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Seasons 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. 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. Published in 2018 by Libraryman First edition of 500 copies ISBN 978–91–88113–14–6 21,5 cm x 27,5 cm. 32 pages. 18 color plates. Color offset printed paperbound hardcover. Linen thread bound. White headband. Typography on front cover, spine and back cover in white foil.
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Aliki Christoforou – Anamnesis
Books & Magazines, Goods, LibraryOn December 29th, 2017 Aliki Christoforou (b. 1992, Greek/Belgian) was the victim of a severe traffic accident that immobilised her in hospital for a prolonged time. Anamnesis was born from a series of black and white photos taken during this extensive hospitalisation: “When I developed the rolls of film, I had to my surprise no recollection of many of the moments that appeared in the images. They were greatly distant and obscure to me; completely eclipsed from my memory. This finding was terrifying. What was the origin of these blackouts? My head trauma or the medication? The interminable days spent in the hospital?. [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"]
Much is said about the indicial value of photography, of the famous ‘ça-a-été’ of Barthes. What was revealed to me through these photographs had indeed taken place, yet it did not correspond with my perception of reality. In order to unveil in these images the recondite memories of that uncertain period, as they existed to me in a veiled, opaque and mysterious cloud, the prints have been manipulated in the darkroom to reflect both the failures of my memory and the strange paradox I find myself in now: a strong feeling to neglect the incident and, at the same time, the need to remember. Aristotle used two terms to speak of memory. On one hand there was the ‘mneme’ [μνήμη] for passive memory, that is the simple conservation of a perceived instant of one’s life, and on the other hand there was the ‘anamnesis’ [ἀνάμνησις] for active or reminiscent memory, that is the search for memories extracted from one’s previous lives. Hence, mneme is linked to the mind while anamnesis derives from the soul. Anamnesis interrogates memory from oblivion.” [/spb_toggle] [spb_toggle title="+ Publication details" open="false" width="1/1" el_position="first last"] First edition of 500 copies. Aliki Christoforou is the recipient of the 2021 Libraryman Award Published in 2021 by Libraryman ISBN 978–91–88113–52–8 20 x 26 cm. 72 pages. 46 color plates. Color offset printed paperbound hardcover. Blind embossed typography on front cover, spine and back cover. Linen thread bound. Black headband. [/spb_toggle]
Ryudai Takano — Kikuo
Books & Magazines, Goods, LibraryThe notable series Reclining Woo—Man (1997–2001) by Ryudai Takano (b. 1963, Japanese) exhibits an unalike depiction of nudity, which often being ignored in the arts. The title derives from “Reclining Woman”—a title often found among European classical paintings. The title is a parody, but the photographs are not. [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"]
Takano was exploring how to capture his own sense of beauty prior to meeting Kikuo. It was such an overwhelming encounter that caused Takano to abandon his quest. Kikuo; a stout, naked, middle-aged man, lying on a sofa bed. To give an example, it might have felt for him as if Mars, the Roman god of war appeared as a muse. After that, Kikuo continued to drive Takano’s creation for 10 years. When the camera became popular around the mid-1960s, many artists began to employ photography by questioning if “photography can be sufficient as art?”. However, soon the question got slightly altered to the essence of art, “what is ‘to see’ the world?”. This extended the definition of photography. Photographs early possessed a record-ability and multiplicity and when digital photography emerged in common households in the late 1990s it added its visual effects. Nowadays, photography has surpassed these ideas; it does not solely seek for “to see” but it has prompted us to be aware of the uncertainty of “what we see”. As Duncan Wooldridge mentions in his foreword, Ryudai Takano's photographs are showing us “how to rethink vision”—we will know the multifaceted world and its diversity through his photographs. The book contains a foreword written by critic and essayist Duncan Wooldridge (b. 1981, British) First edition of 500 copies, with fold-out poster. Special edition of 30 copies, numbered, in folded paperboard cover, with signed original print. Pasted image on paperboard cover. Choice of 2 prints — 15 copies of each 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 978–91–88113–43–6 20 x 27,4 cm. 28 pages. 2 fold-outs. 15 black/white plates, separated from 8 pictures. Black/white offset printed softcover. Saddle-stitched. Color offset printed dustcover. [/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]
Mansur Gavriel – La Flower Market
Books & MagazinesFlowers and plants are thorough denominators for Mansur Gavriel, founded in New York City in 2012, working as visual symbols for brand communication and ideology. These visuals have become synonymous within its advertising, stores and social media. The flower market, photographed by brand collaborators Tanya and Zhenya Posternak (b. 1988, Ukrainian) of which the book is named after, is the special place where founders Rachel Mansur and Floriana Gavriel went and planted a seed for what they have now grown together. [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, with fold-out poster. [/spb_toggle] [spb_toggle title="+ Publication details" open="false" width="1/1" el_position="first last"] Published in 2017 by Libraryman First edition of 500 copies ISBN 978–91–88113–12–2 24 cm x 30 cm. 52 pages. 33 color plates. 2 fold-outs. Offset printed clothbound hardcover. Linen thread bound. Beige headband. Authentic tip-in image on front cover with typography on spine and back cover in black foil. Fold-out poster 29 cm x 42,5 cm. [/spb_toggle]