New Items

“Flashing Lane documents the stretch of road in Appleby where every year, Irish travellers race and show their horses during the Horse Fair. This historical event, that takes place in June since 1685, is one of Europe’s biggest and crucial gathering points for the Romani and Traveller communities from all over Europe, the UK. For the photographers Kira Bunse and Eleonora Gustapane, the series becomes a terrain of identity-based anthropological exploration, a way to investigate the culture, the coming of age and the value system within a traditionally nomadic society. Focusing on their individual dress code, distinctive hairstyles and peculiar physiognomy, the visual dialogue is punctuated by assonances and dissonances, creating a continuous interplay between the human, the animal and the folklore.”

Sujet peu répandu dans le paysage éditorial, Collectionner les tombes présente une précieuse archive photographique sur l’art funéraire du XIXème siècle à nos jours. L’ouvrage puise dans le fonds d’images de cimetières de l’artiste et collectionneur André Chabot. Depuis une cinquantaine d’années, ce dernier dresse un inventaire méticuleux de tombes, sculptures, chapelles sépulcrales et autres catacombes, photographiées dans plus de soixante-dix pays.
Sur le postulat du photographe, « l’art funéraire, c’est du passé », et à l’heure où cette forme esthétique est en voie de disparition, les éditions Païen invitent à arpenter ce livre comme on déambulerait dans les allées d’un cimetière afin d’en recueillir les derniers témoignages.
Collectionner les tombes est une invitation à la découverte d’une «vaste nécropole mondiale où l’on pourra s’attarder devant les tombes les plus humbles et les plus émouvantes comme devant les mausolées les plus grandioses et les plus spectaculaires».

Sous Arles gît une immense nécropole antique dont l’actuel monument « Les Alyscamps » se propose d’être la façade.
L’édition Duplex Arelas s’extrait volontairement de toutes images des Alyscamps pour explorer les zones en marge de cette vitrine antique.
À la manière d’un tombeau qu’on exhume, d’un casier d’archives qu’on ouvre et referme, la surface vide des pages dissimulent dans leur plis une longue frise d’images. Elles présentent des réminiscences de la nécropole dans leur contexte contemporain, cherchant des occurrences où la ville des morts affleure à la surface des vivants.26 x 15 cm

The Book is part of a public art project in a school. Gathering 696 digital collages using the children’s drawings as source material. 9 works are translated into ceramic wall pieces that are mounted in the hallways .

Turbo Magazine #56

Since 2017 we photograph the transformation of cities. »These specify some of the unique features of these cities as well as comparable structural elements that they share, which act, for the most part, as catalysts for revolutionary urbanistic developments.«

Observing and documenting the transformations of the landscape, the process of the construction-sites the project deals with the following questions: Can major events like the Olympic Games be accelerators of such urban changes, how much do they contribute to further changing the understanding of private and public space? Do ideas of coming together, exchange, sporting competition still play a central role or are the stadiums, arenas and pavilions just some more ruins of the future?

On 8 December 2018, in residence in Paris, Katja Stuke and Oliver Sieber were confronted with one of the first ‘acts’ of the gilets jaunes movement. From a distance, without taking sides, but without remaining indifferent, they observed how this conflict became part of the city‘s narrative. This walk, of 113 photographs, guides them from the rue de Rivoli to the Louvre, from the Madeleine to the Gare Saint-Lazare, from the Boulevard Haussmann to the Place de la République, and depicts nothing less, nothing more than six hours of protest – one act – of a social drama.

Book with 192 stills of a 3.2 seconds film clip of Haku Shimasaki performing a Cab Double 1080˚. In October 2022 Ari Marcopoulos went to Saas-Fee in Switzerland to work on his short film Butter. The film was shot on the glacier where a halfpipe was made for professional snowboarders to kick off their competitive season. After finishing the film Ari asked a group of snowboarders to send him their favourite clips of tricks which resulted in another film: Black Snow. He had desaturated and inverted the clips so the stills looked like black-and-white negatives, connecting the relatively new technique of multi-channel video to the beginnings of photography. In this process the clip by Haku Shimasaki stood out and has been made into this publication.  With text by Canon Georges LeMaire, Lucy Raven, and Ari Marcopoulos. Design: Roger Willems. Edition of 300 copies in a box with a risograph, signed and numbered by Ari Marcopoulos.

In the south of Iceland is Landbrot, whose geologic particulars present a unique landscape. It is a place closer to fairy tales than to science, indeed a place easy to imagine as the singular source of fairies and elves worldwide. It is easy, too, to imagine the sensual comfort and satisfaction to be found there. Mother, Wonder is the eleventh book in Horn’s ongoing series “To Place,” which she initiated in 1989 and exists only in book form. All the volumes focus on Iceland and the evolving experiences of the artist there; together they form a flowing dialogue addressing the relationship between identity and place. The titles to date in the coveted “To Place” encyclopedia are Bluff Life (1990), Folds (1991), Lava (1992), Pooling Waters (1994), Verne’s Journey (1995), Haraldsdóttir (1996), Arctic Circles (1998), Becoming a Landscape (2001), Doubt Box (2006) and Haraldsdóttir, Part Two (2011).

The inte­ri­or of Koba De Meut­ter’s home con­sists of sculp­tu­res. Sur­roun­ded by this gro­wing col­lec­ti­on of particular fur­ni­tu­re, Koba has spent the last few years dra­wing fic­ti­o­nal people. These peo­p­le now inhabit a book, publis­hed by INFINITIF.

Flanders, the early 1990s. The number of fatal victims of road traffic accidents connected to nightlife is at its peak. Emergency physician Dr. Beaucourt prepares a slideshow and tours secondary schools on a mission. He seeks to highlight the risks and shows harrowing, brutal images of victims. These images become part of the collective memory of a generation. This publication revisits that presentation. The only original elements here are the photos, which are depicted in slide format. The order of each image is determined by the chronology of events connected to a crash. The numerical code under each image refers to the location where it was found in the original archive.

In banana boxes, Maxime Le Bon collects and stores a lot of documents in a jumble. Most of them are printed, cut out from newspapers, magazines, old publications, erratas, other fragments of texts and photographs. Added to this are drawings that he improvises – some of them torn or stained that he don’t want to display or throw away. This collection of heterogeneous items is then being rearranged and slipped into plastic pockets where he stores them. Unstable and in constant change, this improbable archive grows with the years. It sedimented layers of experiences and constitutes this heterogeneous deposit from which can emerge all sorts of fragmentary narratives and accidental arrangements. The publication ZILCH brings together a selection of A4 photocopies made by the artist from this extensive archive.

« Good Luck » is the second book of a trilogy that started with « Good Morning », published in 2021.

As written in the subtitles; some drawings, and a story. Common things. Drawings as memories and memories as flashes adhered to images. Things that happen, with neither significance nor lasting as long as it takes a ship to cross a bridge or a cloud to block the sun’s rays.