Professional Documents
Culture Documents
The sixth edition of an annual publication covering the latest photographers emerging from the
Netherlands. Colourful, confronting and sublime, work by no less than 100 young talents is
highlighted in all its strange, exuberant and wonderful diversity.
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Birds
Amana 2016 ISBN 9784865872903 Acqn 27055
Hb 15x20cm 90pp col ills 45
This first monograph by Japanese photographer Yohei Kichiraku was inspired when he found an
old bird atlas at a flea market. Leafing through the book, he discovered that a bird had been cut
out of one of its pages. The thought occurred to him that its absence must mean the bird had
taken flight, so Kichiraku proceeded to release the other birds in the atlas by cutting the
illustrations out and returning them to the forest. There he photographed them in their natural
habitat, perched on branches or flowers, half hidden among leaves. Designed to resemble the
atlas from which they were freed, Birds invites us to encounter these avian creatures as we
might in the wild.
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Oscillating between youthful cheekiness and visceral sexuality, 'Golden Showers' continues Dafy
Hagai's unique re-routing of the queer gaze and presents an at once gritty and playful update on
the language of female desire. Characterised by her unique acumen for framing, gesture and
visual cadence, 'Golden Showers' represents a striking new development in the Tel Aviv-based
artist's output.
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For the past two years Dutch photographer Claire Felicie has worked on a project to portray
fifteen war veterans suffering from post-traumatic stress disorder (PTSD). Soldiers who suffer
from PTSD are emotionally wounded and carry these traumas with them all their lives, and their
families suffer as well. The projects goal is to capture how severe this mental state can be, and
how imperative it is for those who experience it to receive treatment at an early stage. The
photographs were taken at a former weapons factory in Zaandam, the Netherlands. Through
interviews and images, Felicie strives to represent the mental wounds of an inner war that
continues to be waged.
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Ilaria Turba is a multimedia artist working in photography, video, animation, and new media. Jest
deals with the archives of her Italian family, with pictures dating from the 1870s to the present.
The images are not sorted thematically or chronologically, however, nor is there any discernible
narrative. We are shown pictures of children at play, a family on holiday or at leisure, alongside
snapshots of events, the city, or landscape. Large group portraits from over a century ago
contrast with contemporary shots of random objects. The collage Turba creates thus raises
questions of authenticity; an essentially photographic investigation of personal and public
histories.
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Salvo is interested in what goes on in the head of the photographer. For this issue, they chose a
well-known, square format: that of the travel guide, a genre in which structure, categories,
routes, highlights, and background information do not vary a great deal. A travel guide makes you
follow their lead: Where to go. When to go. What to eat. Highlights. Dangers. Annoyances. Three
day itinerary. Top ten must-sees. Salvo challenges this kind of immobility and attempts to enter
the guide to be of service in a less static way.
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'Walking in Place 1: New Orleans' is the first in a series of standalone books by Los Angeles-
based photographer Mike Slack, each taking in a different city, town or geographical locale. In
this volume, Slack records various points of reference on a five day meander through "The Big
Easy", creating an inner travelogue both meditative and playful. Driven by an almost unconscious
process of seeing, recording and accumulation, his gaze settles on architectural details, local
flora, street ephemera, and the curious neighbourhood cats that cross his path.
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The Eyes 7
Aman Iman Editions 2016 no ISBN Acqn 27097
Pb 21x28cm 160pp 60ills 50col 22.50
Many artists, critics, and curators in Poland nowadays are concerned about the shift in their
countrys public cultural policy. Indelibly marked by the double experience of Nazism and
Communism, Poland is once more struggling with its identity amidst an ultra-conservative rise in
political power. For this issues in-depth exploration, the magazine engaged with top experts on
Polish art, such as Krzysztof Candrowicz, Karolina Lewandowska (photography curator at Centre
Pompidou), stage director Krzysztof Warlikowski, curator Pawe Szypulski, and writer Jean-Yves
Potel. Also, a special look at the historical importance and heritage left by Japanese magazine
Provoke (19681969).
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The title of this series of photographs by Stefano Graziani and its initial images depicting the
starry sky and caves suggest a path towards the unconscious, or perhaps a sort of stratification of
thoughts. As we progress through the series, it becomes clear that every photograph is an
encounter. Grazianis compositions allow us to see only one subject at a time. Eliminating any
spatial or temporal markers, and constituting a kind of taxonomy, this series of elements serves to
articulate a process of knowledge and interpretation of the world. The volume is edited by
Alessandro Dandini de Sylva, and includes an interview with Granziani that sheds light on the
work.
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The work of Misha de Ridder in Falaise', which consists of abstractions of the chalky cliff face in
Normandy, France, harnesses the revelatory power of photography to capture the continuous
metamorphosis of the cliffs. Once a celebrated holiday destination, where Monet is believed to
have developed Impressionism, the area has become forgotten as it is encroached upon by the
sea, which is gradually swallowing its surroundings.
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Swedish artist and photographer Maria Fribergs work is characterised by her great interest in
societal issues and a desire to depict the phenomena of contemporary life. Narratives about
mans place in a world where the power of nature and culture is difficult to master emerge in her
carefully staged images, the production of which often involves set designers, craftsmen, and
others. References to art history, and painting in particular, appear in Fribergs work, along with
enigmatic spaces and an aesthetically pleasant play of light. This book gathers diverse examples
from her body of work, telling stories that are both subversive and ambiguous in nature, drawing
out our inherent curiosity.
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Piergiorgio Casotti was born in a small town in northern Italy. He describes his relationship with
the mountains as the absence of words an absence that leaves us untouched by sound-
interference and the white-noise of human society. In this self-published photobook, Casotti
pays tribute to the silence of the mountains with a series of images of ski villages and their
surroundings, abandoned during the warm season. While a few patches of dirty snow still cling to
the slopes, the parking areas and roads are empty, the condos devoid of life, the seasonal
incessant motion paused until the snow comes again. The harsh elements that eternally shape
the mountain likewise seem dormant.
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Accept It is the photo album of a fictional Portuguese family that Cline Gaille created between
2014 and 2016 from old photographs found at flea markets. The story takes place in Lisbon and
the former Portuguese colonies of Guinea-Bissau and Angola. Gaille designed a first-person
photographic narrative of a woman who addresses her estranged son throughout the albums
entirety. The narrative it discloses about this divided family also deals with Portugals history and
its colonial empire, its dictatorship and violence. Two letters, brief captions, and related
documents guide the reader through almost 100 intimate photographs from the 1920s through the
1970s.
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Helen Zout was born in Argentina, and is known for producing photographic work that deals
closely with social issues and mental health. Here she gathers pictures of disappeared victims of
the last Argentinean military dictatorship (19761983). Zout assembled her own photographs
together with existing documents, resulting in a photomontage about a sensitive time in the
nations history that also poses visual questions about interpretation. Not intended as a historical
document, the collection points to the invisible and to absence, to the emptiness that defines
memory, and to the marks left on the survivors and families of victims by their disappearance.
With a text by Pietsie Feenstra.
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The British botanist Sir Edward James Salisbury left behind a large collection of glass plate
negatives, discovered in an anonymous stack of boxes in the attic of Londons Natural History
Museum. Brought to the attention of Chrystel Lebas, for whom walking has always been a part of
her objective approach (she brings two cameras, one for quick snapshots and another with tripod
for panoramic views), they instigated a turning point in her career. This enticingly beautiful,
complex book is both an artistic research project and a scientific inquiry. Tracing Salisburys
footsteps, Lebas observes environmental changes in the British landscape by photographing the
same locations a century later.
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The Project is an ongoing series by photographer Sander Dekker for which he chooses people
he admires as his subjects: outgoing, spontaneous, and always a bit eccentric. His zero concept
approach is impromptu in the sense that he often shoots at locations he has never visited before,
meeting his models just before the photo session, frequently in their homes. The energy, humour,
and expressiveness created in that moment is what characterises Dekkers work. Spontaneity
and improvisation are crucial, often resulting in surprising and unforgettable compositions.
Whether in London, New York, Tel Aviv, Milan, or his native Amsterdam, Dekkers discoveries are
magical.
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From an art historical standpoint, George Hendrik Breitner was a leading figure in Amsterdam
Impressionism, known for his dynamic street scenes, city views, and social realist style. He was
also a talented photographer, a fact that was confirmed in 1996 with the discovery of a large
collection of prints and negatives, many of which are reproduced in this book. One can discern
from the photos that he approached this new medium with the same verve as he did painting,
making pictures of life in the city from different perspectives or in different weather conditions. He
regularly used the camera to capture certain atmospheres or light effects, applying these insights
to his paintings.
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