A selection of photo books in common – Blind Magazine

Since its inception. Furthermore, the Marseille publishing house has established itself as a sensitive laboratory of author photography. Meanwhile, Through five new recently published works. Nevertheless, she confirms her commitment to singular visual writings, often crossed by intimate, memory, territory or introspection. Nevertheless, These books, each in their own way, map domestic realities as political and personal. Additionally, Nevertheless, Blind Magazine offers you a selection of five photographic works.

Plates I–XXXI The Lia Darjes – Selection photo books common –

With Plates I–XXXILia Darjes invites us to a game of sensory hide and seek where selection photo books common – guests are slugs, chickadees, squirrels, ants and other stealth creatures. Meanwhile, This book is a miniature theater erected in the hollow of the gardens. Similarly, where the artist deposits the remains of a meal and leaves it to his camera to watch for the unexpected. Moreover, At the crossroads of the documentary. Furthermore, the installation, this series subtly evokes the still lifes of the Dutch masters – those whom Darjes admires -, while updating them in a contemporary temporality: that of patience, of controlled chance, of attention paid to small beings and their world. For example, These are not built scenes, but abandoned staging, delivered to spontaneity of the living. Moreover, The apparatus. Furthermore, triggered by the movement, then captures a world which was believed to be harmless and which is suddenly charged with poetry. For example, Composed of 31 photographs in bright colors, the work is a silent meditation selection photo books common – on the little life around us. Furthermore, There is a rare attention to the ordinary, respect for these presences that our gaze too often forgets. In addition, Darjes. Therefore, who today teaches photography at the Ostkreuzschule für Fotografie de Berlin, continues here a sensitive work started with Times of deathhis project on Kaliningrad stalls. Furthermore, With Plates I–XXXIshe digs further this vein of a poetic documentary. Meanwhile, where still life becomes the place of a discreet revelation.

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Between the skin and sea de Katrin Koenning – Selection photo books common –

In this first poignant monograph of the German-Australian artist Katrin Koenning, photography becomes a memory. Therefore, This book born between 2020. For example, 2023 crosses three years of planetary and personal upheavals – forest fires, mourning, pandemic – and settles in a limited, selection photo books common – almost motionless space: made as close as possible to the artist’s personal sphere, these photographs show fragments of relations, subtle interactions and deeply human connections. Similarly, It is in this assumed hyper-local that Koenning draws the strength of a visual story of a rare intensity. For example, The territory that it walks is also that of the link – to relatives. absent, elements – and of the always renewed attempt to live in the present. The images, imprints of shadow and light, of silences, capture a nostalgic density. Fragments of faces, objects, landscapes, bare branches, beloved body. The book traces the contours of a fragile refuge, a shared intimacy archipelago. Koenning invokes photographs that trace “Networks of love. sorrow, kinship, refuge and repair” – So many invisible sons who weave a world in reconstruction.

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Popihuise of Supple Bakes

With Popihuisefirst book by Vuyo Mabheka, a common thing continues his work to publish an intimate and political photograph. The book. whose title takes up the word Afrikaans dollhouse – Literally “doll house” – is deployed as the rewriting of a memory in ruin and in reconstruction. A place where childhood memories, real or dreams, collide in poetic chaos. Born in 1999 in Libode. in the South African Cap-Oriental, Mabheka anchors his work in the multiple strata of his personal history, marked by absence, violence, but also by imagination and resilience. Popihuise is an attempted repair by the image, a fragmented rewriting of an injured memory of the artist. Archives photographs, DIY collages, drawings, staging and portraits are assembled there. He summons the figures. ghostly presences of his life – selection photo books common – an absent father, imaginary friends, silhouettes without faces – which populate the interstices of his biography. The aesthetics of the diary of childhood and naivety flirts with the brutality of reality. Fire tires cross abandoned toys. flowering trees; Tagged walls become canvases of expression; Faces, partly erased or masked, challenge our eyes. Her work carries in her the stigma of a colonial heritage as much as a breath of reinvention. “Popihuise is my story. »»he says in the text that accompanies his images-a fragment of confession. Popihuise is an attempt to reconcile with the child we have been, or that we would have liked. And through it, with a whole obscured part of South African history.

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1960-1980 of Fusako Kodama

With 1960-1980Common thing exhumes the vibrant work of Fusako Kodama, Japanese photographer unjustly overlooked in the West. This book. the first to be devoted to him outside Japan, captures the essence of a country in full metamorphosis, where urban chaos marries everyday poetry. Born in 1945. formed by the masters Seiiji Otsuji and Yasuhiro Ishoto at the Kuwasawa school (heiress of the Bauhaus), Kodama develops an immediately recognizable style: instinctive frames, offbeat perspectives, bodies seized in their momentum. His images. taken on the spot between Tokyo, Osaka and the countryside, reveal a torn Japan between tradition and modernist frenzy. A man in costume crosses Shinjuku. blurred like a hurried ghost; Children play in the alleys, their shadows stretching on concrete. The book. designed with almost choreographic attention, echoes argentic prints typical of dandruff from the 1970s and restores the rhythm of its urban wandering. By deploying selection photo books common – a subtle grid between agitation. lightness, Kodama captures the changing mood of a Japan where frantic town planning and collective memory confront and coexist. 1960‑1980 is not only an unexpected return over a pivotal decade: it is the rediscovery of a sensitive. lucid photographer, of a stroller who dances with the world.

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Screenshots from a series of videos about a rice field and its surroundings of Cintia Tortosa Santisteban

With Screenshots from a series of videos about a rice field and its surroundingsCintia Tortosa Santisteban signs a rare delicacy book-accounting. This first work. born of a daily practice as modest as it is rigorous, raises the banal to the rank of silent intrigue. From the 5th selection photo books common – floor of his Kanagawa apartment in Japan. the Spanish artist films each morning, with the regularity of a Buddhist monk, the same rice field. “Cintia Tortosa Santisban contemplates this daily life as a soap opera. made of ephemeral and always singular moments, which reveal the hidden details of the days that follow without ever being alike. »» Three years of video archives. a thousand sequences condensed in a hundred fixed images which tell the permanent metamorphosis of reality. Under its objective. a puddle becomes a mirror of the sky, the shadow of a passerby turns into an ephemeral trace, the sheaves of rice change as the seasons. Without academic training in photography. Tortosa Santisban draws his visual language from literature and from this sensitivity to melancholy of temporary things. Its screenshots, often blurred or grainy, assuming their quality of « digital waste ”, transform technical defects into poetic virtues. This selection photo books common – book is an exercise in the world. The old woman in the umbrella. children, peasants, fishermen, bikes, mothers with their babies – make up a miniature human comedy before our eyes.

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