Poisoned by men in need of some love. Petrit Halilaj. Motto Books, WIELS.

Published on the occasion of the solo exhibition of Petrit Halilaj, Poisoned by men in need of some love, organised by WIELS Contemporary Art Centre, Brussels (September 7, 2013-January 5, 2014), and curated by Elena Filipovic.

“Introduction:

Museum of Natural History Pristina
1951-2001

The pages that follow reproduce almost the entire contents of the archives of the now-defunct Museum of Natural History, Pristina, as found by Petrit Halilaj in July 2013.”

24.80 €

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Glacial Jubilé. Estelle Hanania. Shelter Press.

Customs and traditions: The originality of Estelle Hanania’s photographic work appears in the fact that it focuses on the European vernacular rites in a very unique way. Unlike the anthropologist or pure documentarist, she doesn’t try neither to understand nor to decode the mystery of those rites, letting them pass trough her camera.

The first monograph dedicated to the work of Estelle Hanania, Glacial Jubilé features six sets of photographs taken in Switzerland, Bulgaria, the Basque Country, Italy and Austria between 2006 and 2011.

Price: D €45

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Carpark  #6.

Featuring work by:

Hisham Akira Bharoocha, Sarah Maurer, David Richardson, Jan Håkon Robson, Maya Rochat featuring Aurélien Ballif, Mathias Sterner, Synchrodogs, Constantine Tsapaliras, Logan White, Mario Zoots

116 pages.

Price: D €15

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Jay Z (poster). Ari Marcopoulos. Dashwood Books
Edition of 150

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Sometimes I cannot smile, Piergiorgio Casotti.

Part of Casotti’s “Arctic Spleen project”, Sometimes I Cannot Smile is documentation on the problem of teen suicide in East Greenland. The book is a personal, intimate journey inside the Greenlandic juvenile world where nature, violence, boredom and a strong cultural legacy have been claiming for decades the highest and saddest “toll”. That of hundreds of young lives.

Hardcover, 168 pages.

Price: €37

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Camera Austria #123

Featuring:

Eric Baudelaire
Phil Collins
Jo Ratcliffe
Adam Broomberg & Oliver Chanarin
Kolumne / Column
Kaelen Wilson-Goldie
Nataša Ilić
Rory Bester
Adi Ophir
T.J. Demos

English / German

Price: €16

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Scampia is a neighborhood in the outskirts of Naples and is mainly known as a stronghold of the Camorra mafia. Most stories about Scampia deal with gangsters or junkies.
In “ma almeno ci sei tu amore mio” (but at least you are here my love) I show the everyday life of those, who don’t have anything to do with all this. It’s a tough reality for them: Finding work is an almost impossible task, many of the flats are contaminated with asbestos and it’s hard to convince the own children of the fact that it’s not cool to work for the mafia.
In such a rough environment havens – even only mental ones – have a special significance. Religion and music play an important role, but love seems to be more meaningful than anything else. At least this is what the writings on the walls of this neighborhood testify, and which are the leitmotiv of this book.

Language: Italiano – English – Deutsch
Size: 21 × 15
Binding: Softcover

Price: €18.00
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Three 24-page zines housed in an A5 document wallet
One-colour riso on 80gsm Cyclus Offset

Published by Loose Joints / LJ001
Printed in the UK by Hato Press
First Edition
March 2013
100 Copies

7.50 €

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Cross Over – Fotografie der Wissenschaft + Wissenschaft der Fotografie. Christin Müller (Ed.). Spector Books.

Mit Texten von / with texts by Michel Frizot und Christoph Hoffmann und Kelley Wilder.

Wissenschaftliche Bilder faszinieren, weil sie Dinge und Vorgänge zeigen, die dem menschlichen Auge verborgen bleiben: Immer tiefer kann man in Mikro- und Makrokosmos eintauchen und diese in Bildern fixieren. Dient die Fotografie in der Wissenschaft daher hauptsächlich als Sehhilfe der Forschenden oder geht ihre Rolle weit darüber hinaus? Seit der Erfindung der Fotografie in den 1830er Jahren resultieren aus der wissenschaftlichen Praxis stetig neue Ansprüche an Visualisierungen und damit auch eine unablässige Ausweitung der Möglichkeiten des Mediums. Dadurch entstehen Bilder mit völlig anderen Prämissen als in der Dokumentar-, Werbe- oder Kunstfotografie. Was aber macht das delikate Verhältnis zwischen Fotografie und Wissenschaft aus? Was für Bilder entstehen dabei und wie lassen sich diese Aufnahmen lesen?

Scientific images are fascinating, because they reveal things and processes that remain hidden to the human eye. It has become possible to delve ever deeper into micro- and macrocosms and capture these worlds in images. In science does photography primarily serve as the visual aid of the researcher, or does is play a much larger role? Since the invention of photography in the 1830s new demands have been placed on the capacities of the medium as a result of developing scientific practices, which have led to the continuous fine-tuning of the possibilities of the photograph. Science thus produces images based on utterly different premises than those of documentary, advertising, or artistic photography. What defines the delicate relationship between photography and science? What photographs result, and how can they be interpreted?

Mit Werken u.a. von Anna Atkins, Auguste-Adolphe Bertsch, Hans Danuser, Liz Deschenes, Marion Denis, Harold Edgerton, Léon Foucault, Thomas Freiler, Bernhard Gardi, Raphael Hefti, Jules Janssen, Irène Joliot-Curie, Markus Krottendorfer, Albert Londe, Aïm Deüelle Lüski, Maschinensehen (Henning Arnecke, Lisa Bergmann, Christoph Oeschger, Elke Reinhuber), Melanie Matthieu, Aurélie Pétrel, Rodolphe Archibald Reiss, Hannes Rickli, Thomas Ruff, Adrian Sauer, Laurent Schmid, Sarah Schönfeld und Simon Starling.

Die Publikation erscheint anlässlich der gleichnamigen Ausstellung im Fotomuseum Winterthur (7.9. bis 17.11.2013).

25.50 €

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Punk’s Dead. Simon Barker, Six. Divus.

In 1976, when I moved into the St. James Hotel in London, I bought myself one of the cheapest pocket cameras available. Fully automatic, with no controls or settings, it just required a simple slot-in film cartridge. An idiot could use it – and I did.
I knew I didn’t want to be like other photographers, so I chose never to take a black and white photograph or focus the camera. Subconsciously I concentrated on the women and artists at the heart of what would later be known as ‘punk’ in London.
Women such as JORDAN, SIOUXSIE, DEBBIE JUVENILE, TRACIE O’KEEFE, ARI UP, POLY STYRENE and NICO
Artists and writers such as MALCOLM MCLAREN, HELEN WELLINGTON-LLOYD aka HELEN OF TROY, BERTIE MARSHALL aka BERLIN and DEREK JARMAN.
The book PUNK’S DEAD is a product of that camera and those times – my family album covering the years 1976 to 78. The photos you see in it were all unplanned, spur of the moment shots taken by myself for myself and, up until now, with never a thought given to publication. In over thirty years, they have only been seen by a handful of close friends. I used to think they weren’t good enough to show people. Now I think they are almost too good.
-SIX aka SIMON BARKER

Text: Michael Bracewell, Damo Suzuki, Peter Tatchell, Michael Clark, Holly Woodlawn, Greil Marcus, Camila Batmanghelidjh| Design: Blanka Brixová a Simon Barker
152 pages of rare photographs and text on fine paper in hardback with sticker on cover
Size: 22 x 27 x 2 cm|
Year: 2011
ISBN: 978-80-86450-65-0||

34 €
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