2002

Sakiko Nomura's "Kuroneko (Black Cat)" is a photographic work that explores themes of intimacy, relationships, and the fragility of human experience.

Nomura utilises a combination of places and times, often within bare spaces, to create evocative images that blur the line between private and professional realms. The use of Polaroids adds a unique temporal and spatial element, allowing viewers to engage with the photographs on a personal level and reinterpret their narratives.

Nomura encourages viewers to create their own interpretations of the images, suggesting that the narratives can be fluid and adaptable.

2002

The Innocents (2000–2003) is a powerful body of work.

Artist Taryn Simon documents individuals who were wrongfully convicted of violent crimes by photographing them in the place of their misidentification, the scene of their arrest, their alibi site or the crime scene.

The scene of the crime is the most deeply significant, yet for the convicted, it was a place they never visited.

Mistaken identity—often based on visual memory—was a key factor in these cases. Victims and witnesses misidentified suspects through mugshots, Polaroids, and lineups, contributing to wrongful convictions.

2002

Joyce Tenneson presents 80 portraits of women aged 65 to 100, who comment on their experiences of ageing.

Printed in Tritone, the images have a sepai tone quality.

The portraits are of women from all walks of life, from celebrities to the powerful, from the teacher to the breat cancer survivor; they all tell a story.

2004

At the end of a session, photographer Eve Arnold always took a parting shot- she photographed the subjects hands - and sometimes the feet. In this beautifully produced book is a selection of two hundred of these photographs in colour and black and white. Spanning Eve's entire career, they also add up to a profound and deeply moving picture of humanity.

2004

This book is a compilation of daily snaps taken over seven years, spelling out the relationship between the photographer and her former husband, as he transitions from lover, to husband and then father.

2005

An-My Lê has used photography to examine her personal history and the legacies of US military power.

Small Wars brings together three interconnected series.

In Viêt Nam, Le who was born in Vietnam and taken to the US as a political refugee, returned to Vietnam creating large-format, B&W photographs. These images represent Le's attempt to reconcile memories of her childhood home with the contemporary landscape that now confronted her.

Back in the US, Le began working on Small Wars, with Vietnam War Finally, in 29 Palms, she documents the preparations of marines in the California desert as they undergo training for conflict in Iraq and Afghanistan.

This trilogy explores the issues surrounding memory, and the representation of violence and war.

2005

"Sarfati’s (born 1958) work is defined through an opposition to the editorial urge to fix narratives to her subjects. Her images create a loose, layered and intensely rich visual project triggering emotions and thoughts that move well beyond her ostensible subjects. Sarfati’s importance in today’s debates about the role and visual languages of socially engaged photography also rests in her resistance to fully objectify the subjects that compel her to make imagery. The American Series represents one of those rare experiences for photographers where the photographs almost―just―happened. Sarfati did not overly choreograph her subjects; she also created the psychological space for them, in turn, to act upon her and to act up―or down―for the camera. This perhaps accounts for Sarfati’s success in re-presenting American young people as simply, individually and universally the carriers of states of minds." ―Clare Grafik, Photographers Gallery, London

2006

Jo Farrell is an award-winning black and white photographer and cultural anthropologist. Born in London, England she has been based in Hong Kong for the past 12 years. Her photography work focuses on traditions and cultures that are dying out.

o Farrell Photographs: 1, to coincide with an exhibition in London in 2014. This book contains an introduction covering a broader range of her early black and white documentary work from China, Cuba, and Tibet. It serves as a comprehensive look at her photography before her foot-binding project became her sole focus.

2007

Brilliant artists put their whole life into their creative endeavours. For the photographer, that means lugging heavy equipment and heading out (both physically and mentally) beyond the known. Animal-like powers of concentration in order not to miss a picture oportunity. Determination to achieve perfect lighting and composition. Intelligence backed up by subjectivity and positivism. But for twelve years, it wasn't that way with me. Day in day out, breast-feeding once every two hours. Changing nappies and preparing meals, a recurring cycle of forced smiles and running on empty. Bare minimum hours of sleep and single-handed struggle. I broke up with my partner, who wanted nothing to do with all that. I took my baby with me everywhere. I'd choose places where I myself could protect him. On days off, I took him to watch his favourite trains. Blurry-eyed and half-asleep, I'd chase after him when he wandered off alone. I often got irritated and out of sorts from sheer exhaustion. Whatever, little by little I learned: one can only do what one can. Photos of home life and trains taken with a lightweight easy-focus camera. Scenes with obstacles in the way. Loveable niceties. A peaceable (?) world reflected in the mirror. This past summer, the boy chose two days at a railroad enthusiast camp over three weeks in Europe with me, so for once I'm on my own again. Change is in the air. Yurie Nagashima

2008

When Rudolph Giuliani's administration cracked down on Times Square strip clubs in the 1990s, a whole new burlesque movement was born in New York, concentrating less on the strip and more on the tease. The young New York photographer Lisa Kereszi, then an assistant to Nan Goldin, was there with her camera to catch it all happening. She began by shooting Show World, a club that was in the process of being closed down by the new laws. In her flash, Kereszi caught abandoned lockers, dressing rooms filled with old shoes and costumes and the grimy elegance of the empty theater--which was never meant to be seen by the light of day. Simultaneously, she began to photograph the new burlesque scene--which went underground in the late 1990s and has since evolved into a conceptually sophisticated, funny and rebellious medium. More pinup than porn, in just a few years, the new burlesque is no longer invisible, and has been gleefully appropriated into mainstream culture by way of Hollywood and the print media. A graduate of Yale University's MFA program, Kereszi's editorial work has appeared in books and magazines, including The New York Times Magazine , Nest , Harper's , Wallpaper and GQ ; she is represented by Yancey Richardson Gallery in New York.

2008

Straight flat shots of clothing and personal items that were found in Hiroshima in the wake of the 1945 nuclear attack. A haunting piece, quite impossible to describe. The garments are part of the permanent holdings of the Hiroshima Peace Memorial Museum. Ishiuchi is also know for her inventory of the clothes of Frida Kahlo.

A photobook comprising internationally acclaimed photographer Miyako Ishiuchi's monumental “Hiroshima” series, in which she captured items and clothes left behind by victims of the atomic bomb explosion in her unique style.

2008

"The photographs in this project serve as a bridge between past and present—a combination of my own recollections and the experiences of the girls who I observed. Each image embodies traces of things that I recognize, illuminating fragments of my history, striking emotional cords that resonate within me. In some way, each is a self-portrait, depicting a young woman caught in transient moments of introspection and uncertainty, trying to make sense of a challenging daily routine. In striving to maintain her gentleness and femininity, the soldier seems to be questioning her own identity, embracing the fact that two years of her youth will be spent in a wistful compromise."

2008

"What am I doing? I find myself naked, sprawled out on the bed in soft darkness. The light from the lamp shines as if it were floating through the air. The silk sheets feel good wrapped around my skin. Sitting cross-legged at the foot of the bed is a woman holding a small camera. Who could she be? Beyond the camera I see white skin. Black clothes. The sensual sound of a woman's voice. What could she be saying to me, here in my nudity? The sound of a shutter clicking. Again she says something. Gentle sounds impress me with their elegance. Theya re near, yet sound as if they come from so far away. I wonder what she's saying. The voice that speaks is more sound. Or rather, like soothing music. And yet so vague. Somthing dimly falls over my eyes. It's as if a film as thin as the wings of a dragonfly has been drawn between her adn I. And yet it is as strong as spider silk. How can this film be so strong? I don't know. The film juse can't be weak. Or so I think. Again, the sound of a sutter clicking. The veil quivers slightly. I gaze vacantly at my arm in front of me. The woman's tone fades in the distance. The film unfailingly cuts away the light, sometimes blurring into it. I am taken to a world of chaotic darkness. And once again I return to the world of light. But for an instant, I am lost between them."

-Excerpt from Tatsushi Omori's essay titled Light in the Chaos, published in Night Flight (2008)

2009

Infinity, an anthology revealing the true strengths of Miyako Ishiuchi’s career, comprises photos taken under the theme “Body” from the late 1980s until the present day.

On the advent of her 40th birthday, Ishiuchi turned her photographic gaze from landscapes and architecture towards human subjects, and portrayed women born in the same year as her for her photo book “1947”.
She has focused on showing the traces - wrinkles, scars - left by the passage of time on the human body, in series such as “1906 to the skin”, for which she captured the body of legendary dancer Kazuo Oono; in “Tsume” she closely observed the arms, legs and digits of the male body; “Scars” and “Innocence” feature close-up photography of wounds; for “A to A”, Ishiuchi pursued a transgender theme.
After the death of her mother in 2000, she photographed objects she had left behind in “Mother’s” and pursued this theme further for her “Hiroshima” series, for which she traced the absent bodies in the clothes of atomic bomb victims, giving thought to the daily life once enjoyed by each deceased individual.

After the limited time that has been spent as a living being, where does the body go?
Through Ishiuchi’s sharpened view, we receive the impression of tangibility of that timeless, unlimited world - infinity - that waits on the other side of the figures photographed.

-excerpt from the publisher’s description

2009

Shadi Ghadirian is one of Iran’s leading contemporary photographers. Born in Tehran in 1974, she rose to prominence in the late 1990s and has since become a defining voice of her generation.

Shaped by the restrictions of post-revolutionary Iran, Ghadirian’s work probes the boundaries of freedom and expression, reflecting a collective yearning for liberty and colour. This new monograph traces her evolution – from the stillness of Untitled Qajar to the digitally manipulated Ctrl+Alt+Del – as she navigates the tensions between public and private, tradition and modernity, documentary and fiction.

With wit and subversive charm, Ghadirian parodies domesticity and authority alike, cementing her reputation as one of the most original photographers of her time.

2009

Sophie Ristelhueber is one of the leading figures in the art of photography today. Since her seminal work on the war-torn city of Beirut in the early 1980s, she has pursued a demanding body of work that tests the conditions under which the real becomes visible. She develops a committed reflection on the territory and its history through a singular approach to the landscape, conceived as a space bearing traces of human activity and the memory of major upheavals (great historical wars, recent conflicts, civil wars, earthquakes), questioning, in the manner of an archaeologist, the marks left by man on the surface and making visible the stigmata of history.
Luxurious retrospective monograph, conceived in close collaboration with the artist, with three essays, an illustrated and commented chronology, major works since the beginning of the 80s, as well as many documents and exhibition views.
Texts by Bruno Latour, David Mellor, Thomas Schlesser.
Published with the Jeu de Paume, the CNAP,

and Thames & Hudson, London.

2010

Facing Carol Lee's works is like walking into an unknown sphere of imagination. We see a combination of shape, juxtaposition, colour, rhythm, density and intensity - all creating strong visual sensations. Chinese art critic Carolyn Cartier describes Lee's work as 'challenging the relationship between artist, art and viewer.' Artist Lee explores topics such as childhood memories and personal intimacy relationships, investigating the philosophy of life and the flow of time, expressing her emotions and attachments with the surroundings by playing with light, shadows, found objects and space. Using a specific technique called "time painting", which was originated from the principles of photograms, Lee places objects onto newsprint papers under the sun, intending to use the portrayal of light to record the passing of time. Newsprint yellows on the surface as time passes. Patterns of shading and fading are therefore transferred through the objects and 'projected' onto the paper. This process produces an astonishing aesthetic effect, creating images described as 'minimalist, elegant, serious and reflecting'. Threads of Luminosity covers various series of works on paper documenting Lee's capture of time from the year 2005 until present.

2010

“I grew up in the years before the Okinawa Reversion of 1972. I remember that there were many crimes committed by US soldiers and that many of them were not punished. Some were sent back to the US covertly, while others were somehow found innocent. I was often puzzled as to why. My parents and teachers and the TV news told me the stories of those crimes.

As an Okinawan child I grew up wondering: Are we Okinawans Japanese? Why was Okinawa cut off from Japan? If Okinawa reverts to Japan, will we be protected by the Japanese constitution? Would such injustice then disappear?

I chose to become a photographer because I was born in Okinawa. I wanted to take photos of the military bases.

I learned technical photography skills at school when I was twenty years old. After I finished school I began my career as a photographer, focusing on Okinawa in relation
with the US military bases and US soldiers. And I came up with the idea of taking photos of soldiers while working as a barmaid in a “for US soldiers only” joint. I did not speak any English then, but I thrust myself into a bar for black soldiers and began to take photos of soldiers and both Okinawan and Japanese barmaids.

It has been thirty seven years since I started photography. I have worked on various lives surrounding and inside the bases. I wait until the subjects become comfortable with me, and then shoot. It takes a great deal of time to do one project. This has been my style as a photographer.

The US Marines are trained and based in Okinawa, South Korea, Australia, Guam, and the Philippines. They drink and talk a lot while they are in Okinawa, and then they will be sent to Afghanistan. They are now planning to move the Marines bases. Where will the US bases in Okinawa go? How will they change?

When I walk around base towns I can clearly see how the US military operates as I see the soldiers movement. US soldiers move from Okinawa to many places in the world to fight, which Okinawan people sometimes do not realize. I take photos of the young soldiers regardless.”

― Mao Ishikawa

2011

Penelope Umbrico (photographs) offers a radical reinterpretation of everyday consumer and vernacular images. Umbrico works “within the virtual world of consumer marketing and social media, traveling through the relentless flow of seductive images, objects, and information that surrounds us, searching for decisive moments—but in these worlds, decisive moments are cultural absurdities.” She finds these moments in the pages of consumer product mail-order catalogs, travel and leisure brochures; and websites like Craigslist, EBay, and Flickr. Identifying image typologies—candy-colored horizons and sunsets, books used as props—brings the farcical, surreal nature of consumerism to new light.

2011

In 2001, Rinko Kawauchi launched her career with the simultaneous publication of three astonishing photobooks—Utatane, Hanabi, and Hanako—firmly establishing herself as one of the most innovative newcomers to contemporary photography, not just in Japan, but across the globe. In the years that followed, she published other notable monographs, including Aila (2004), The Eyes, the Ears, (2005), and Semear (2007). And now, ten years after her precipitous entry onto the international stage, Aperture has published Illuminance, the latest volume of Kawauchi’s work and the first to be published

outside of Japan.

2012

Gauri Gill is a photographer from Dehli. Her most important and riveting works include her Family Album about the Indian Diaspora communities in America, village communities in northwest India, and Afghan Indians in Dehli. Over the last ten year Gill has focused her attention on the rural communities of Rajasthan. At the Balika Mela, a fair for girls in the village of Lunkara-nsar, she created a photo-stall for people to come in and have their portraits taken, in 2003 for black and white and in 2010 for colour photography. Photographs from both series are collected in this book.

2013

This publication gathers a selection of portraits made in Chinese studios between the thirties and the eighties. The full-length portrait, where the subject is shot head-to-toe in front of a specific background, is as old as portrait photography itself. But in the Chinese case, in order to cut the costs of this type of portrait, photo studios would offer a previously unseen vertical format, in which the frame restricted the subject to standing straight with its arms along the body. This resulted in a silver print, a sort of tiny photographic coffin, with an average size of 7 cm high by 2.5 cm wide, either black and white or hand-colored.
Through these images, we don't discover individuals as they are, but as they wish to be perceived. Each of these portraits contain an element through which the subject asserts his place in society: the soldier and his gun, the sportswoman and her tennis racket, the nurse and her syringe, the revolutionary and his little red book, the peasant and his straw hat, the photographer and his camera, but also the modem woman and her pink purse...
This accidental reunion of 60 anonymous portraits is reminiscent of the archetypal work of August Sander in Face Of Our Time: an objective, non-judgemental photograph, through which we look at a society right in the eye.
lt is still difficult to stroll through Chinese antique markets without running into these small photographic figurines, which can individually seem strikingly boring. The deeper meaning of these images takes place when they are juxtaposed, revealing fragments of the history of Chinese society, not only its dress codes, but also its behavioral and ideological referentials.

2014

Anthropologist and photographer Jo Farrell's publicationLiving History: Bound Feet Women of Chinadocuments the disappearing custom offoot-bindingamongst the remaining women of China with bound feet. Thepublication contains portraits of 50 women alongside personal accounts of their memories and stories recorded during Farrell's research. Also included is an in-depth introduction into Farrell's research and passion in documenting these women providing an insightful look into ideals of beauty that are specifically emplaced on women, commenting on both on contemporary practices of bodily modification through looking at the past.

2014

"Once touted as both the crime capital and the tourist capital of Australia, the Gold Coast is a place built on contradiction. Originally a straggly and volatile stretch of coastline, it was rebranded in the mid-20th century by real estate developers eager to seduce investors, retirees, and holidaymakers. During the 1960s and ’70s, a vast network of canals was engineered to create the illusion of luxury waterfront living — an ideal lifestyle sold with sun-drenched ease, despite the bull sharks lurking in the shallows. This uneasy relationship between paradise and peril is most visible in the local news cycle: a surreal oscillation between million-dollar property listings and stories of corruption, violence, and decay. State government scandals in the ’80s and widespread property scams in the ’90s cemented the Gold Coast as a destination for Australians looking to reinvent themselves, particularly those with reputations best left behind."

"This series of images is a study in that dissonance: a place where the weather and the architecture lie. “A sunny place for shady people,” the Gold Coast is a mirage of tranquillity built atop a foundation of opportunism, denial, and image management. This is a portrait of a place obsessed with lifestyle and untouched by conscience, challenging our perceptions of safety and danger within the architecture

of our built environment."

2015

Behind the Blockade documents the student protests held at Tokyo University in 1968-1969. From clashes with riot police to student discussions, the photographs vividly capture life within the University walls where routine and riot were played out behind the backdrop of the international anti-war movement.

1968 was a year of instability - with the prolonged Vietnam war, student protests in Paris, repression of Czechoslovakia by those countries which were shaken by the “Prague Spring”. America saw the assassinations of Martin Luther King and Robert Kennedy. On the other hand, the Apollo mission landed on the moon

the following year.

1968 was also the year I began photography. I wandered around downtown Shinjuku with a camera, capturing people and whatever caught my attention. One night, I came across a crowd causing great turmoil in Shinjuku. I learned that it was an international anti-war protest. Before that, the Vietnam War had seemed to me merely information transmitted from the media, but I felt its reality after joining the protest. As the Riot Police searchlight lit up students' helmets in the heaving crowd, their silhouettes would shiver violently. Student Power in Japan became a powerful tide fighting against society.

Around that time, I stepped foot into Tokyo University's Hongo Campus for the first time, and met Yoshitaka Yamamoto, who was then representative of Todai Zen-kyoto. He inspired me. It was he who made me so determined to document the Todai protests. Inside the barricades actually was an open space, into which non-local students, the general public and even high school students could go.

Forty-seven years have now passed since then, and some memories are dimming - but film creates new memory. The spirit of Zen-kyoto is brought back to life.

― Hitomi Watanabe

2015

History Travels Badly is a book that combines photographs by Inge Morath with excerpts from her personal diaries, some of which were previously unpublished. The book provides a look into Morath's personal perspective on her travels and work, offering an intimate and introspective dimension to her well-known photography.

2015

Have a look inside through the PhotoBook Cafe archive

"In the Shadow of the Pyramids is a first-person account exploring memory and identity. With images spanning 2005 to 2014, what began as a look in the mirror to understand the essence of Egyptian identity expanded into an exploration of the trials and tribulations of a troubled nation. The result is dark, sentimental and passionate. Juxtaposing the innocence of my past with the

obscurity of the present." -lauraeltantawy

2015

Published by Taka Ishii Gallery, Naoko Tamura’s Thaümata is a visual exploration into the very wonders of photography and image making. Taking its title from the Ancient Greek terminology used to define events of marvel and miracle, Naoko Tamura’s new body of work reflects a world both elusive and mysterious. What is precent is a unique perspective which reflects both dream and reality; a mirrored world which turns and captures the photographic medium itself.

This publication was released on occasion of Naoko Tamura’s first exhibition in Paris, held at Taka Ishii Photography Paris. Included within is an essay by Pascal Beausse.

2015

Stranger, a new project by photographer Olivia Arthur, imagines a survivor returning to Dubai fifty years later, and what they would see. Through photographs and small anecdotes, the viewer is taken on a journey through a city that is both awe-inspiring and alienating. A city which has grown at breath-taking pace from a population of 90,0000 in the 1960s to over 2 million in the current day, and continues to draw people from all over the world with its promise of riches.

The backbone of the project is the story of the shipwreck, transporting the viewer back and forth in history and acting as a reminder of the fragility and skin-deep nature of Dubai.

Reflecting this fragility and suggesting the feelings of loneliness and disorientation often experienced by residents of Dubai, the book is printed on transparent paper. The result is that the layered images fade in and out of view, interspersed with quotes, memories, and images of the shipwreck itself.

2015

Shadi Ghadirian is a prominent Iranian photographer whose work examines the lives of women in Iranian society. She uses parody, humor, and her great technical skill to explore the paradoxes of women’s lives in Iran, where she continues to live and work. Her work also displays how photography can take on an important role in society while maintaining a high aesthetic quality. This exhibition catalogue, published on the occasion of the exhibition held at the Bibliothèque municipale de Lyon in cooperation with the Silk Road Gallery in Teheran, revolves around the theme of art and resistance. This is the first retrospective monograph to bring together her works and different series from over fifteen years of her career.

2015

In her series, ‘I and I’ she focuses on the subject of transgender people in China. After graduating from art school in Japan she soon moved to Hong Kong, then in 1999 she moved her base to Beijing where she worked as a photographer, mainly for international magazines and also as a still photographer for movie with renowned film directors. She became friends with a transgender performer named Meimei, allowing her to enter into the private lives of the «Queens» and

capture them on photography. .

2016

"I am Iranian. I was born in 1980, the same year as the Islamic Revolution. I learned how to wear my scarf when I was seven years old. I still remember putting it on for the first time, getting ready for my first day at school. It was me, my mother and a mirror. Two years later my Religious teacher stopped me in the corridor for letting my hair show. She told me to cover my hair completely. She said “When you die, Amak, you will go to hell and you will be hanged with your hair strand over a very big fire for all eternity because you didn’t hide it from the eyes of strangers in your lifetime.”

Six years ago, I was waiting in a reception room, holding the birth certificates of my mother and me. We looked similar in our ID photographs. That same day my fingerprint was fixed next to my image, and my mother’s fingerprint next to her image. Despite the outward similarity of the images the fingerprints were different; the scar I had on my finger became part of my identity next to my photograph. I decided this meant something, that our identities were entwined with these official identities, with these prints and these papers. In the following three years, I collected similar images and fingerprints from different women in Iran. Each was different from the other, and had a story to tell." - Amak Mahmoodian

2016

Girl Plays with Snake by Clare Strand comprises images sourced from the darkest recesses of the artist’s extensive archive. The project continues Strand’s decades-long engagement with the scrapbooks, magazines and photographs that she has drawn together since her mid-teens. In this iteration of Strand’s ongoing research and reflection, women and girls are pictured holding, playing with and gazing fondly at snakes. Key to understanding the intention of the imagery is the inclusion of original accompanying text attached to the reverse, revealing stories of the bizarre and the erotic,

alongside Myth and Credo.

Siegfried Kracauer would recognise Strand as a dedicated “Rag Picker”. She describes her working method as being like "rolling in newly cut grass and seeing what you pick up on your jumper”. Strand’s constantly evolving practice brings together intensive research, deadpan humour and insights into popular culture. She shifts from the mysterious and the absurd to understand public obsessions, often via trickery and manipulation. Recently exhibited work includes machines to encourage entropy, web programmes, looped films and intricate photographic constructions subverting, reimagining

and manipulating the medium’s origins.

2016

‘AM projects’ consists of Aaron McElroy, Daisuke Yokota, Ester Vonplon, Gert Jochems, Olivier Pin-Fat and Tiane Doan na Champassak. NOCTURNES is a unique boxed set of 6 books by the new photography group ‘AM projects’ and published by dienacht Publishing. This book is printed using different papers for each photo essay – one even has an enormous fold-out poster. It is a landmark in photobook production. NOCTURNES is the first ‘AM’ project and explores 6 different photographic journeys into ‘the night’. -Publisher

2016

Tenko, her beloved daughter, has always been an important subject for Japanese artist Hanayo. After the birth of Tenko, Hanayo has documented her daughter’s growing up between Tokyo and Berlin, in her double capacity as mother and artist.
One of the first and second books Tenko came into contact with during her childhood was “Shojo Arisu (Alice)” (1973) by Hajime Sawatari, In Hanayo’s photos, Tenko can be seen squatting over the photo book, reading in it as if it were a picture book.
At 15, Tenko met the creator of this favourite book of hers, photographer Hajime Sawatari. After their initial encounter, Tenko went on to become one of Sawatari’s most important photographic subjects. Five years later, the two have collaborated on photographic works that carry the mystical, distant sensuality of the

original “Alice” photobook.

The photo book “Tenko” is an intersection between Hanayo’s photos, taken in her role as Tenko’s mother, and Hajime Sawatari’s mystical, sensual photos inspired by Tenko’s favourite childhood book, Sawatari’s “Alice”.

-Statement from the distributor

2016

Tai O Fishing Village is a photographer’s paradise. Captivated by its charm, simplicity and tranquility, Irene Flanhardt started taking photos in the village in 2011. These photos depict the inhabitants’ lifestyle, the iconic stilt houses, the charming fishing boats, the culinary treasures (the famous salted duck egg yolks, shrimp paste and salted fish), the nostalgic landscape, the historic buildings (the Grade I Yeung Hau Temple and the Grade II Tai O Heritage Hotel), the dragon boat races, the two devastating fires (in 2000 and 2013) and some interesting objects Irene found in the streets of Tai O.

2016

LaToya Ruby Frazier’s award-winning first book, The Notion of Family, offers an incisive exploration of the legacy of racism and economic decline in America’s small towns, as embodied by her hometown of Braddock, Pennsylvania.

The work also considers the impact of that decline on the community and on her family. Creating a statement both personal and truly political — an intervention in the histories and narratives of the region. Frazier has compellingly set her story of three generations—her Grandma Ruby, her mother, and herself— against larger questions of civic belonging and responsibility.

2016

A maverick in the history of photography, Ishiuchi Miyako (b. 1947) burst onto the scene in Tokyo during the mid-1970s, at a time when men dominated the field in Japan. Working prodigiously over the last forty years, she has created an impressive oeuvre and quietly influenced generations of photographers born in the postwar era. Recipient of the prestigious Hasselblad Award in 2014, Ishiuchi ranks as one of the most significant photographers working in Japan today.
Spurred by her contentious relationship with her hometown, Yokosuka — site of an important American naval base since 1945 — Ishiuchi chose that city as her first serious photographic subject. Grainy, moody, and deeply personal, these early projects established her career. This choice of subject also defined the beginning of Ishiuchi’s extended exploration of the American occupation and the shadows it

cast over postwar Japan.
Ishiuchi has since addressed the theme of occupation both indirectly — through her photographs of scars, skin, and other markers of time on the human body — and more explicitly, with her images of garments and accessories once owned by victims of the atomic blast in Hiroshima. Essays featured in this volume reveal the past as the wellspring of Ishiuchi’s work and the present moment as

her principal subject.

2016

Afghanistan: Between Hope and Fear presents a photographic portrait of this war-torn country’s people across more than a decade. With empathy born of the challenges of being an American female photojournalist working in a conservative Islamic country, Bronstein gives voice to those Afghans, particularly women and children, rendered silent during the violent Taliban regime. She documents everything from the grave trials facing the country—human rights abuses against women, poverty and the aftermath of war, and heroin addiction, among them—to the stirrings of new hope, including elections, girls’ education, and work and recreation. Fellow award-winning journalist Christina Lamb describes the gains that Afghan women have made since the overthrow of the Taliban, as well as the daunting obstacles they still face. An eloquent portrait of everyday life, Afghanistan: Between Hope and Fear is the most complete visual narrative history of the country currently in print.

2016

This project began with an archive and a discovery. Sara Davidmann and her siblings inherited letters and photographs belonging to her uncle and aunt, Ken and Hazel Houston, from her mother, Audrey Davidmann. The letters chronicled the relationship between Ken and Hazel.

It emerged soon after they were married that Ken was transgender. In the context of a British marriage in the 1950s, this inevitably profoundly affected both their relationship and their relationships with the people around them. They remained together from 1954 to the end of Ken’s life.

Hazel and Audrey wrote to each other frequently in the late 1950s and early 60s after Hazel discovered that Ken was transgender; these letters tell Ken and Hazel’s story.

In response to the letters and family photographs Sara Davidmann has produced a new set of photographs using analogue, alternative and digital processes as well as working on the surfaces of the photographs she produced using ink, chalks, hand tinting, magic markers and correction fluid.

2016

Christian Karl, a bit ordinary, hardly impressive. The names he designed for himself were more beautiful, more resonant: Christopher Crowe, Clark Rockefeller. He created his own reality, and everyone fell for it. With each new name he left his previous life behind. As though it had never existed. Almost without a trace.

Erasing the past, tailoring a new identity, becoming somebody else; not just anyone, but a Rockefeller. The old, long buried self used to be Christian Karl Gerhartsreiter from Bavaria. But he vanished a long time ago in a journey from Germany to the States. His initials were lost in a series of taken names; his skin appropriated a handful of aliases, all grandiose and luxurious in lifestyle. In 2008, after three decades of spurious identities, the lie collapsed and with it the man. Christian Karl Gerhartsreiter, aka Christopher Crowe, Clark Rockefeller to name but a few; to many a swindler, a con man, a crook; to others, a gifted storyteller, a man with a polished accent who dared to be whatever he wished.

Sara-Lena Maierhofer discovered Clark in a newspaper article in 2008. She became fascinated by the man with multiple skins and decided to approach him. After Clark refused to meet her, she decided to study him from a distance; to conduct her own criminal investigation based on the existing pieces of forensic evidence- the bits of newspaper, pictures, even Clark’s early childhood drawings, and her letters to him. Still Maierhofer needed to go further. In an attempt to penetrate the multiple layers of his lie and reach the core of his personality, she chose to approach him through fiction, following Clark’s lead. She imagined him in a world of clones and doubles, one where the borders of truth and lie collapse against the rigid confinements of the image.

2017

"Koan is the possibility to open up the territory of pre-verbal. As human beings, our reality based on symbolic matrix, so all possibility of our thoughts and wisdom be covered and limited by signifying chain. Only vision as a product of the non-material is closer to a concept of purity, so through photography as my own philosophical approach, I try to explore beneath the surface of things by simplification and abstraction to awaken spiritual awareness and intuition before the symbolic.
As Eastern philosophies, Tao and Zen always advise people to stay absolutely quiet and purify thought processes. In order to achieve this goal, our attention should focus on the most basic form of the universe’s existence. In Zen Buddhism, Koan is a story or riddle used to help in the attainment of a state of spontaneous reflection, free from planning and analytical thought. In contradiction to Western philosophy, Koan’s emphasize the inadequacy of language and words, and the importance of intuition over reason and logic,

to transform the self.
I named the series as “Koan”, and selected abstract landscape photographs to do photo-etching process; the results of this craft are poetic and full of imaginations. Also only uses black ink and print on different Japanese papers, the color is deriving from the atmosphere of desolation and melancholy and the expression of minimalism in ancient Chinese poetry and monochromatic ink painting.”

2017

Artist Talk - Video

In Museum Bhavan Dayanita Singh creates a new space between publishing and the museum, an experience where books have the same if not greater artistic value than prints hanging on a gallery wall. Consisting of nine individual “museums” in book form, Museum Bhavan is a miniature version of Singh’s traveling exhibition of the same name whose prints are placed in folding expanding wooden structures (her “photo-architecture”), which she likes to interchange at will.

The images in Museum Bhavan—old and new, intriguingly literal and suggestive—have been intuitively grouped into lyrical chapters in a visual story such as “Little Ladies Museum” and “Ongoing Museum,” as well as more specific series like “Museum of Machines.” Following her Sent a Letter (2008), the starting point for this project, the books are housed in a handmade box and fold out into accordion-like strips which Singh encourages viewers to install and curate as they wish in their own homes. The exhibition thus becomes a book, and the book becomes an exhibition.

2017

"Twins" was born by accident. When I came back to Japan from London, I started making twins pictures to cheer myself up. I was already 27 and once again I was an alien in my own country. Living as a proper Japanese lady with responsibility was very heavy burden; it was hard for me to accept. So I enjoyed making child like twins to make my life better. I thought: "If I have a twin sister, I won't be lonely, and I will be happy living in any environment together." It actually makes me laugh when I see myself becoming a twin by cutting and pasting. It somehow encourages me to live in this so-called "developed country".

2017

Waking Up in Strange Places is a travel compendium through 9 countries and 33 cities. The zine consistes of 5 chapters that are bound together by magnet. This allows the reader to arrange and re-arrange the chapters in any way that they wish—there is no fixed way of viewing or displaying the zine.

2017

2017

A photobook of black-and-white images capturing couples on motorbikes in Bangkok, Thailand, taken during the summer of 2009. The book explores sensuality and the act of looking through its repetitive, yet slightly varying, images of couples who often make direct eye contact with the viewer. It uses a unique binding that evokes the feeling of passing by these fleeting moments and moments of intense connection.

2017

This album is Maiko Haruki's fourth photo book in six years.

The book is organized into three series. It deals with the development of three-dimensional events that we try to "see" in a two-dimensional format. Black slits, as if capturing a moment, were overlaid on people passing through the city. Landscapes of Ireland and the Tokyo Tennmonkan (Tokyo Planetarium) are superimposed within the same image. Maiko Haruki is a promising artist who experiments with

film to achieve new forms of photographic expression. She intentionally creates under- or overexposed images, resulting in photographs that are almost entirely black or white. Even in the darkroom, she moves the negatives during printing to incorporate the blank spaces between them as intentional elements of her work. In her latest exhibition at Taro Nasu (Tokyo), Haruki deepened her exploration of the act of seeing, creating a gravity-defying space that induces an almost floating sensation. She discussed the genesis of these new works and how her ideas evolved.

2017

The series of work is presented as an old science book from 1800's, that as well as reflecting the current situation regarding organisms intake of plastic, also subtly includes the original writing, descriptions, and figures recorded by Thompson in his research memoirs of 1830, entitled, 'Imperfectly Known Animals'. The book uniquely captures our changing times along with both past and present research.

2017

A miniature edition of Mandy Barker's collection Beyond Drifting: Imperfectly Known Animals.

This book is based on a book by John Vaughan Thompson (JV Thompson) published about 200 years ago by an author who works on the theme of marine environmental issues. While using it, it is produced with the theme of marine pollution by microplastics. Since the publication of the original edition in May 2017, the issue of microplastics and plastic pollution in the ocean has received even more media attention around the world, prompting large corporations as well as individuals to opt out of single-use plastics in supermarkets and at home. changes are taking place. Mandy continues to work on this project to further focus her international conservation interests. This new edition, which has been reborn in a size that is one size larger than a passport, is a digest version, but it has a finish that makes you feel that you are more particular than the original version and that you want to deliver this work to more people. became.

2017

Red Flower, The Women of Okinawa" is Okinawan photographer Mao Ishikawa's first US monograph. It features 80 black and white photographs from 1975-1977, primarily drawn from her groundbreaking 1982 book "Hot Days in Camp Hansen," along with previously unpublished work from that period. The book celebrates the courageous lives of women Ishikawa befriended while working in military bars during heightened US-Japan tensions.

"Red Flower" represents Ishikawa's pivotal work - the starting point of her long career. While Okinawa has attracted many renowned Japanese photographers, Ishikawa remains the only female photographer consistently documenting Okinawa despite taboos and challenges. Unlike her earlier publications - the rare, banned "Camp Hansen" book or the 2013 exhibition catalog that diminished her work's impact - "Red Flower" faithfully reproduces her powerful images in full-bleed format, finally making this legendary work accessible again.

2017

"My parents, who owned a photo studio, went missing after the 2011 tsunami. Our house was destroyed. It was a place for working, but also for living. I grew up there. After the disaster, I found my father’s lens, portfolio, and our family album buried in the mud and the rubble.

One day, I tried to take a landscape photo with my father’s muddy lens. The image came out dark and blurry, like a view of the deceased. Through taking it, I felt I could connect this world with that world. I felt like I could have a conversation with my parents, though in fact that is impossible.

The family snapshots I found were washed white, the images disappearing. The portraits taken by my father were stained, discolored. These scars are similar to the damage seen in my town, similar to my memories which I am slowly losing.

I hope to retain my memory and my family history through this book. By arranging these photos, I have attempted to reproduce it."

- Mayumi Suzuki

2017

This is the official exhibition catalogue tracing the 40-year trajectory of Miyako Ishiuchi (born 1947), one of the most highly acclaimed international photographers, notable for becoming the first Asian woman to win the Hasselblad Award in 2014.
Ishiuchi's work, which is lauded for evoking memory from the traces of life left on structures, skin, and personal effects, is often described as a "fabric of memory." Centered on the theme of "Grain (Kime)," this volume contains approximately 240 self-selected works, ranging from early, previously unpublished photographs to her latest series.
The book comprehensively covers her career, from her early landscapes of "towns" and "buildings" in series like Yokosuka Story and APARTMENT, to her post-90s focus on the remains and scars of "people" and "objects" in works like Mother’s, Hiroshima, and Scars. It is an invaluable retrospective that consistently presents Ishiuchi's world, which perpetually explores presence and absence, human memory, and the vestiges of time.

2017

“As I try to mask the excess of my sentiment, I’ve come to acknowledge the common ground between desire and denial, pleasure and pain that lies in all human relationships.”

Taken between 2015 and 2017, Thy Tran’s photographs document the intricacies of her relationship with her former girlfriend. Combining the private space and the transient moments of their time together, the tension between connection and disconnection serve as a vantage point, revealing her private world to public eyes in a blended portrait of both the artist and her partner. Obscuring the faces of both herself and her lover, Tran’s images explore the more intimate and obscure details of a relationship, from mundane visits to a supermarket, to the pile of clothes casually thrown on the chair from the night before.
CACHER (from the French for ‘to hide’) derives from Roland Barthes’ A Lover’s Discourse, and serves, as Tran says, as an “act of opening up myself to vulnerability that the photographs release”. Tran’s work serves to remove its subjects at the same time as paradoxically making them explicit; in CACHER, her practice reconfigures the intimate in a language that is uninhibited.

2017

Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness is the long-awaited monograph from one of the most powerful visual activists of our time. The book features over ninety of Muholi’s evocative self-portraits, each image drafted from material props in Muholi’s immediate environment. A powerfully arresting collection of work, Muholi’s radical statements of identity, race, and resistance are a direct response to contemporary and historical racisms. As Muholi states, “I am producing this photographic document to encourage individuals in my community to be brave enough to occupy spaces―brave enough to create without fear of being vilified. . . . To teach people about our history, to rethink what history is all about, to reclaim it for ourselves―to encourage people to use artistic tools such as cameras as weapons to fight back.”
With more than twenty written contributions from curators, poets, and authors, alongside luxurious tritone reproductions of Muholi’s images, Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness is as much a manifesto of resistance as it is an autobiographical, artistic statement.

2018

This book comprises a photographic collection by Carine Thévenau of recently deserted playgrounds in rural Japan. Pictured during the winter, the snow-covered playgrounds might arouse a nostalgic sensation, yet a more critical analysis reveals a portrait of a place and offers us a glimpse of space and time paused. Thévenau interprets the emptiness within the playgrounds as a silence or tension that our minds feel compelled to fill, akin to the pause in a musical score or the interval of a theatrical play. These playgrounds are the residue of an ageing Japanese population, revealing economic shifts but also cultural philosophies about nature, respect, waste, and sustainability.

2018
Teenage Riot is Japanese-born, New York-based street photographer, Fumi Nagasaka’s sophomore book, which showcases portraits taken over the course of several years of four teenage girls from varying backgrounds—a small town in Canada, Brooklyn and Tokyo. With this project, Nagasaka was specifically interested in understanding how upbringings in divergent cultures were reflected in each girl’s personality and interests.

The book is a natural progression from her first offering, Untitled Youth, a sizeable collection of portraits taken against plain backgrounds which focuses in on her teenage subjects, seeking to capture their purity and innocence. With Teenage Riot, Nagasaka expanded on her process, pulling the camera’s viewpoint out and allowing her subjects’ worlds to contribute to their visual story.

2018
This work is a contemplation upon an attempt to understand the wind. The wind, a divine force impossible to go against, embodies a signifier of change – be it a small breath, the rustling of leaves, or a large hurricane. Beyond the physical, this force can cause an internal change, such as the change of a state of mind. The work brings about a play between certainty and confusion, relating to the ambiguity

of the wind.

The book our breaths are short, this breeze untameable is printed in an edition of 100 copies and is available for sale via THEBOOKSHOW, Singapore and The Photographers' Gallery Bookshop, London, or directly through the artist.

2018

The Bliss of Conformity is a photography-based mixed-media series that combines elements of video, installation and artist’s book. In this work, Guo Yingguang explores arranged marriages in China and the emotionally distant coexistence between arranged couples from both abstract and concrete viewpoints. Starting from her own individual experience and the contemporary social experience at large, Guo Yingguang combines documentary photography and creative artistic practices to create carefully constructed, highly contrasted visual structures that challenge stereotypical notions of women in a complex socio-cultural consciousness. - Curator statement

2018

Featuring six artists (each represented with twelve collotype prints) who were either directly involved or influenced by the ideas, philosophy and approach of the legendary magazine “Provoke”, as well as essays by Simon Baker, Ryuichi Kaneko, Kotaro Iizawa and John W. Dower, “The Provoke: Generation Revels In a Turbulent Time” examines and celebrates the lasting impact of the Provoke movement on Japanese photography.

2018

"I’m following and spying on my ex boyfriend and his new girlfriend. I pursue them on Facebook, downloading all the pictures they have been uploading there of themselves and each other. I’m placing myself in the new girlfriend’s position, imitating her pose, expression and dressing myself in the same outfit. Photographing myself in the same light as in the picture of them. The figure of me I glue on to the original picture, covering the girlfriend. In this way I build a dream life of my own on top of theirs. During the process of taking the new girlfriends poses, I’m once again, briefly a part of my ex love’s life and I can imagine how it would be to be her."

2018

In photographs, interviews, emails, graphics, and illustrations, Belgian artist Katherine Longly investigates the Japanese relationship with food and the body in Japan. During several residencies in Japan, Longly met and spoke with ten people of different ages and backgrounds about their experiences with food and weight. Each of the book's ten chapters takes a different approach - 34-year-old Martijn, for example, talks about the easy availability of snacks and sweets, highlighted by photos taken in bakeries, conbinis and supermarkets; other chapters focus more on the body or, in the case of anorexia survivor Marina, opt for abstract images and focus on her words. At the intersection of art and anthropology, this project invites everyone to dig to discover where their relationship to food and their body is rooted. The book includes a "research notebook" filled with additional notes and correspondence, as well as an afterword by cultural anthropologist Maho Isono. “Our relationship with food is complex. It can reveal itself as a formidable tool for managing our emotions, and it’s also a privileged witness to our social and family history. And it’s fundamentally inseparable from the relationship we have with our own bodies. Between control and pleasure, my connection to food is still haunted by the ghost of a little girl who was a little too round. The image of the self finds its foundations in childhood – with all its strength and tenacity.

I set out to explore where our relationship with food is rooted, outside of my own experience. Collecting statements from a place far from my own references allowed me to understand my own story, with a necessary step back.”
― Katherine Longly’s foreword

2018

Ke Peng, who was born in Hunan Province and grew up in Shenzhen in China, set her creation in the rapidly developing urban space to awaken other people's perception by projecting her personal experience onto the fragile and sensitive parts of the big city. Essentially The Salt Pond is more like an ecosystem that may be slightly out of balance due to being involved, where the situation of the pond and the fish will eventually refer to people who is trapped in the city but also dependent on the excitement and security it brings.

2018

Real Life Dramas is a time machine, its images transporting us 35 years into the past, transplanting our reality to an indeterminate place in the United States. Mary Freys hyperreal photographs capture charged banalities on large-format film, pictures of middle-class children, adolescents, and adults that together seem less of a reportage than a psychogram. She offers drama, in the sense of interpretations of human experience that are cogent and valuable on their own terms, but not the dramatic. The images are positioned somewhere between snapshot and enactment, intimacy and distance, yet nothing aspires or demands to be taken as more than it actually is.

2018

“Me and me” — surreal self-portraits of a bob-haired young girl; cheerful yet decidedly ironic.
In her many playful, imaginative photographs, Izumi Miyazaki dissects and disturbs familiar scenes and landscapes, tricks her viewers, surprises with her idiosyncratic ideas. Beneath the poppy colors and all the playing around lies the sense of someone not (yet) at home in the world, not accepting what’s expected of her.

“When this state of being at odds with myself continues for a while, there is that other ‘me’ that has witnessed the whole scenery and comes up to encourage me to have faith in myself. […] I am going to savor the happy feeling of being able to be myself, and continue to enjoy myself as hard as I can.”

— From Izumi Miyazaki’s afterword

2018

Squatting amid the luxury hotels and malls of modern Kowloon, Chungking Mansions resembles the dirty vent of a giant subterranean machine. This Hong Kong landmark is a hotbed of criminality and home to pimps, hookers, thieves and drug pushers. The five 17-storey towers also offer the city’s last low-rent refuge for asylum seekers and immigrants coming to start a new life.
Nepalese guesthouse owners rent out rooms to Bangladeshi workers, and Pakistanis sell mobile phones to Nigerian traders who hire Indian cargo companies to ship them home. Food stalls fill the air with the savory aromas of international cuisine, and more than 200 guesthouses, as well as two floors of shops selling black-market, counterfeit and bargain goods, establish this unique place as a global hub of trade and multiculturalism.
In 2009, shortly after a Canadian tourist disappeared from Chungking Mansions without a trace, photographer Nana Chen began wandering the corridors. Using her camera as a guide, she discovered the Chungking Mansions not visible to the naked eye: the beating pulse that gives this notorious destination its hypnotic appeal. With compassion and courage, Chen sought to craft a portrait of Hong Kong’s last ghetto and its inhabitants before its vibrant character is erased forever by the inevitable march of progress.

2018

In Apples for Sale, Rebecca Sampson (*1984) sheds light on the life of Indonesian housemaids, who work in Hong Kong as second-class migrants and live under precarious conditions in a parallel female society. In an exclusively female social environment, they begin a sort of role play, in which the male roles of tomboys are assumed and lovingly decorated dolls replace missing children. Since the domestic workers are only allowed to move freely around Hong Kong one day a week, their social and cultural sphere is increasingly shifted to the virtual world of Facebook. There, no limits are put on their living out their personality individually. The new publication gives viewers 360-degree access to this unique and unsettling world.

2018

Tree-staking, like our innate human instinct to control, is ubiquitous yet largely unnoticed.

Featuring a diversity of (sometimes unorthodox) approaches to the art of tree-tying, this work presents an intimate encounter with the trees and their much-overlooked structures in the garden city of Singapore. Similar to many cities around the world, trees are uprooted and relocated to conform to a controlled cityscape determined by urban-planning. In an attempt to construct a productive and aesthetic living environment for ourselves, nature has long since been subjected to manipulation at the mercy of our hands.

2018

In this book, Bacani, who used to be a domestic worker herself, reclaims the story of the migrant worker that has been told countless times by others. This time around, she is telling their own story – not as victims but as champions who have overcome the many hardships life has tossed at them as they leave their families behind in their home country. The book portrays the experience of millions of mothers, daughters and families whose lives have been disrupted by migration. “We Are Like Air” because migrant workers are often treated like air, invisible but important.

2019

"anjir is a conversation imagined between the Persian princess and memoirist Taj Saltaneh (1883 - 1936) and I.
In 2004, I visited the Golestan museum in central Tehran to begin work on academic archival research. The museum was once home to Qajars, and to the King’s wives and relatives. The photographs in the museum’s archives, amongst others, include those taken between 1860 and 1896 by Nasr al din shah, the King during the Qajar Era, when photography first arrived in Iran. These archival photographs became a cornerstone of the project due to the multiple potential interpretations and readings of the imagery. I decided to tell my story through that of others – those who lived in the past and yet their stories still exist in the present."

2019

"In Dark Tears, award-winning Argentinian photographer and performance artist Claudia Jares takes her lens to the reality of queer experience in Argentina, Venezuela, and across Latin America, exploring questions of sexuality, religion, and identity with the raw eroticism that is the hallmark of her style. Here she tells the stories of a number of people struggling to come to terms with their identity in a region that, despite much progress in LGBTQ rights in recent years, still moves to a strongly conservative Christian heartbeat that condemns same-sex relations and reveres the institution of the heteronormative family"

2019

Made over the course of some thirty years, the photographs in this book depict the many faces of April Dawn Alison, the female persona of an Oakland, California based photographer who lived in the world as a man. This previously unseen body of self-portraits, which was given to the San Francisco Museum of Modern Art in 2017, begins tentatively in 1970s in black-and-white, and evolves in the 80s into an exuberant, wildly colourful, and obsessive practice inspired by representations of women in classic film, BDSM pornography and advertising. A singular, long-term exploration of a non-public self, the archive contains photographs that are beautiful, hilarious, enigmatic, and heartbreakingly sad, sometimes all at once.

With essays by Hilton Als (American writer and theater critic for The New Yorker), Zackary Drucker (American transgender multimedia artist, LGBT activist, actress and producer of smash Amazon series Transparent) and Erin O’Toole (associate curator of photography at the San Francisco Museum of Modern Art).

2019

"Evocativ" (2019) by Czech photographer Libuše Jarcovjáková is an unflinchingly raw photographic document of life in Prague during communist rule (1970-1989). Capturing the city's underground culture with brutal honesty, the work mixes poetic beauty with despair through candid flash photography that reveals intimate moments of street life, work, love, and sexuality. Shortlisted for the 2019 Aperture PhotoBook Award, this powerful collection stands as both a personal diary and historical testimony to a generation living through political oppression, distinguished by its unpretentious style that refuses to romanticize or look away.

2019

A Star in the Sea is an overture for embracing the unexpected. The photographs, text, and title pertain to three independent, personal life events: A love story; my first and only trip to my place of birth in the UK & a vision on a beach in Italy. It is inspired by a desire to redefine my relationship with the ideals of success & happiness. In this context, A Star in the Sea is an opportunity to celebrate imperfection — an artistic gesture to have faith in the Universe.

The book is conceived as an artistic object demanding intimacy — something you want to protect & treat with care. Each book comes in a custom handmade Batik pouch. A collectible edition of 26 Batik fabric bound box sets, each including a copy of the book & one of the original 26 polaroids from the series will subsequently

be released in late June 2019.

2019

Science-fiction artist and speculative designer Lucy McRae occupies a unique space in her field. Taking the body as her central focus, she explores how human biology might evolve with the assistance of design, emotional reconditioning, molecular biology and technology. These concerns are presented through the medium of video, photography and installation. This volume includes an interview by the NGV’s Simone LeAmon, The Hugh Williamson Curator of Contemporary Design and Architecture, and an adjunct professor in the School of Design, RMIT University, Melbourne; and texts by Dr Adam Nash, Associate Dean of Digital Design at RMIT University’s School of Design; and Dr Bronwyn Lovell a

science-fiction poet and scholar.

2019

“Gift”, Japanese artist Mari Katayama’s first photobook, is a retrospective of works made since her debut in 2005 and a chronicle of her evolution as an artist. Katayama, who was born with only two fingers on her left hand and had her lower legs amputated at the age of nine due to tibial hemimelia, creates her works in dialogue with her body. The book begins with photos of objects – prosthetics, intricately decorated and embroidered and made of plastic or cloth or other materials – photographed in isolation first before Katayama appears before the camera as well. Her photographs are a fascinating, complex play between sculpture, self-portrait, documentation, self-assertion and self-expression.

“The world is a big place, and we can do anything in it, but it is all mapped out, and we are all going to die one day. So here I am, spending another day between endlessness and limitations, against a backdrop that never changes.” — from Mari Katayama’s foreword

2019

“It was a long journey and a very pleasant trip.”
In 2018, Hong Kong-based photographer Wingla Wong and her friend Rita visited the Chinese mainland. They “went to Sichuan to visit relatives, Guangzhou to see friends, and Guilin for sightseeing,” with Wingla Wong taking photographs of Rita during their journey. Their photographs—collected in the photobook “Another Day in Paradise”—reflect and play with complicated relationship pairs such as city/countryside, youth/decay and, more specifically, Hong Kong/China and also display Wingla Wong’s exceptional eye for a sensual female eroticism.

2020

This book presents Alessandra Sanguinetti’s return to rural Argentina to continue her intimate collaboration with Belinda and Guillermina, two cousins who, as girls, were the subjects of the first book in her ongoing series, The Adventures of Guille and Belinda and The Enigmatic Meaning of Their Dreams. 
In this second volume, The Illusion of An Everlasting Summer, we follow Guillermina and Belinda from ages 14 to 24 as they negotiate the fluid territory between adolescence and young adulthood. Still surrounded by the animals and rural settings of their childhood, Everlasting Summer depicts the two cousins’ everyday lives as they experience young love, pregnancy, and motherhood - all of which, perhaps inevitably, results in an ever-increasing independence from their families and each other. Similarly, we can sense a shift in Sanguinetti's relationship to the cousins and the work they make: from insular childhood collaborators to three women with lives branching in different directions. Though the passage of time is one of the most palpable tensions at work in these photographs, An Everlasting Summer deepens Sanguinetti's exploration of the timeless, universal language of female

intimacy and friendship.

2020

This is so much more than a photography book; it’s a seven-year chronicle of a relationship. Japanese photographer Ariko Inaoka spent seven summers in Iceland with twin sisters

Erna and Hrefna, known as Eagle and Raven.
From ages 9 to 16, she captured them in beautifully surreal and dreamlike compositions that constantly subvert expectations. The images reveal an incredible trust not just between the sisters, but with their photographer. The series subtly traces the nuances of leaving childhood innocence behind and stepping into the world of adulthood, all within the omnipresent, wild nature of Iceland.
The book includes a beautiful poem by Icelandic novelist Guðrún Eva Minervudóttir. A truly magical and intimate portrait.

2020

The book “He Threw The Last Punch Too Hard” by Los Angeles based photographer Hannah Kozak tells the story of her mother Rachel Zarco, a beautiful, passionate, vivacious, and fiery Guatemalan Sophia Loren- type brunette who left Hannah and the family after she fell in love with another man. The man turned out to be violent. He beat her so badly that she suffered permanent brain damage and had to be moved into an assisted living facility at the age of forty one, where she still lives today. Since 2009, Hannah has followed her difficult journey and this book is their story. A story that could inspire other women to leave an abusive relationship, before it’s too late.

2020

"Flowers and Fruits" is a series of flowers and fruits, which 223 has taken many times as motifs of subjects. The flowers and fruits with vitality and beauty have fascinated many people at any time.
223 consciously treats flowers and fruits in his works, but also there are many images with them that were unconsciously included. The collaboration of flowers and fruits with the youth is fascinating and captivating. The flowering time may be very short. The flowers and fruits with that momentary beauty can be said to be the same existence as the young people 223 has been capturing.

2020

Centralia exposes hidden crimes of war as an indigenous people fight for their survival. In war, truth is the first casualty and Centralia explores the unsteady relationship between reality and fiction and how our perceptions of reality and truth are manipulated.

Combining tropes of documentary and fiction, art historian Emilia Terracciano, writing in 1000words magazine, has called Centralia a ‘hallucinatory reflection’ where an invisible conflict between a guerilla army, an indigenous people and the Indian state is associated with wider issues of environmental degradation. Such exploitation comes at a price: the transmogrification of violence into the de-facto language of politics. The voice of resistance is buried by alternate facts. Freedom is shrinking and what we say and who we are is being obscured.

2020

Shirley Baker started to photograph the streets of Manchester and Salford in the early 1960s when homes were being demolished and communities were being uprooted: 'Whole streets were disappearing and I hoped to capture some trace of everyday life of the people who lived there. I was particularly interested in the more mundane, even trivial, aspects of life that were not being recorded by anyone else.'

Shirley’s powerful images, sparked by her curiosity, recorded people and communities involved in fundamental change. People’s homes were demolished as part of a huge ‘slum’ clearance programme, however Shirley was able to capture some of the street life as it had been for generations before the change. The areas have been redeveloped to form a new and totally different environment. As Shirley once said, 'I hope by bridging time through the magic of photography, a connection has been made with a past that

should not be forgotten'.

2020

Part two of Tamiko Nishimura’s photographic journey through 1960s-80s Japan.

Japanese photographer Tamiko Nishimura has never ceased to travel, and has never stopped documenting her journeys in photographs. Since her first photobook “Shikishima” in 1973, she has continued to develop her own style of snapshot photography, capturing her surroundings, her impressions as well as her personal life in brilliantly composed photographs. In this second volume of snapshots taken between 1968 and 1989, Nishimura, accompanied by her young daughter, takes us with her to Okinawa, Tohoku, Hokkaido, the Joto and Johoku areas of Tokyo, and many other regions in Japan. In each of her photographs, Nishimura manages to weave together layers of stories and moods, creating images that echo both the external as well as her internal world.

“As we walked along the seashore, we saw a solitary lady gathering seaweed on the rocks in the cold wind. She noticed us and gave us some freshly picked seaweed in a plastic bag. After arriving at our accommodation, I asked the owner to add them to our miso soup for dinner. The flavor of the sea was fragrant; I was grateful for its deliciousness.” — from Tamiko Nishimura’s afterword (included in Japanese & English translation)