Continuous Days - Dino Fracchia. Parco Lambro Milano 29.5.1975-26.6.1976
A&M Bookstore s.a.s. 2017 ISBN 9788887071603 Acqn 27519
Pb 17x24cm 364pp 350ills £41.75

Italian photojournalist Dino Fracchia was born in Milan in 1950 and began his professional career
with the newspaper ‘l’Unità’ in 1974. Around that time, counterculture newspapers such as the
magazine ‘Re Nudo’ (The Naked King) were being printed. These organized two large rock music
rallies (named ‘Youth Festival of the proletariat’) in Parco Lambro, Milan, modelled after the
peace and love atmosphere of Woodstock (1969). Fracchia’s camera recorded these large-scale
happenings in unambiguous detail, gatherings of the radical left which would eventually culminate
in Bologna’s violent clashes of 1977. Countless images capture the vibe of this fleeting historical

Jeremie Souteyrat - Tokyo No Ie
Seigensha Art Publishing 2017 ISBN 9784861526060 Acqn 27745
Pb 19x26cm 144pp 75col ills £41.95

French photographer Jérémie Souteyrat presents some of the best private houses in his adopted
city of Tokyo. A documentary photographer by trade, it was only after moving to Japan that he
taught himself how to photograph architecture. His desire to capture the tiny streets of Tokyo led
to a personal project where he sought out the most interesting and surprising contemporary
houses in the city’s residential neighbourhoods. He spent four years making images of these
hidden architectural gems by a range of architects, including firms like Atelier Bow Wow, Go
Hasegawa, Sou Fujimoto Architects, Shigeru Ban, and ALX. Includes an interview with Japanese
architect Kengo Kuma.

Sanja Marusic - Collected Works
Sanja Marusic 2017 ISBN 9789082483345 Acqn 27913
Hb 25x35cm 160pp 108col ills £41.95

Dutch-Croatian photographer Sanja Marušić uses an experimental approach to colour,
composition, materials, and manipulations in her work to create dreamlike scenes that are at
once cinematic and alienating. She travels the world in her production of these otherworldly
images, finding settings and forms that play with our relation to the subconscious, simplifying the
bodies of her subjects with geometric shapes, and abstracting the human form even further by
incorporating stylised dance movements. Presenting several new and old series from the past
four years, Marušić’s first photobook offers a temporary escape from reality through her surreal,
technicolour experiences.

Unseen Magazine 4 2017
Unseen Photography 2017 ISBN 9789082264227 Acqn 27916
Pb 23x30cm 248pp 175ills 100col £11.25

Unseen Magazine is an international publication that discovers new developments in
contemporary photography, published once a year in conjunction with Unseen Amsterdam. The
fourth issue of Unseen Magazine engages an array of voices, and sets out to probe how
photography shapes our understanding of, and place within, the world around us. Max Houghton
investigates the shifting ways in which artists are documenting the ongoing global migrant crisis,
Salvatore Vitale considers how our visual understanding of cyberspace has been shaped by
contemporary artists, and David Campany calls for us to be suspicious of the forces that aim to
govern our opinions, especially when it comes to images.

Albert Elm - What Sort of Life Is This
The Ice Plant 2017 ISBN 9780989785983 Acqn 27706
Hb 20x28cm 128pp 72ill 56col £35.95

What does the world look like? What feelings does it stimulate? Why do we photograph it so
urgently? Since 2009, Danish photographer Albert Elm (born 1990) has pursued his curiosity
about human existence with a restless energy and intrepid wanderlust, crossing far-flung time
zones, boarding the Trans-Siberian Railway, travelling alone in Dubai, China, India, or just
walking through his neighbourhood in Copenhagen.

What Sort of Life Is This remixes Elm’s distant and local journeys into a bright, bewildering
panoply of narrative fragments and surreal compositions that feels both global and personal,
fractured yet strangely complete. Photographed using a 35mm film camera (colour and black and
white) and referencing numerous styles and genres, the work explodes with the spontaneous
colour and complexity of life—tender, violent, lonely, joyful, bizarre. Equalizing the exotic and the
banal, the book treats every picture as if it were made in the same mystifying place: the world

Tim Carpenter - Local Objects
The Ice Plant 2017 ISBN 9780989785990 Acqn 27707
Hb 19x22cm 144pp 74ills £35.50

Borrowing its title from the Wallace Stevens poem in which “little existed for him but the few
things / for which a fresh name always occurred,” Local Objects presents a beautiful yet
remarkably unassuming body of work by Brooklyn/central Illinois-–based photographer Tim
Carpenter (born 1968): a calm, steady rhythm of 74 medium-format photographs made in the
semirural American Midwest.

While each picture records the seemingly random non-activity of a typical street view, Carpenter’s
meticulous composition and contemplative sequencing creates a harmony of natural and
geometric motifs running quietly throughout the book, an interplay of minor chords that draws the
viewer into this specific physical place (mostly central Illinois, where Carpenter grew up).
Detached from the urgency of current affairs, stripped of all excess, the photographs reflect a
poetic attempt to see “the thing in itself,” to make meaning with the barest tools possible.

Raymond Depardon – Traverser
Editions Xavier Barral 2017 ISBN 9782365111423 Acqn 27860
Hb 19c26cm 260pp 140ills £43
Text in French

Photographer, writer, and director, Raymond Depardon seems to be able to do it all. He has
covered all aspects of photography, from his first steps at the native Le Garet Farm, to celebrity
hideouts, from reporting for the press to street photography and independent documentaries. This
survey book hinges on four main themes: la terre natale [homeland], les voyages [journeys], la
douleur [pain], l’enfermement [confinement].

With writing as the Ariadne’s thread, this publication invites on a journey through the artist’s work
from his beginnings at Le Garet Farm until today. With Depardon, writing and photography offer
two very different temporalities: writing is primarily listening to yourself, daring to impose your own
rhythm faced with what comes along, the famous “absences” of the photographer.

Avoiding the rhetoric of compassion which has never appealed to him, creating slightly ordinary,
calm images, without any particular eloquence, but full of emotion; a clear agenda that leads him
alternately into intentional wandering and the decisive production of an archive to be passed on.