"Considering their practice within the art world addresses the issue of how art is (re)presented or how art can be seen, I asked Yves Gevaert,Tom Engels, Raimundas Malašauskas, Kasper Bosmans, Felipe Dmab, Dirk Snauwaert, Olivier Vandervliet, Bas Hendrikx and HC (Friedemann Heckel & Lukas Müller) in this second series of the portraits. The profile of these men is very diverse. They work as publisher, curator, critic, gallerist, or artist, thus each of them is dealing in a different and sometimes personal way within the system of the art world. 

The portrayed are sitting in front of a black velour background, a light absorbing surface. High-quality equipment and professional lighting, bring life to the smallest detail in the razor-sharp photographs. The portrait series expresses the objectification of and the fascination for the other, two aspects that are historically linked with portrait photography."

Skies is a practice that emerged when Edurne Rubio and María Jerez found themselves working in isolation during the creation process of their performance A Nublo in 2020. A dialogue in pictures capturing the skies above Madrid, Brussels and many other places, it is now a book and document of a particular time that invites others to reminisce as they read the clouds and ponder invisible worlds that haunt the aether. It comes with an essay by Augusto Corrieri on theatre and cosmos.

Edurne Rubio is a visual artist. Her work leans towards the documentary and starts out from orality and storytelling. 

María Jerez creates work at the intersection of choreo graphy, film and visual art. With her work, she wants to open up spaces of possibility through the encounter with what is foreign to us.

www.edurnerubio.org
www.mariajerez.com

Published by Varamo Press in the essay series Gestures
First edition October 2022
200 pages, 11 x 16.5 cm, sewn perfect binding
ISBN: 978-82-691492-6-5
Graphic design by Michaël Bussaer

A collection of photographs from the archives of the icon of underground and alternative Parisian nights Dora Diamant.

A self-taught photographer, Dora Diamant has left thousands of photos. The Dora Diamant Association, custodian of this archive, and Éditions L'Amazone have joined forces to bring them to life by devoting a series of publications to them. Each volume of the Dora Diamant Archive was created by a different person and is the result of a subjective selection and arrangement specific to its author.

Photos: Dora Diamant
Sélection: Sonia DeVille
Dessin: Marilou Chabert
Edité par Archive Dora Diamant, Paris & Editions l'Amazone, Bruxelles, 2022
1ère édition - 300 exemplaires
Format 18 x 26 cm - 30 pages
Papier Magno Gloss 150g - couverture 300g

A collection of photographs from the archives of the icon of underground and alternative Parisian nights Dora Diamant.

A self-taught photographer, Dora Diamant has left thousands of photos. The Dora Diamant Association, custodian of this archive, and Éditions L'Amazone have joined forces to bring them to life by devoting a series of publications to them. Each volume of the Dora Diamant Archive was created by a different person and is the result of a subjective selection and arrangement specific to its author.

Photos: Dora Diamant
Sélection & dessin: Apollo Thomas
Edité par Archive Dora Diamant, Paris & Editions l'Amazone, Bruxelles, 2022
1ère édition - 300 exemplaires
Format 18 x 26 cm - 60 pages
Papier Magno Gloss 150g - couverture 300g

A collection of photographs from the archives of the icon of underground and alternative Parisian nights Dora Diamant.

A self-taught photographer, Dora Diamant has left thousands of photos. The Dora Diamant Association, custodian of this archive, and Éditions L'Amazone have joined forces to bring them to life by devoting a series of publications to them. Each volume of the Dora Diamant Archive was created by a different person and is the result of a subjective selection and arrangement specific to its author.

Photos: Dora Diamant
Sélection: Carlotta & Valentine Bailly-Borg
Dessins: Carlotta Bailly-Borg
Edité par Archive Dora Diamant, Paris & Editions l'Amazone, Bruxelles, 2022
1ère édition - 300 exemplaires
Format 18 x 26 cm - 64 pages
Papier Magno Gloss 150g - couverture 300g

A collection of photographs from the archives of the icon of underground and alternative Parisian nights Dora Diamant.

A self-taught photographer, Dora Diamant has left thousands of photos. The Dora Diamant Association, custodian of this archive, and Éditions L'Amazone have joined forces to bring them to life by devoting a series of publications to them. Each volume of the Dora Diamant Archive was created by a different person and is the result of a subjective selection and arrangement specific to its author.

Photos: Dora Diamant
Sélection: Antoine Trapp
Texte: Clara Pacotte
Edité par Archive Dora Diamant, Paris & Editions l'Amazone, Bruxelles, 2022
1ère édition - 300 exemplaires
Format 18 x 26 cm - 64 pages
Papier Magno Gloss 150g - couverture 300g

This publication is based on a project by Despina Vassiliadou that ran from 2015-16. It presents a collection of photographs taken during the period, accompanied by fictional short stories.

In 2014, Hurth encountered four boxes of cyanotype prints by Thomas W. Smillie, the first custodian and curator of the Smithsonian Institution’s collection of photography (active 1868 to 1917). In her new work Stutters, Hurth builds on several years’ research to rework the original cyanotypes into visual montage, sequencing images that provide a record of Museum life as it documents a ‘national’ collection in the making. The work presents photographs of empty display cabinets and staged objects within the Smithsonian’s holdings, following divergent threads of photographic history, exhibitionship and collection-making, as well as developments in various technological apparatuses across the late 19th and early 20th century.

Through a meticulous process of xerox and printing reproduction, Hurth enlarges the world of each image and traces a photographic lineage, a process itself indebted to the cyanotype. Two overlapping sets of captions from the artist offer a subjective and scientific view of the photographs, inviting a cross-referencing of the “official”, if incomplete, bibliographic record with one that moves more freely across a historical timeline as a way to reflect on gaps in the archive.

Stutters includes three new texts, with Hurth considering the book’s entwined interests, as well as her own personal history with the Smithsonian and the work of Smillie. Additional contributions by authors and curators Ruth Noack and Kari Conte consider the ways in which artists’ projects like Stutters can quietly break apart the violent taxonomy of an archive, and instead use this shifting fragmentation to envision new meaning and bring into focus voices that have been excluded from history.

Dominique Hurth Born in France (1985), Dominique Hurth is a visual artist working with sculpture and installation, and within the relationship between sculptural matter and printed matter. Even though her installations are often concentrated on the form, a long and detailed research is strongly embedded in the development of this same form. It is by ways of archival research, journalistic investigation, writing and material experiments that the works develop, and it is by way of editing that the installation operates in the exhibition space. Her work was exhibited in several museums, galleries and institutions internationally (a.o. Palais de Tokyo, Paris; Hamburger Bahnhof, Berlin; Fundacio Tapies, Barcelona; Memorial of Ravensbrück, Fürstenberg/Havel; Württembergischer Kunstverein, Stuttgart) and is part of several collections. She is the recipient of several awards and residencies such as the Pollock-Krasner Foundation Grant (2016-17) and Prize of the Berliner Senate / Governing Mayor of Berlin at ISCP, New York (2014).

“In selecting the photographs for this publication, Lisa Spilliaert (b. 1990) was adamant that the image of a sunrise should be among the first in her book. It is, indeed, an emblematic image. For anyone with a camera, such a splendid sunrise is an irresistible trope: a visual motif that simply begs to be captured and fixed on film. In reality, however, the magic of this scene resides in the fleeting, subtle changes in colours and vibrations. This is the dynamic that captivates us.

Photography is usually understood as a technique for ‘stopping’ the flow of time. But as Spilliaert here demonstrates, the impact of photography can also be used to manifest an awareness of time and transience. By accentuating the photographer’s fixed position vis-à-vis the endlessly changing light source, Spilliaert evokes a correlation between stasis and movement, between the cosmic and the mundane. This duality is echoed again in the confrontation of the two equivalent silhouettes: that of the photographer and of his alias or ‘partner’: a life-size technical camera.” — From ‘Time and Tide’ Edwin Carels

Fieldnotes is a biannual print journal publishing new writing and artworks with a focus on practices that work between disciplines and against type. There is always a third thing between two things that are known; we are interested in whatever there is between translations/transitions, things-in-progress, converging genres, methods of excavation and formal innovation. The purpose of the journal is to provide a test site for ideas and research; a space for experimental modes and new prototypes. 

The third issue of FIELDNOTES contains new work by:

CAConrad & George Finlay Ramsay 
Charlie Hawksfield 
Yvonne 
Angus McCrum 
Peter Gizzi 
McKenzie Wark 
Kate Paul 
Michelle Williams Gamaker 
Georges Bataille & Rachelle Rahmé 
Declan Wiffen 
Rosa Barba 
Travis Jeppesen 
Robert Glück & Arnold Kemp 
Cecilia Pavón & Jacob Steinberg 
George Lynch 
Yuhan Shen

Caravaggio’s Head of Medusa, 1596/97, painted in two versions, not only reflects light but is a painted reflection. Similarly, these photographs are all reflections in plate glass mirror. They document a relation in the present without content.

First edition of 50

A quarterly print journal publishing new writing and artworks with a focus on practices that work between disciplines and against type. There is always a third thing between two things that are known; we are interested in whatever there is between translations/transitions, things-in-progress, converging genres, methods of excavation and formal innovation. The purpose of the journal is to provide a test site for ideas and research; a space for experimental modes and new prototypes.

The second issue of Fieldnotes contains new work by:

Apichatpong Weerasethakul
Steve Dutton
Liesl Ujvary
Akio Yuguchi
Evan Lavender-Smith
Dodie Bellamy
Paul Maheke & Giles Bailey
Yan Jun
Emily Charlton
Ed Atkins
Sam Buchan-Watts
Elizabeth Price
Mary Mussman
Carolyn Ferrucci
Hanne Lippard
Charlie Godet Thomas
Hannah Regel

"Having a party (hope you will be there)", is a catalogue of an exhibition organized by Mickael Marman and D&TLG at CFAlive in Milan with artists from the black European diaspora, including original contributions, photos of the show, as well as a brand new intro text by Olamiju Fajemisin.

At turns humorous and absurd, heartfelt and searching, Photo No-Nos is for photographers of all levels wishing to avoid easy metaphors and to sharpen their visual communication skills. 

Photographers often have unwritten lists of subjects they tell themselves not to shoot--things that are cliché, exploitative, derivative, sometimes even arbitrary. Photo No-Nos features ideas, stories, and anecdotes from many of the world's most talented photographers and photography professionals, along with an encyclopedic list of more than a thousand taboo subjects compiled from and with pictures by contributors.  

Not a strict guide, but a series of meditations on "bad" pictures, Photo No-Nos covers a wide range of topics, from sunsets and roses to issues of colonialism, stereotypes, and social responsibility. At a time when societies are reckoning with what and how to communicate through media and who has the right to do so, this book is a timely and thoughtful resource on what photographers consider to be off-limits, and how they have contended with their own self-imposed rules without being paralyzed by them.

BILL 3 a special archival issue, features unpublished Martin Margiela lookbook photographs, a horse, street style from the 90’s, vases of Japan, a silver story, a flash forward and back, tennis, an icecube tray, more Margiela, Hysteric Glamour and a bunch of frivilous images.

The stories are sourced from the book collections of RareBooksParis and Julie Peeters.

Printed in 2020, bound in 2021.

fanta for the ghosts by Elisabeth Molin

2021, English
46 pages, 120mm x 210mm
edition of 500

Co-published with OneThousandBooks and Elisabeth Molin

The racist term "play-white" comes from the apartheid era, when it connoted a black or mixed race person who lived as a white person: “So and so is a play-white.” South African artist Bianca Baldi draws from studies of biomimicry and her own family history, as well as literary precedents—such as Nella Larsen’s novel Passing (1929)—to reflect on racial passing and the instability of racial identities. Play-White alternates between layers of visualization and moments of discretion in order to explore questions of presence and evasion beyond their representation in black and white.

With contributions by Bianca Baldi, Mika Conradie, Shoniqua Roach, Amy Watson, and others; design by Katharina Tauer & Wolfgang Hückel in collaboration with K. Verlag.

Published 2021

Gayatri Chakravorty Spivak's landmark essay in decolonial thought is animated for a new generation with art by Estefanía Peñafiel Loaiza.

In 1985 Gayatri Chakravorty Spivak's seminal essay, 'Can the Subaltern Speak' transformed the analysis of colonialism. In a deeply divided world Spivak's text interrogated the historical and ideological factors that, by obstructing the potential for certain subjects to be heard, maintained the degraded status of those subjects on the world's peripheries. The text remains, in the third decade of the twenty-first century, as compelling as ever, and affirms the continuing relevance of Marxism to contemporary decolonial thought.

In this Afterall Two Works edition, the essay is given new life in dialogue with especially commissioned artwork by Ecuadorian artist Estefanía Peñafiel Loaiza. Loaiza's preoccupation with questions of visibility and occlusion, the need for and absence of the image, has guide the creation of a mesmerising set of works. These form a visual vocabulary that echoes and refracts Spivak's central terms, bringing new inflections to an enduringly important text.

In 1979, JEB self-published her first book, Eye to Eye: Portraits of Lesbians. In a work that was revolutionary for its era, JEB made photographs of lesbians from different ages and backgrounds in their everyday lives--working, playing, raising families, and striving to remake their worlds. The photographs were accompanied by writings from acclaimed authors including Audre Lorde, Adrienne Rich, Joan Nestle, and others. Various women pictured in the book also shared their personal stories. Eye to Eye signaled a radical new way of seeing, moving lesbian lives from the margins to the center, and reversing a history of invisibility. More than just a book, it was an affirmation of the existence of lesbians that helped to propel a political movement. Reprinted for the first time in forty years, Eye to Eye is a faithful reproduction of a work that still resonates today. This edition features additional essays from artist and writer Tee Corinne, former World Cup soccer player Lori Lindsey, and photographer Lola Flash.

100+more is het resultaat van een beelden dialoog tussen Jelle Martens en Tim Bruggeman in het voorjaar van 2021. Beide verzamelden ze de voorbije jaren een uitgebreid digitaal archief met beelden van het internet, film stills, schermafbeeldingen, reproducties van kunstwerken en zelfgemaakte beelden. Deze publicatie brengt een selectie van 302 zwart-wit beelden samen vanuit een weloverwogen willekeurigheid.

100+more is the result of a visual dialogue between Jelle Martens and Tim Bruggeman in the spring of 2021. In recent years, both have collected an extensive digital archive with images from the internet, film stills, screenshots, reproductions of artworks and images they created themselves. This publication brings together a selection of 302 black-and-white images from a chosen randomness.

Offset
304 pages
Edition of 250
14 x 20 cm

This artist's book presents a set of photographs made by Belgian artist Sophie Nys during her stay in Zurich. It features each of the modernist fountains produced by designer Alfred Aebersold in the 1970s and scattered throughout the Swiss city. The images are associated with amusing and clever captions written by Leila Peacock, a Scottish artist living in Zurich.

In 1973, Alfred Aebersold won the competition organized by the Water Supply Department of Zurich for the design of a fountain. It was to be the visible part of a vast, autonomous and secured water supply system of 89 identical fountains distributed throughout the territory of the city. The context was that of the cold war. The threat, invisible but permanent, was the contamination of the public water supply network by an external agent. Aebersold—trained as an interior designer and founder, together with Jörg Hamburger and Herbert Merz, of studio Gruppe 3 in 1961—was representative of a Swiss design that followed the formal vocabulary of Max Bill. Bill contributed from the 1940s onward to the dissemination of ways of living and Western values to question those of Soviet ideology. Designed in the 1970s but recalling through its formal vocabulary a modernist, stable, and reassuring sculptural language expressed in the organicity and solidity of its forms, this fountain presents itself as a historical paradox of sorts. But it also presents itself as a visual symptom, set within the public space, of a necessity for a continued, ahistorical defense. The context changes, but the threat remains. And the fountain, masking its purpose in the functionality of its bowels—according to a Duchampian modus operandi, in which the sense one could assign to forms is obscured and diverted—, tirelessly spurts the purity of its liquid.

A long-awaited facsimile of Michael Snow's legendary artist's book, a classic of conceptualism

For years an out-of-print rarity, Canadian artist, filmmaker and musician Michael Snow's (born 1928) classic 1975 artist's book Cover to Cover is available once again, in this facsimile edition. Unconstrained by discipline, Snow famously remarked that his sculptures were made by a musician, his films by a painter. Flipping through Cover to Cover, which is composed entirely of photographs in narrative sequence, one might describe it as a book made by a filmmaker. Each individual page features a distinct moment, seen from one perspective on the front, and from a diametrically opposed angle on the back, occasionally pivoting between interior and exterior spaces. Midway through the book, the images are inverted such that the volume must be turned upside-down to be looked at right-side up. The result is an elegant, disorienting study in simultaneity. With this work, wrote Benjamin H.D. Buchloh, "Michael Snow has challenged the reader's/viewer's notion of a book, indeed one's very notion of perception."