree
Aisling McCoy (IE), The Radiant City
Jan McCullough (GB), Home Instruction Manual
Eldad Menuchin (IL), Concrete
Philipp Meuser (DE), Kadosh
Kumiko Motoki (JP), White Fang
Steven Nestor (IE), Bellum Et Pax
Civan Özkanoglu (DE), Was In Person
Louie Palu (CA), Guantanamo Operational Security Review
Irina Popova (NL), Bijlmer: Atlas of People and Birds
Lena-Franziska Posch (DE), Modern Superheroes
Constance Proux & Philippine Proux (BE), Akkar
Caio Reisewitz (BR), Altamira
Lea Ricking (DE), Schwester Eva Maria / Marianne
Paula Roush (GB), Nothing to Undo
Miti Ruangkritya (TH), Politics no. 3
Daniel Rupp (DE), Elisabeth
David Schikora (DE), Autolose Reifen in der Ukraine
Thea Schneider (DE), E38-15 Tagebuch einer Expedition
Juli Sing (DE), Something Is There, At Least in a Mathematical Sense
Frank Sperling (DE), Wolfsmühle
Jannike Stelling (DE), Mormor
Reka Szent-Ivanyi (HU), There’s Nothing Wrong with That
Lorenzo Tricoli (IT), Le Avventure de Pinocchio
Kristin Trüb (DE), Letzte Generation Ost
Kathrin Tschirner (DE), Kurfürstenstraße
Margot Wallard (SE), Natten
Graeme Williams (ZA), The Europeans

Photobook and Artists’ Books


The Nordic Dummy Awards was launched in 2012 by Fotogalleriet and the Norwegian Association of Fine Art Photographers (FFF) and takes place annually in connection with Fotobokfestival Oslo. Artists from the Nordic countries can submit their unpublished photobooks to be judged by a jury that shortlists candidates and selects the winner. The jury for 2015 consisted of: Anna-Kaisa Rastenberger (curator, The Finnish Museum of Photography, Helsinki), Mette Sandbye (Head of the Department of Arts and Cultural Studies, University of Copenhagen), Marie Sjøvold (photographer), and Tony Cederteg (editor of Libraryman).

The winner of the Nordic Dummy Award 2015 was the photobook “Ungleichgewicht” by Karina-Surkku Kurz (FI/DE). The jury announcement was presented by Marie Sjøvold at Fotogalleriet at the opening of Fotobokfestival Oslo on September 11th. As the winning book, “Ungleichgewicht”, will be published by Kehrer Verlag in collaboration with Fotogalleriet and launched at the Fotobokfestival Oslo 2016.

Karina-Sirkku Kurz – Ungleichgewicht (FI/DE) – Winner
List of finalists
Gard Aukrust – Fjella (NO)
Nadja Bournonville – Blindfell (SE)
Tine Bek – Barok (DK)
Helga Härenstam – Sunshine & Shadow (SE)
Anni Hanen – Just Small Hiccups (FI)
Jóhannes Kjartansson – Rånebiler (IS/NO)
Anni Leppäla – Untitled (FI)
Anna Niskanen – Lustrum (FI)
Kaisa Rautaheimo – Good Boy (FI)
Johan Willner – Wind Upon the Face of Waters (SE)

Come & Enjoy 

A Library Within A Library

Publishers & Booksellers


Galleri Image is a non-commercial exhibition space which aims to promote high quality photo based art by showing Danish and international photography and video. Founded in 1977, the gallery is the longest running non-profit exhibition space for photographic art in Scandinavia, and for many years was the only photo art gallery in Denmark. Over the past 38 years, Galleri Image has achieved an international reputation for its exhibitions and has contributed considerably to the recognition and understanding of photography as an independent medium of its own right in the world of visual art. Based in Aarhus, Denmark, the gallery regularly hosts talks, discussions, seminars, workshops, and guided exhibition tours. Galleri Image also operates as publisher for books, photobooks, and catalogues dedicated to lens-based art forms.

SPACE POETRY exists since the early 1980s, when Jesper Fabricius, Claus Egemose, Jesper Rasmussen, and Joergen Brandt Birman published “Kontainer”, a catalogue with photos from an exhibition they had made in 1979. Since then, more than 300 titles, including the collaborative magazine Pist Protta and Kunsthæfte have been released.

Banja Rathnov Galleri & Kunsthandel presents a respectable selection of Danish and international photography and art books, both new and used, hand-picked by Banja Rathnov, the artistic director and curator of the Museumsbygningen in Copenhagen.

ARCHITEGN at AAA is a bookstore that specialises in books and journals on architecture, graphic design and industrial design from Danish and foreign publishers. Carrying more than 4000 titles on the shelves, this book seller is a landmark within its field.

Archipelaget is a new collaborative project led by Det Jyske Kunstakademi and the Aarhus School of Architecture for publishing of small and accessible books on Architecture and Art.

Det Jyske Kunstakademi is an institution of higher education, offering a 5-year educational programme in contemporary art, which is not divided into separate media specific departments. The academy is in a lively dialogue with the international contemporary art scene, and boasts both an exhibition space and a publishing house.

Antipyrine is an independent publishing project started in 2013 by editor/curator Mathias Kokholm. They specialise in publishing works of art, literature and theory, economics, technology, vandalism, publishing as medium and practice, schizophrenia, science fiction and conceptual poetry. Antipyrine is an open concept of collective work and research, based on a backlist of complex and polemical titles formulating visions of the present. Antipyrine organises seminars, workshops and exhibitions, runs a bookstore in Kunsthal Aarhus and publishes the magazine Monsieur Antipyrine edited by artist Jørgen Michaelsen, art-historian Mikkel Bolt, author Mikkel Thykier, and artist Claus Handberg.

KATALOG – Journal Of Photography & Video spans more than 25 years of publication and worldwide distribution. The magazine is now independent and published biannually. With a distinctly Scandinavian/Nordic viewpoint, its expert multi-lingual research and English commentary, the magazine is an unrivalled source of education and reference, providing a powerful tool for scholars, researchers, and creative artists. All back issues have been fully indexed and the 96 pages of each issue feature thematic articles, interviews, presentations of artists, as well as reviews of exhibitions and books.

The Library Project, Dublin, is a library, bookshop and gallery dedicated to photography and visual culture, with unique and contemporary publications from all over the world and holding over 1000 items from 200 publishers worldwide. Initiated in 2011 by Claudi Nir and Ángel Luis González Fernández, the Library Project sets out to offer the public an on-going collection of the latest photobooks, magazines and zines, produced by independent publishing companies, well-established publishing houses and self publishers.

bt:st verlag is an independent publisher, from Kiel, Germany. Founded by photographers Angelika and Andreas Oetker-Kast, they publish their own projects as well as titles by other artists.

 

Photobook Week
Aarhus 2015
08—10 Oct

Aarhus School of Architecture, Nørreport 20, Aarhus, Denmark.
10am—7pm daily.
info@photobookweek.org

 

Kindly supported by:

Aarhus Kommune
Österreichische Botschaft
Handelsgartner Harry Opstrups Fond
Nationalbankens Jubilæumsfond
Realdania


 

Curatorial team:
Beate Cegielska, Director of Galleri Image, Aarhus
Anne Elisabeth Toft, Associated Professor, PhD in Architecture and Photography, Aarhus
Moritz Neumüller, Independent Curator, Barcelona
Jesper Rasmussen, Artist, Head of Det Jyske Kunstakademi, Aarhus
Claus Peder Pedersen, Head of Research, PhD and Photographer, Aarhus
Exhibitions Architecture and Design:
Karen Kjærgaard, Aarhus School of Architecture, Aarhus
Ángel Luis González Fernández, PhotoIreland, Dublin

Coordination:
Cathrine Gamst, Aarhus
Arcangela Regis, Barcelona