A collaboration between Jochen Lempert and Jürgen Stollhans on the occasion of both artists’ duo show at the Kunstverein Ulm in July–August 2007.

Produced on the occasion of the exhibition Ellipsis, featuring Chantal Akerman, Lili Dujourie and Francesca Woodman, curated by Lynne Cooke, at Konsthall Lund, Sweden; Museo Tamayo Arte Contemporáneo, Mexico & Dundee Contemporary Arts, UK, between 2007–08.

“Although born ten years apart and in very different circumstances, the three artists featured in this exhibition each profited from the turn to still photography, and other lens-based technologies—film, slide projection and the newer medium of video that dominated vanguard art practice in the late 1960s. Taking themselves, their bodies and their immediate circumstances as their point of departure, during the 1970s all three made performative work for the camera. Tellingly, the sites they favoured were mostly their own studios or domestic interiors.”—Lynne Cooke

More information on the exhibition can be found here.

Published on the occasion of Dean Sameshima’s recent solo exhibition at Soft Opening, being alone is edited by Antonia Marsh, designed by Robert Milne, and features a newly commissioned essay from American writer, critic and poet Bruce Hainley.

In each of the twenty-five black and white photographs that comprise Dean Sameshima’s recent series being alone, the outline of a solitary viewer sits bathed in light emitting from the glowing screen of a Berlin porn theatre. These cinemas offer the kind of encounter that has been described as an “anonymous being-together”, a space wherein an individual can project not only his own desire and sexual fantasy onto the screen but disidentify with the confining projections of the external world.

Designed to protect its occupants from judgement and persecution, the artist enshrines these private rooms, continuing his documentation of the architecture and physical characteristics of queer spaces. While Sameshima atypically retains the presence of bodies in these images, with no identifying features revealed, his focus locates more deliberately on the anonymity of these individuals alongside the emptiness that surrounds them.

Puglia. Tra albe e tramonti offers an account of Luigi Ghirri’s relationship with Puglia — a distinctive region, which was pivotal in establishing Ghirri’s career and continued to inspire him throughout it. A first visit in 1982 introduced Ghirri to Puglia’s whitewashed streets, luminescent nights, doorways and arches, potted cacti, funfairs, and beaches, as well as a group of artists, critics, and curators who would become his close friends and collaborators. Over the following decade, Ghirri returned to the area almost every year, photographing, exhibiting, and deepening his understanding of its subtle terrain.

In 1978 Luigi Ghirri self-published his first book, an avant-garde manifesto for the medium of photography and a landmark in his own remarkable oeuvre. Part amateur photo-album, Ghirri presents his surroundings in tightly cropped images, making photographs of photographs and recording the Italian landscape through it’s adverts, postcards, potted plants, walls, windows, and people.

Long out of print and on the 20th anniversary of Ghirri’s death, MACK published the second edition. Now in its fifth reprint this volume is the first print of the second edition.

*Please note this publication is secondhand and has some traces of previous ownership.

Luigi Ghirri (1943–1992) started writing about photography from the moment he became a photographer: for his own publications, for Italian magazines and newspapers, as well as private reflections committed to paper, where his thoughts would settle and then often depart in new directions. Born in Scandiano in 1943, Luigi Ghirri spent his working life in the Emilia Romagna region, where he produced one of the most open and layered bodies of work in the history of photography.