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.

A collection of 18 postcards of images from the remarkable oeuvre of the enigmatic Italian photographer Luigi Ghirri. Spanning 1970 to 1992, this curated selection includes many of his classic photographs, as well as lesser-known images.

Algirdas Šeškus found photography in 1975 when he learned that he would need to bring ten photographs to a job interview for the position of cameraman at the only television channel in Soviet Lithuania. Nobody looked at the pictures, but the camera he bought for the purpose showed him the world anew, and he continued photographing for the next decade.

Produced on the occasion of Liz Deschenes’ exhibition at Secession, Vienna, 7 December – 10 February, 2013.

Liz Deschenes’s photographic oeuvre deals with the conditions of photography and its components, with perception and the correlation to other artistic media, and with the architecture within which her works are shown. Her works allow a self-referential look at the medium, liberated of its functions, taking its own conditions as its theme.