€45,00 incl. VAT
“Addicted” to photography from a very young age, autodidact photographer Dudi Hasson (b. 1981, Israeli) embarked on his photographic journey at the age of 16. Ever since then, his work has explored the thin line between intimacy and alienation. Inspired by people and places, Hasson is continually curious about the nature of relationships—whether they’re between the camera and its subject, between the subjects themselves, or internally between himself and the camera. Dudi strives to capture rare moments of the “in-between”, i.e. in between love and hate, joy and misery, truth and lies, far and close.
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As Far As Close is a selected collection of Hasson’s portraits from different times and places, gathered as a mosaic of unexpected moments best demonstrating his unique aesthetics and point of view.
The book contains a poem, in Hebrew, written by poet Noam Noy (b. 1988, Israeli), alongside an English translation.
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First edition of 700 copies.
Published in 2021 by Libraryman
ISBN 978–91–88113–51–1
24 x 30 cm. 72 pages. 41 color plates. Offset printed clothbound hardcover. Linen thread bound. Blind embossing on front cover, spine and back cover, with authentic tip-in image on front cover. Dustcover in offset, with typography on front cover in green foil. White and blue headband.
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| Weight | 3 kg |
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Katrien De Blauwer – You Could At Least Pretend To Like Yellow
€70,00 incl. VAT
Katrien De Blauwer – You Could At Least Pretend To Like Yellow
Books & MagazinesKatrien De Blauwer (b. 1969, Belgian) does not care much for the colour yellow—therefore, the tone is the basis for her latest work. Yellow; a colour equally representing clarity and honor, as well as cowardice and deceit. [spb_text_block title="" animation="none" animation_delay="0" simplified_controls="yes" custom_css_percentage="no" padding_vertical="0" padding_horizontal="0" margin_vertical="0" border_size="0" border_styling_global="default" width="1/1" el_position="first last"][/spb_text_block] [spb_toggle title="+ Read more" open="false" width="1/1" el_position="first last"]
Initially, while observing the new works, we couldn’t resist to draw a loose parable to Vilgot Sjöman’s 1967 erotic motion picture I Am Curious (Yellow); an original comedy about politics, the sexual liberation of a young woman, and psychological analysis. The film immediately attracted a ban during its release in the U.S., leading to a proceeding in the Supreme Court. Taking inflation into account, the film remained record-breaking among foreign releases in the United States for several decades. An American critic described the film as “about as good for you as drinking furniture polish.” Furniture polish, is in majority, yellowish—as well as its packaging labels. The following day led to a coincidence when De Blauwer, while in an antique store, found the film’s book, published in 1968, which illustrates the film’s complete scenario. Meanwhile, De Blauwer, unaware of the film up until that point, is awaiting to see the actual film, and is consistently pretending to like yellow. The book contains the verso of each work, which rarely has been shown before, and is as unique as its recto. All works are printed in their actual and individual size. Signed edition of 250 copies. First edition of 450 copies. [/spb_toggle] [spb_toggle title="+ Publication details" open="false" width="1/1" el_position="first last"] Published in 2020 by Libraryman Signed edition: ISBN 978–91–88113–46–7 21,5 cm x 27,5 cm. 40 pages. 40 color plates. Color offset printed paperbound hardcover. Linen thread bound. Yellow headband. Printed endpapers. [/spb_toggle]
Lisa Sorgini – Behind Glass
Books & Magazines, Goods, LibraryLisa Sorgini (b. 1980, Australian) is a photographic artist that has found her own maternal experience to be central to the themes in her work. Behind Glass, offers a layered exploration of motherhood as shown during the months of the burgeoning COVID-19 pandemic, as unprecedented stay-at-home measures swept across Australia and the World. It’s an opus that stands as both a creative commentary and an important cultural record. Born of the pandemic, shooting began for the series as the first stay-at-home orders came into force in Australia. Making portraits of those in her immediate community, It’s a body of work motivated by a need to make visible the unseen role of parenting during such isolation and one that evokes a spectrum of deep tenderness, tedium, quietude, love, frustration, fear, and despair. These works present the light and darkness of motherhood during these extended periods of lockdown; the use of soft lighting and tonal contrast bringing this metaphor to visual life. [spb_text_block title="" animation="none" animation_delay="0" simplified_controls="yes" custom_css_percentage="no" padding_vertical="0" padding_horizontal="0" margin_vertical="0" border_size="0" border_styling_global="default" width="1/1" el_position="first last"][/spb_text_block] [spb_toggle title="+ Read more" open="false" width="1/1" el_position="first last"]
Each work is framed by a window in the home, a practice that feels poignant given the circumstances of mandated isolation where no contact was allowed. It’s a process that suspends each subject within a liminal space of transference and adaptation, one that mothers endure but children are protected from. Babies are seen clinging to their mothers. Tiny hands tug at clothing and skin. Each image, a delicate assemblage of flesh, unposed, set against the backdrop of quiet familiarity. There’s tenderness, but also an omnipresent claustrophobia and intensity. Dewy faces and subdued tonality lends some works the appearance of a baroque portrait. It’s a disarming technique that adds to the body of work’s transcendence and timeless narrative. One mother looks out from the pane – seen for a moment in a time they were only just beginning to understand, her expression almost indecipherable. Behind glass, mother and child appear like living and breathing masterpieces – divine comedies of domesticity. Whilst informing of a particular time, Behind Glass also speaks more broadly of the existing maternal experience. Its most blatant subtext is that of motherhood as contextualised within the modern western milieu; where women lie at the core of an intense inner world whilst continuing to remain begrudgingly detached from the outer. Yet central to this story is also the concept of hope and connective awareness. Mothers joined through a collective experience. Through this work, the unseen is seen. [/spb_toggle] [spb_toggle title="+ Publication details" open="false" width="1/1" el_position="first last"] The book contains a foreword by writer and curator Federica Chiocchetti (b. 1983, Italian). First edition of 1,000 copies. Special edition of 25 copies, numbered, in paperboard slipcase, screen printed in bordeaux, with signed original print. Published in 2021 by Libraryman ISBN 978–91–88113–53–5 24 x 29,3 cm. 64 pages. 34 color plates. Offset printed paperbound hardcover. Linen thread bound. Beige headband. Typography on front cover, spine and back cover in bordeaux foil. [/spb_toggle]
Yusaku Aoki — Night Tales
Books & Magazines, Goods, LibrarySeasons Series draws inspiration from Kim Ki-Duk’s seminal film Spring, Summer, Fall, Winter… and Spring in which different actors, for each season, play the same character who is abandoned on a lake next to a floating monastery. The film specifically focuses on the shifting nature of the seasons and its effects on the protagonist’s fosterage. The books take their lead from the film in that simple and profound ideas, human passions and spirituality can be perceived differently depending on the season. [spb_text_block title="" animation="none" animation_delay="0" simplified_controls="yes" custom_css_percentage="no" padding_vertical="0" padding_horizontal="0" margin_vertical="0" border_size="0" border_styling_global="default" width="1/1" el_position="first last"][/spb_text_block] [spb_toggle title="+ Read more" open="false" width="1/1" el_position="first last"]
Seasons Series is a quarterly book series, in which a group of artists are brought together under one vision with a focus on each artist’s singular way of seeing. Each of the books in the series will focus on differing subjects and all monographs will showcase the artist’s unique approach to photography. All the books in the series will maintain the same size, dimensions and page count. The first 25 of each will come as a special edition containing a print. We hereby continue the book series with new works by Yusaku Aoki (b. 1987, Japanese). First edition of 500 copies. Special edition of 25 copies, numbered, in paperboard slipcase, screen printed in white, with signed original print. Choice of 5 prints. [/spb_toggle] [spb_toggle title="+ Publication details" open="false" width="1/1" el_position="first last"] Published in 2019 by Libraryman First edition: ISBN 978–91–88113–27–6 21,5 x 27,5 cm. 32 pages. 21 color plates. Color offset printed paperbound hardcover. Linen thread bound. Orange headband. Typography on front cover, spine and back cover in white foil. [/spb_toggle]
Osamu Yokonami – Wild Children
Books & Magazines, Goods, LibraryWild Children by Osamu Yokonami (b. 1967, Japanese). [spb_text_block title="" animation="none" animation_delay="0" simplified_controls="yes" custom_css_percentage="no" padding_vertical="0" padding_horizontal="0" margin_vertical="0" border_size="0" border_styling_global="default" width="1/1" el_position="first last"][/spb_text_block] [spb_toggle title="+ Read more" open="false" width="1/1" el_position="first last"]
First edition of 1,000 copies, numbered. Special edition of 25 copies, with signed original 8" x 10" | 203 x 254 mm print. [/spb_toggle] [spb_toggle title="+ Publication details" open="false" width="1/1" el_position="first last"] Published in 2021 by Libraryman First edition: ISBN 978–91–88113–54–2 20 x 16 cm. 44 pages. 36 color plates. Color offset printed softcover. Browsing as Japanese tradition, left to right. Saddle-stitched, in grey paperboard slipcase with typography in black foil. [/spb_toggle]