Marfa

PHOTOBOOK BY GAËTAN ROSSIER


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2017 / 1st edition
Limited of 100

47 photographs
68 pages
29.7×21 cm
Hardcover, perfect binding

Euro €25.50

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You will not come to Marfa by chance

All roads lead to Marfa, starting with the interminable highway that winds through the Chihuahua desert and rallying El Paso to this small lunar city of west Texas at the gates of Mexico. Declining since the closure of its military camp at the end of the Second World War, the rise of drug trafficking in the region and the drying up of the Rio Grande, Marfa, with its 2,000 residents, should never have become a hype destination. Yet for years now we are witnessing the same parade of aficionados pacing the dusty streets of this tiny city, a mirage in the torpor of the cactus fields. So, I went in Marfa in 2013. I took pictures and i loved it.

 

GAËTAN ROSSIER

Gaëtan Rossier (born 1975) is a Swiss photographer. He studied law at the University of Fribourg (Switzerland) and works as a lawyer in the administration (labor law).

Gaëtan Rossier is known for his images of banal scenes and objects in different countries (United States, France, Spain, Switzerland, etc…) and for his use of color in photography. Gaëtan Rossier was interested in photography from an early age. Self-taught, he received an Kodak Instamtic at age six. He began to use a 35mm camera ten years later and made his first color photographs. Gaëtan Rossier photography is rooted in the tradition of William Eggleston, Alec Soth and Stephen Shore. Gaëtan, an avid traveler, spent five years working his way down the American North West and documenting the places and people he saw with film cameras and various gears. Rossier’s photography has been exhibited on a collective exhibition in Lyon (France), “Kiss & Fly”. He has also been published in various collective projects.

GAETANROSSIER.CH

 

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Lost in Picardie

PHOTOBOOK BY GUILLAUME ABGRALL


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2017 / 1st edition
Limited of 100

32 photographs
48 pages
29.7×21 cm
Hardcover, perfect binding

Euro €21.00

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[FR]   La Picardie, c’est l’endroit où je vis. Parfois, je me demande si ce territoire que j’arpente quotidiennement existe réellement, tant il me paraît étrange: voitures tapies derrière des haies, rues et bâtiments déserts éclairés par un soleil pâle, quelques personnes ça et là. L’impression de dériver au sein d’un espace où rien n’arrive, d’une profonde mélancolie. Avec ces images faites lors de mes déplacements les plus ordinaires, pour le travail, les loisirs ou les obligations de tous les jours, je cherche à faire apparaître ce sentiment d’étrangeté qui nous saisit parfois face au réel le plus familier, cette impression de s’être perdu dans un monde légèrement différent du notre.

[EN]   Picardy is the place where I live. Sometimes, I wonder if this land does really exist: cars hidden behind hedges, forsaken streets and houses lightened by a faded sun, some people here and there. I feel like I’m drifting through a space where nothing happens, a space full of deep melancholy. With the pictures of this book, taken in my daily life, on the road to work, or during my spare time, I try to show this feeling of weirdness we could have in front of our close reality, when we feel lost in a world slightly different from usual one.

 

GUILLAUME ABGRALL

Guillaume Abgrall is a frenchman born in 1972. He lives in a little rural town near Amiens, in the North of France. He’s a teacher and an amateur photographer, who likes to take pictures both in analog and digital.

GUILLAUMEABGRALL.COM

 

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Brasilia

PHOTOBOOKS BY CYRILLE WEINER
 


[click cover to preview photobook 01]

2017 / 1st edition
Limited of 100

42 photographs
62 pages
21×29.7 cm
Hardcover, perfect binding

Euro €24.00

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[click cover to preview photobook 02]

2017 / 1st edition
Limited of 100

28 photographs
46 pages
21×29.7 cm
Hardcover, perfect binding

Euro €20.00

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Arriving in Brasilia is a strange feeling: an illusionary city that would reveal itself very slowly. From afar, the landscape is flat. Then, above the emptiness, a vibrant shape appears in the bright sun, like a giant model growing up from the ground. The vision speeding faster as the city progressively appears. Unbelievable.

Brasilia is the capital of a vast country. But it is not a city. It is the drawing of a city, a cross in the middle of the desert. An act of possessing a territory, perfectly and globaly achieved from scratch by architect Oscar Niemeyer and urbanist Lucio Costa, under the impulse of president Juscelino Kubitschek.

I came to see a city. I discovered an infinite garden. A wasteland. A suspended space that stretches out of human dimension.

I walked for hours. Off the map and its limits in an urban space that has not yet been conceived for a walker. I met a few men, as my own reflection in a mirror. They walked to the rodoviaria – the main bus station – at the crossing of the two wings of the Plano Piloto.

The public space in Brasilia is the whole territory. Cities’ grounds are covered with ashalt. In Brasilia, despite the sophisticated urban shaping, the red earth does not disappear.

Time is suspended. Life seems to have stopped the shining day of April 21st, 1960: the inauguration day of its new capital, built ex nihilo.

Strange scenes of parades of workers, soldiers and officials, between scattered brand new futuristic buidings, like an oversized movie set. A utopia that became real in a thousand days. Perpetual comeback, perpetual availability for the future.

I came to Brasilia with the feeling of coming back. I left it asking myself if Brasilia exists. It seems to. Not as a myth or a symbol of the modernist utopia, but an available open playground for all the improvisations of all of us.

Emptiness is the real monumentality of Brasilia.

 

CYRILLE WEINER

Photographer born in 1976 and trained at the Ecole Nationale Supérieure Louis Lumière. His work has been published by numerous international magazines (M Le Monde, Foam, British Journal of Photography, foam, Art Press…) and exhibited at MAC Lyon, at the Rencontres d’Arles, the laurent mueller gallery in Paris and at the Villa Noailles in Hyères. He was the laureate of the Prix Lucien Hervé and Rudolf Hervé in 2012 and the author of Presque Île (2009) and of Twice (2015). Cyrille Weiner recurrently poses the question of space, and how individuals appropriate themselves to their living spaces, distanced from directives coming from «on high». Progressively leaving the documentary register, he proposes a universe crossed by fiction, that he establishes with exhibitions, editorial projects and installations.

CYRILLEWEINER.COM

 


 

 


 

 

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Mad in USA

PHOTOBOOK BY STÉPHANE GOIN


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2017 / 1st edition
Limited of 100

67 photographs
94 pages
21×21 cm
Hardcover, perfect binding

Euro €32.00

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15,000 Miles on the road… Stopping off 11, 12, 13 times, heading off again as many times. Crossing 47, 48, 49 States, fingers trigger-happy, exhilarated at the idea of capturing the American dream… This year simply with my Fuji Instax 210.

It is here, overwhelmed by the vastness of it all and, above all, mesmerised by the road so vividly conveyed by Kerouac, that colour, space, a sense of infinity, really came home to me. My subsequent chance encounters with the work of Stephen Shore, Jim Dow, William Eggleston, Robert Franck and countless others, inspired me to go off and follow in their footsteps. I wanted to see, after so many years, whether the places in their work still existed. I wanted to see for myself that particular light, experience that mood.

Cinema was naturally a huge influence, with Wim Wenders’ «Paris Texas» and «Don’t Come Knocking» leading the way. Gradually, my project took shape under the working title «Mad(e) in USA». It matured over several years as the people and smiling faces I encountered allowed me to put my finger on the charm of this continent, to grasp the reasons for its legendary attraction.

From the Lorraine Motel in Memphis to the hot rod races on the Great Salt Lake, I developed a fascination with these wild open spaces, this intensity and these distances… There are, without doubt, a few cultural differences, but for a European brought up to the sound of rock’n roll and fed on sitcoms such as «Happy Days», touching down on American soil is far from being a cultural shock. For me, it was more of a revelation.

 

STÉPHANE GOIN

Born in 1972, Stéphane Goin lives in Paris, France. He studied Marketing and Communications and currently works as a Sales Manager at a Law Publishing Company. He visits United States of America twice a year for more than 15 years, searching for the American lost dream.

STEPHANEGOIN.COM

 

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Incidental View

PHOTOBOOK BY ANDY FELTHAM

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2017 / 1st edition
Limited of 100

60 photographs
86 pages
29.7×21 cm
Hardcover, perfect binding

Euro €30.00

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in·ci·den·tal

/ɪnsɪˈdɛntəl/

adjective

1. happening in connection with or resulting from something more important; casual or fortuitous
2. (postpositive; foll by to) found in connection (with); related (to)
3. (postpositive; foll by upon) caused (by)
4. occasional or minor ⇒ incidental expenses

noun

5. (often plural) an incidental or minor expense, event, or action

in Collins English Dictionary.

 

ANDY FELTHAM

Andy Feltham is a self-taught photographer who lives in Northampton, UK, who also works part-time within the healthcare setting at his local hospital. He has been exhibited in the UK and Italy and featured in numerous publications, both online and in print. He has also been commissioned to work in the commercial as well as the fine art setting.

Feltham seeks to create a tension within each photograph by using meticulous framing, exposure and technique to detach the subject from its surroundings. This lends a subtle disquiet to the underlying themes of beauty, mortality and humour that hallmark his work.

ANDYFELTHAMPHOTOGRAPHY.COM

 

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America

PHOTOBOOK BY CARL GUNHOUSE


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2017 / 1st edition
Limited of 100

45 photographs
56 pages
21×21 cm
Hardcover, perfect binding

Euro €22.50

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Driving around America for the last six years trying to cover as much of it as I could, going from one political hotspot to the next, from the BP oil spill to Detroit, which is actively depopulating its outer neighborhoods, one thing has been clear. Politics is entertainment; politicians and the press create a constant hysteria of the now, feeding a grand worldwide Greek drama, with real people, if not our own fortunes, in the balance. Like any good soap opera, there are no plot resolutions, nothing is ever truly solved. What’s left is a series of semi-satisfying plot points that are quickly forgotten in the buildup to the next cliffhanger and a never-ending series of monetary distractions that have little effect on our day-to-day lives.

Lax regulations on banking policy caused the economy to implode in 2008, creating a downturn second only to the Great Depression. The calamity was days from throwing the world economy into chaos and has since destabilized European governments and caused domestic unemployment to hit highs not seen in thirty years. Yet five years later there is no interest in substantial banking oversight and the most pressing political issues are federal deficit policy and the pay of public sector unions. This is a disconnect that makes it hard to believe that those writing the plot care if anyone is paying attention. The only people who seem to recognize these issues as distractions are those writing our history (and then only when everyone involved is out of office and retired). History slowly comes to the truth the way beach erosion or glaciers melting bring about a slow-moving change that is constant yet nearly imperceptible.

This listless pace leaves us helpless to affect much of anything that isn’t on a very personal scale. Presidential memoirs are littered with the realization that even the most powerful person in the world has little ability to overcome the slow-moving pace of large political issues. What can we do but work as best we can to understand the events as they happen and hope that the choices we make in our lives will be the right ones? Hopefully, in some marginal way, this will change things for the better.

When things do inevitably change, they tend to sneak up on us as pleasant little surprises where all of a sudden we have an African-American president, gay marriage and a national healthcare program. By the time these once-monumental shifts take place, they seem self-evident. Why shouldn’t African Americans and homosexuals have equal rights? And why shouldn’t we pool all our resources to purchase healthcare? It is only with a good deal of reflection that it becomes clear how slow-moving history is and how long it takes for beliefs to change and how much better our lives have become because of it.

 

CARL GUNHOUSE

Carl Gunhouse was born in 1976 in Boston, Massachusetts, but he spent his formative years in suburban New Jersey. Growing up, he developed a love/hate relationship with suburbia that led to the angst familiar to most suburban youth. With this unrest came the discovery of the anger and DIY ethics of hardcore punk rock. Yearning to be part of the hardcore scene, he started photographing bands, which began his love of photography.

To escape suburban New Jersey, Carl enrolled at Fordham University in New York City. While completing a BA in European History at Fordham, he discovered that photography could be something to pursue a career so he decided to simultaneously complete a BFA in Photography. After going on to earn his MA in American History from Fordham, Carl concentrated on street photography. In hopes of developing and refining his photography work, Carl completed his MFA in Photography at Yale University.

Since graduating, he has found a great deal of personal satisfaction teaching as an Adjunct at Montclair State University, Cooper Union, Marymount Manhattan College, and Nassau Community College. He has also gained some renown for his straightforward writing on photography for such web sites as Searching For the Light, Lay Flat, and American Suburb X. His photography has been shown nationally and internationally. As an artist, he has produced a body of landscape and portrait photographs by driving around the United States to expose the little visual bits of America that give voice to our shared history and experience. Carl currently lives and works in Brooklyn, NY.

CARLGUNHOUSEPHOTO.COM

 

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O. O. O.

PHOTOBOOK BY XAVIER ARAGONÈS


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2017 / 1st edition
Limited of 100

34 photographs
54 pages
29.7×21 cm
Hardcover, perfect binding

Euro €22.00

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Obscur. Obsolet. Oblidat.
(Obscure. Obsolete. Forgotten.)

During a certain period in my life, I felt the urge to visit and document all kinds of disused, shut down and derelict buildings in my homeland of Catalonia (and a few in other parts of Spain). I used to do it in quick one day trips, either alone or in the company of fellow explorers. I would get into all kinds of places: houses, factories, restaurants… And although those explorations usually involved trespassing and dealing with severely damaged structures, my quest was neither driven by the lure of transgression nor the thirst for adrenaline. It was rather an unconscious attempt to keep adulthood at bay in order to preserve the childish ability to look at the world as a place full of wonder. Looking back, I think it worked out pretty well for me.

 

XAVIER ARAGONÈS

Xavier Aragonès (b. 1979) is an amateur photographer living in Terrassa, Spain. His main area of interest is the landscape, either natural or man-altered. When taking photographs he claims to be drawn to capturing atmosphere and suggesting possible narratives rather than telling a straight story. His first photobook, “O.O.O.”, was published by Camera Infinita on February, 2017.

XAVIERARAGONES.COM

 

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No One’s Land

PHOTOBOOK BY RICARDO DOMINGUEZ ALCARAZ


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2017 / 1st edition
Limited of 100

29 photographs
38 pages
21×21 cm
Hardcover, perfect binding

Euro €18.00

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It’s a project about the city surroundings and its limits. It’s about what characteristics they have, what they provide to us and what are their importance and meaning for us. They are degraded environments that aren’t the city itself but aren’t the country either. They are intermediate places that are absolutely necessary for the city, because through them the city feeds itself and becomes a proper city. Through these places pass roads and train rails, electric posts and advertisement banners. But we don’t pay any attention to them, even when we pass through. These places actually determine our own sense of identity as a citizen.

 

RICARDO DOMINGUEZ ALCARAZ

He is an art historian and a landscape photographer based in Valencia, Spain. The photography for him is more than a job or hobby. It’s a way of life, a way of thinking and a way of see the world around us. So, his work is focused in the environment itself and how do we use them as human beings. For this reason, his works are based on urban and natural environments that we use for specific issues. It’s a therapeutic thing for him when he can explain the world and answer all that questions with pictures.

DOMINGUEZALCARAZ.COM

 

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Brabant, NL

PHOTOBOOK BY THIEU RIEMEN


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2017 / 1st edition
Limited of 100

24 photographs
56 pages
21×29.7 cm
Hardcover, perfect binding

Euro €22.50

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Brabant is a province in the south of The Netherlands.

The landscape of the Netherlands is a small-scale landscape, it is densely populated, industrialized and crammed with all kind of built objects. The Brabant series shows mainly rural places. These places are almost entirely the result of human behavior and intervention. My photography is an expression of wonder about what motives people to act as they do.

Traces of technology, of industrial and agricultural activities tell me about the use and exploitation of the land. All kind of buildings, materials used, roads, canals, more or less disturbed or cultivated vegetation allow me to see how we have changed, and how we are still changing our surroundings. I explore these gradual and rapid changes in my photographs, sometimes by taking again and again pictures of the same subject and place.

Mood and genius loci
I am usually not very interested in capturing the presence of the landscape in a sort of dry manner; in a more or less objective way as to give a clear record of human actions or to give an image of the exact structure of a location.

Light and weather conditions are clearly very important to me. I have an enormous fascination for light effects. Carefully I try to choose the weather and time of the day (preferably at the end of the day) to take my photographs. Sunny weather with nice blue skies are seldom seen in my pictures; I am far more fascinated by the gloom that comes with nightfall. In addition many times at dusk silence descends on the landscape. The silence at the end of a working day contributes greatly to the atmosphere of a location.

My emphasis on the importance of having particular light and weather conditions is just because of my interest in the experience of a location; I often spend much time on one particular location and I return frequently in different seasons when I feel a special bond with a place. With experiencing a location I mean feeling the distinctive atmosphere or emotion that a location evokes: the genius loci, the ‘spirit of the place’. To me the genius loci is an very meaningful aspect of the landscapes where I wander around with my camera. In capturing the landscape the omnipresent sky is an important means to strengthen the expression of mood of a landscape.

Transience
Another reason why I chose to render a distinct sky in my images, is that the skies for me convey a feeling of transience and impermanence of all human enterprises.

I am always very interested in the history of a location or landscape; I read as much as I can about it and try to imagine how people before our times used and changed the landscape. In my vision the skies – although highly variable and changeable – are the timeless elements in the photographic image. Never the same but substantially not changed since ancient times, thus being eternal in contrast with the volatile earthly things.

 

THIEU RIEMEN

Thieu Riemen (b. 1958) is a fine-art photographer and teacher who lives in Tilburg in the south of The Netherlands. Originally he was educated as a painter at Academie voor Beeldende Vorming Tilburg (Academy of Visual Arts) and art historian at Leiden University. Photography was continuously a part of his visual artwork and profession. The rise of digital photography gave about eight years ago, with his first digital camera, a fresh new boost to his landscape photography.

THIEURIEMEN.NL

 

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Sed (Thirsty)

PHOTOBOOK BY ALEX MURIANA


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2017 / 1st edition
Limited of 100

27 photographs
36 pages
21×21 cm
Hardcover, perfect binding

Euro €17.50

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Eastern Andalusia is punished by the process of desertification of the Iberian peninsula area. Water is a scarce commodity. Technical advances have made drinking water continue supplying households but human activity and uncontrolled exploitation of aquifers and wells has accelerated a process of irreversible desertification where rainfall is scarce and increasingly harmful.

Thirst is a project in which the landscape is the protagonist. Jaen, Granada and Almeria are the provinces that form the eastern Andalusian triangle. This is where the process is more visible. In recent millennia there have been no significant changes in the climate able to radically alter the environment in the Southeast. So it is very obvious that in the case almeriense man has been the main agent responsible for this transformation. In the case of Granada and Jaen the process of desertification is a taboo subject. The very topography of the land and the tourist and commercial interests linked to fruit and vegetable production conceal the other side of economic growth. As an example most visible development of the olive grove is causing the total elimination of ground cover, the constantly changing terrain and therefore a serious alteration of rainfall.

“Sed” invites reflection and dialogue between the landscape and the viewer. It is critical to altering the Mediterranean environment which is a place where greed and lack of awareness of man is causing the gradual disappearance of water, soil erosion and ecological transformation of difficult to reverse.

 

ALEX MURIANA

Born in Barcelona, Catalonia in 1987 and settled between Jaen and Granada, Andalusia. He studied art photography and graphic design at the Art School of Granada. His professional activity is linked to graphic design and as a means of personal expression photography. His language is a constant search for their roots, the valorization of expressions of yesteryear, and a constant concern for changing the environment. Develop these interests by its proximity to field experience having grown up in the small town La Guardia de Jaén, next to the river Guadalbullón Gualquivir River tributary.

In 2007 he began studying art photography and in the same year acquired its first and only camera. Thus begins a close relationship with photography and mature their mode of expression. In the first years he worked in group exhibitions at the Rey Chico Museum of Granada, was co-founder of Fractal photographic collective formed by members of the same promotion in which collaborates until his departure in 2013 to engage in the production of personal projects. “Sed” in 2015 presents a project under construction on the study of the changing environment in Eastern Andalusia.

CARGOCOLLECTIVE.COM/ALEXMURIANA

 

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