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XOXO

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Kottie Paloma
XOXO



Published by: Pogobooks

104 Pages 21 x 28 cm Perfect Bound Softcover Full Color Offset

£19.00

In 2005 Kottie Paloma rented an elevated beer and smoke stained room on a block above the remnants of several decades´ worth of American misgovernment and societal problems. Think of a neighborhood filled with fear, hate, homelessness, police brutality, gentrification, and personal economic collapses that all condense and manifest themselves in walking zombies at 6th and Market Streets of San Francisco in the years 2005-2009. Part Sci-Fi, Part failed American realism. During this time, Kottie navigated this gauntlet below his studio and deve- loped a working vocabulary of iconographic American characters (Superman, Ghosts, Cops, Jesus, Crack heads, Gangsters, and Girlfriends) that came together in irreverent juxtapositions generating tragically dark comedy that are strangely poetic, yet perverse. Sexual alienation, frustration, hysteria, political and cultural violence, dichoto- mies of good and evil, life and death unfold in an ongoing narrative that comprises Kottie Paloma´s studio practice of paintings, drawings, books, and sculptures.


Into The Light

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Sandy Kim
Into The Light



Published by: Pogobooks

48 Pages 21 x 28 cm Perfect Bound Softcover Full Color Offset

£16.00

In recent years we have seen an insight to Sandy´s everyday life through her camera. Sandy Kim is not the first photographer to turn the camera back on herself, its rare to have conversations about her work without hearing references to Nan Goldin and McGinley, among others. Yet her work is more carefree and loving than Goldin and less staged and more authentic than McGin- ley. In her 3rd publication "INTO THE LIGHT" Sandy takes us again to the microcosmos of her daily life. She instinctively turns her camera to document intimately familiar subjects - her friends, her love and her life. The Images in this book are surprisingly mysterious and surreal, like in a never ending dream. Taking advantage of any availab- le light, subjects are illuminated by neon signs, street lights and sunrise. On tour with the New York based Band DIIV she takes us backstage, to motelrooms and gas stations in the middle of the night. We see Karley Sciortino (aka Slutever) in a mirror next to an image of Olivier Zahm, (Editor in Chief of the world famous Purple-Magazine) pointing at a neon sign in the shape of a naked woman. Both images casually shot are like a playful comment on the high gloss pristine images of the fashion world. The images deflate the youthful fantasy that people never have to grow up and that summers are forever endless. Her photo- graphs allow viewers to be voyeurs in lives they may or may not ever lead themselves. Viewers watch her grow up, fall in love and, by proxy, get to re-live their own versions of these moments. Her pictures of her relationship with her boyfriend Colby, are intimate and genuine in a way few photographers accomplish, if for no other reason than they are a document of tender moments, pure and simple. 

Ulrike Biets

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Ulrike Biets
Ulrike Biets



Published by: Pogobooks

36 Pages 14.8 x 21 cm Softcover Color Offset

£7.00

Ulrike Biets is an eighties kid from Belgium, currently living in Brussels. She got her first camera at the age of six and never stopped taking pictures ever since. She captures her view of the world in a documentary style by shooting people, music, fashion, stories, scenes and everyday life. But most of all, she´s got a weird thing for animals. Recently the escape into wastelands, silence and horizons became an integral part of her raw photography but still without losing the honesty of the one quickly shot moment. Hence concepts about what is worth beeing banned to film negative and how it should look like are avoided and the very personal view of one living and taking pictures in airplanes, at parties, in bras, on toilets, in trees, under water, backstage, on roofs or in hospitals makes up these young works instead. Biets currently works as a freelance photographer for different magazines and is now busy on a long term project on shooting male nudity in a witty way for her own, co-produced publication called Poupi Whoopy. 

Concrete and Sex

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Sasha Kurmaz
Concrete and Sex



Published by: Pogobooks

36 Pages 14,8 x 21 cm Softcover Full Color Offset 

£7.00

Concrete and Sex, Sasha Kurmaz´s third publication, is broadly structured around what has become a common motif in his work: the juxtaposition of nude snapshots against the post-industrial, post-Soviet architecture of Kiev, Ukraine. On one hand, it´s impossible to ignore the political implications of this approach - as in so much of his output, one finds here the blunt advocacy of sex, vandalism, and, of course, artistic expression as meaningful responses to repressive conditions, and it doesn´t feel like a stretch to view this work, at least partially, as a comment on the status of the individual (whose identity within these pages is repea- tedly (and tellingly) obscured by anonymity and/or physical distortion) within the broader mechanisms of public ideology and fading history.

Issue 6

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Aint Bad Magazine
Issue 6



Published by:

48pages 21 x 27.3 cm Edition of 500 

£12.00

Technology is the mechanical extension of biological evolution. It appears that any power (tool) one might wield to preserve what is of value to counteract unintended social repercussions is created by the cascade of advancing technologies. The emergent system is complementary; each force balanced with the other, yin and yang, shadow and light. Yin-yang is harmony– an interdependent wholeness that cannot be destroyed. In the equation of advancement versus preservation there is no victory. Photography is an increasingly sharp tool for preservation. In this context we ask, what will you preserve?

Type C

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Gratuitous Type
Type C



Published by:

48 pages Edition of 1000

£15.00

The third installment of Gratuitous Type, Issue C—Color, marks the magazine's first themed issue, and includes conversations with: Bendita Gloria (ES), Fanette Mellier (FR), Hato Press (UK), Hvass&Hannibal (DK), Jordy van den Nieuwendijk (NL), Marine Duroselle (UK), Studio Lin (US), and Studio Newwork (US). Each issue also includes one in a series of three risograph prints created by Jordy van den Nieuwendijk for Gratuitous Type. 

Type C

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Gratuitous Type
Type C



Published by: Gratuitous Type

48 pages Edition of 1000

£15.00

The third installment of Gratuitous Type, Issue C—Color, marks the magazine's first themed issue, and includes conversations with: Bendita Gloria (ES), Fanette Mellier (FR), Hato Press (UK), Hvass&Hannibal (DK), Jordy van den Nieuwendijk (NL), Marine Duroselle (UK), Studio Lin (US), and Studio Newwork (US). Each issue also includes one in a series of three risograph prints created by Jordy van den Nieuwendijk for Gratuitous Type. 

Proof

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Jim Goldberg
Proof



Published by:

48 pages 20 x 27 cm Edition of 1000 

£4.00

“In 1971, he began Variable Piece #70 (In Process) Global, for which he proposed his intention 'to photographically document the existence of everyone alive..'" -- excerpt from Douglas Huebler’s Wikipedia page. What started as a 77 image collage titled “Contact”, Proof has grown into an archive of over 600 images (and growing). It is my attempt to assemble a “family album”; a catalog-raisonné of all my photographic encounters during the past 9 years of this project.  On one level, this piece illuminates my working/editing process and how I use markings and notes to make sense of what I've shot. On a completely different level, this work describes the way I conceptually address my subject— while both the words ‘Contacts’ and ‘Proof' are photographic terms used to describe a set amount of images or quickly made prints—I use these technical terms to illustrate that these are people who I had contact with, while Proof perhaps certifies the existence of these people who would otherwise be invisible.


Pixel Stress

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Anouk Kruithof
Pixel Stress



Published by: RVB Books

100 pages 20 x 32cm Softcover​

£23.00

On the 18th of April 2013, Anouk Kruithof and two assistants went to Wall Street in New York City and built a temporary installation of 14 framed prints of different sizes on the edge of the city’s pavement. The prints looked like pixelated monochromes, but were in fact illustrations blown up to a maximum size (3200% in Photoshop) of images found by using Google, searching the word “stress”. Anouk Kruithof asked pedestrians to look at the installation and then had conversations about the pixelated monochromes, the meaning of this project and the potential interpretations of the work. Kruithof asked the people involved if they would like to buy a print, both engaging a commercial gesture and condemning the scarcity of the city dwellers encounterings. She sold 8 of the 14 prints bought by 7 participants when the day’s rain warded off further efforts. Kruithof is not allowed to conduct monetary transactions, so that once a participant told her a price for the print, she actually gave it away for free, thus creating an imaginary sale.

Mamihlapinatapai

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Max Pinckers & Michiel Burger
Mamihlapinatapai



Published by:

80 pages 14 x 19 cm BW Offset Edition of 1200

£7.00

Produced on the occasion of the exhibition Mamihlapinatapai: A look shared by two people, each wishing that the other will initiate something that both desire but which neither one wants to start, Flemish Arts Centre De Brakke Grond, The Netherlands, October 2012.

Land Marks

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Letha Wilson
Land Marks



Published by: Hassla

48 pages 17 x 25 cm Colour Offset

£25.00

Several book pages have been individually cut, folded, torn and painted by the artist.  

I Like Your Work: Art and Etiquette

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Paper Monument
I Like Your Work: Art and Etiquette



Published by: Paper Monument

56 pages 21, 6 x 10,8 cm Softcover 2009

£6.00

Paper Monument is pleased to announce the publication of its first pamphlet, I Like Your Work: Art and Etiquette, with contributions from 38 artists, critics, curators, and dealers on the sometimes serious and sometimes ridiculous topic of manners in the art world. The art world is now both socially professional and professionally social. Curators visit artists’ studios; collectors, dealers, and journalists assemble for a reception and reconvene later for dinner; everyone goes to parties. We exchange introductions and small talk; art is bought and sold; careers (and friendships) brighten or fade. In each situation, certain behaviors are expected while others are silently discouraged. Sometimes, what’s appropriate in the real world would be catastrophic in the art world, and vice versa. Making these distinctions on the spot can be nerve-wracking and disastrous. So we asked ourselves: What is the place of etiquette in art? How do social mores establish our communities, mediate our critical discussions, and frame our experience of art? If we were to transcribe these unspoken laws, what would they look like? What happens when the rules are broken? Since we didn’t have all the answers, we politely asked our friends for some help.

Writings and Conversations

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Doug Ashford
Writings and Conversations



Published by: Mousse Publishing

114 pages 16.5 x 12 cm Softcover 2013

£13.00

This publication represents one of the many spaces Doug Ashford's work occupies. It is the first collection of his writings and conversations and attempts to encompass the changing thoughts shared by the artist over the past twenty-five years. Doug Ashford is a teacher, artist, and writer. He has taught design, sculpture, and theory at The Cooper Union, New York, since 1989. His principal art practice from 1982 to 1996 was as a member of Group Material and since that time he has gone on to make paintings, write, and produce other cross-diciplinary projects.

Karma

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Óscar Monzón
Karma



Published by: RVB Books

128 pages  29.7 x 21 cm Softcover 2013

£33.00

Óscar Monzón undertook, in Madrid, between 2009 and 2013, a large scale project on the sphere of cars, and more precisely on the drivers' relationship to their automobile. This work results in the book Karma. Never fabricated, these photos, most of which we can imagine were stolen, refer to Luc Boltanski's concept of "body car". Being the only object which both completely absorbs us and that we can manipulate at our own will from the inside, cars cause a sensation of passing elsewhere with a sense of security. They offer a private space among the midst of public sphere and create a familiar realm which permits the most private experiences. Óscar Monzón is interested in this distinctive feature, he violates the enclosed space, catches the scenery with a flash and defies the privacy of the cars drivers. Winner of Aperture Paris Photobook Award 2013. 

Banque Vincent Bergerat

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Vincent Bergerat
Banque Vincent Bergerat



Published by: RVB Books

120 pages 24 x 19,6cm Soft cover Edition of 500 copies 2012

£28.00

The Banque Vincent Bergerat (BVB) is a living organism, like any bank, plant, animal, etc. Created in 2006, the BVB places itself close to the artistic fictions which cover the 20 th and 21 st centuries, such as Marcel Broothaers' Musée d'Art Moderne, département des aigles (1968), which range of activities extended to accommodate a financial section and produced gold ingots marked with eagles, or Gérard Gasiorowski's AWK (WorosisKiga academy), and its 500 hats signed with famous students' names or more recently, in 2001, Maurizio Cattelan's 6th (false) Caribbean biennial. The BVB's distinctive feature does not lie in the fact that it introduces reality, a necessary component - within a certain amount - to any fictional construction, but rather in the place given to this component, since in fact, here, everything is real, the creation of a specific currency, the transactions, the art collection, and even a scholarship : all this finally tending to bring the BVB and its various approaches closer to Gille Mahé's commercial / artistic devices, cf. this piece financed by Rudi Ricciotti - and carried out from 1993 to 1996 : Gilles Mahé thinks about Rudi Ricciotti while playing golf.


To Belong

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Anders Petersen
To Belong



Published by: Studio Blanco

58 pages 30 x 22,5 cm Hardcover Edition of 1000 2013  

£39.00

On May 20th, 2012, at 4:03:52, a crack opened in the earth’s crust under a village near Modena called Finale Emilia, where for more than a thousand years the territory of Emilia has ended and the rest has begun. Two huge blocks of land overlapped, sliding and crashing against each other, trying to steal each other’s space, like fiery, claustrophobic giants. Sixty thousand and three hundred meters above, on the surface, the ground rose by 15 centimeter s. The buildings’ foundations began to swing, cracks made their ways through the plaster walls. It lasted for twenty seconds. Then the streets quickly filled with men and women in their pajamas, scared to death. All but seven, who would never come out. In the following weeks, the earthquake rattled Bondeno, Mirabello, Medolla, San Possidonio and Novi. It reverberated everywhere in the provinces of Modena, Reggio emilia, Ferrara, Mantova, Rovigo, Bologna. Over two months, 2,300 aftershocks left almost thirty people dead and a society in shock. Cars were smashed by the debris of the buildings under which they had been parked. Entire factories crumpled, and looked suddenly fragile. Jackals stole uniforms from rescue teams in order to pillage the evacuated houses. Those who had been evacuated screamed at the other jackals: the TV crews. Palaces without facades, whose furniture could be seen from the street. Castles and bells towers torn down without dignity with dynamite. everywhere, barriers and dust. A people that wakes every morning on a broken land can have only one goal left: pull it together. So week after week, doctors went back to heal their patients, factory workers to cast their girders, cheese makers to sell their cheese and builders to erect houses.  Studio Blanco contributed with what they do best: a visual story to join together emilia’s faces and places, as if to ward off the possibility that the crumbling of the land could be followed by the crumbling of the people who lived on it. To tell this story, they invited Swedish photographer Anders Petersen, a man who has nothing to do with these places, but who has made raw and moving reportages about vulnerability for more than forty years. over eight days in november 2012, Studio Blanco brought Petersen to toll roads and museums, riversides and devastated squares, letting him photograph wherever, whomever, however he liked, with the idea that only an outsider could find and capture the spirit that keeps these lands together. A young contortionist, a knotty tree trunk, two elderly people dancing in a ballroom. One year after the earthquake, Petersen’s photos create a small poem about emilia, which sews up that deep crack and returns this land, whole, to the humanity that has always belonged here. 

Issue 2

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Extra Extra
Issue 2



Published by: Extra Extra

166 pages 24 x 17 cm  Softcover 2013

£13.00

In the second issue of Extra Extra we talk with the legendary film director Catherine Breillat about her latest film, Abus de Faiblesse, and we travel to Fire Island where artists AA Bronson and Carlos Motta talk candidly about queer rituals, intimacy and mortality. You can’t really say you have been to Berlin if you haven’t been seen and snapped at one of the city’s many nightlife spots by the amazing photographer Maxime Ballesteros. In Extra Extra no. 2 he shares some tantalizing images. The renowned Tokyo based architecture firm Atelier Bow-Wow dreams of building a house for a secret mistress. Stylish duo Petrovsky and Ramone’s venture into photography is a wonderful melange of poetry and symbolism and organized an exclusive photoshoot for Extra Extra. In this volume of 168 pages we are proud to present work by American artist Lisa Yuskavage as well as the humorous paintings of Tala Madani. In Vancouver and Mexico City we experience hot stories with Vanessa and Arturo. Extra Extra also explores the streets of Douala, Antwerp, and Los Angeles. The Urbex opens doors in Brussels that would otherwise remain closed; what is hidden behind the cluttered façades of this administrative metropolis? We hope you enjoy this latest issue of Extra Extra.  

Face Pots

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Dan McCarthy
Face Pots



Published by: Hassla

16 pages 25,5 x 20,5 cm Softcover Offset Edition of 500 2013

£7.00

Dan McCarthy photographs ceramic pots in various stages of the kiln process. Pots emblazoned with faces develop from raw, brown clay structures to shiny, colorful glazed sculptures.

Issue 3

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Material
Issue 3



Published by: Material Press

96 pages 27 x 16,2 cm Softcover 2013

£10.00

MATERIAL exists as a platform for the artist’s voice. Each issue brings together a different group of artists who write, as well as a new collaboration with a graphic designer. During the production of this third issue, the designer Zak Jensen put forth the idea of concatenation– the act of linking together, or the state of being joined. With contributions from Farrah Karapetian, Renee Petropoulous, Nate Harrison, James Welling, Natalie Häusler, Harold Abramowitz, Shana Lutker, Stephanie Taylor & Alice Könitz, Frank Chang and Emily Mast.

Rheum

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Taco Bakker, Brad Feuerhelm & others
Rheum



Published by: Max Pinckers

104 pages 27,7 x 20,8 cm Hardcover Edition of 250 2013  

£30.00

foundfootage.be is an online platform, on which different types of 'found' material are brought together. This material can be provided by artists but also comes from everyday sources. On our website we use subjective selection criteria. 'Rheum' is an experimental vision on this practice. Found footage is commonly associated with a respectful, sometimes even nostalgic attitude towards material; valued because of the particularity of the find or a love for materiality. A box with glass-negatives on the attic for example. We don't reject this mentality, but we tried to leave it out of consideration. This has led to an attitude where the 'found' in found-footage doesn't stand for the excitement of encountering something, but rather for the tension between materiality and authorship or authenticity. By finding something instead of creating it, indeed some of the authors control disappears. In the appreciation of footage, materiality and visual fetishism are of little importance. We select material for what it represents, or because of the way it comments our practice. For instance, images without a noteworthy maker can become documentaries when brought together. Formalism usually associated with found footage, like glitch or the vernacular, are rather avoided than pursued. PS: Robert Urquhart explains in an essay (Rheum pg. 36) why glitch is a difficult phenomenon. In the publication Rheum you will find, in an experimental form, the results of this position as well as the thought process that led to these results. The book's unusual index-structure, in which content never directly refers to an author, is an expression of this attitude.

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