Professional Documents
Culture Documents
'Bosque animado' follows photographer Vari Carames as he wanders through the Fraga de
Cecebre in A Coruna, Spain, where Galician journalist and novelist Wenceslao Fernandez Florez
(1885-1964) found the inspiration for his book 'El Bosque Animado' (The Enchanted Forest). The
walk is intended to be a memorial and homage to those moments when light and dreams
surround us and whisper in our ear, like the trees in the novel. The dustjacket image is supplied
by artist Angeles Sales and is from her series "Bosque", in which she took rubbings of trees with
her hands, transferring the imprint of their bark onto paper, then bringing them to life with
watercolours.
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PHOTOGRAPHY
On 15 August 2014, Sergio Castaneira suffered an accident that caused a spinal injury, leaving
him quadriplegic. After spending a year in hospital, he entered a recovery centre for the physically
and psychologically handicapped in San Fernando in southern Spain. He remained there from
November 2015 until March 2020. During this period, he went back to taking photographs using
his mobile phone, after more than a year without being able to do so. It was a re-encounter with
photography and, at the same time, a therapy that was a part of the process of adapting to his
new life. Like a diary, the images and reflections that appear in this book bear witness to his
sojourn there.
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PHOTOGRAPHY
As the title indicates, this book is positioned in a liminal space ("It happened between two
eyelids"). According to the text by Antonio Anson, the eyelids serve to close the eyes, and what
photographer Juan Manuel Castro Prieto does is close the eyes in order to see. Because the
gaze is not a physiological function but a cultural one. We do not see with our eyes; rather, we
construct reality, because the world is nothing more than an interpretation. To see this place you
do not need eyesight; you need vision. Located on this side of the eyelids, Castro Prieto offers his
particular vision of things. Published to accompany an exhibition at the Huete Photography
Museum in central Spain.
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PHOTOGRAPHY
Tsukiji Market in Tokyo is among the largest wholesale fish and seafood markets in the world, but
it has changed over the years. Once a place where men and women of all ages could work in
different roles, it had elements that comprised a small town, where people were motivated by
social obligations and adapted easily. Architect and designer Kei Sugiyama's visual document
focuses on the market's rapid development and its components. He examines this area of the
city, tracing the shift from rational modern architecture to picturesque nostalgia. Undoubtedly, he
feels, the kind of "humanistic community" that once existed there will be needed again in the
future.
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PHOTOGRAPHY
Yoshiyuki Okuyama photographed this series in the house of his late grandmother, which he uses
as a studio space. Making a clear visual departure from his usual pictorial subjects, people,
Okuyama deftly enters into a nostalgic dialogue with his late grandmother by photographing
flowers, plants, and trees illuminated by the sunlight. 'Flowers' is a mixture of his perspective of
his grandmother through flowers as well as her perspective before and after her death, which
Okuyama had already been photographing. The book includes an interview with the photographer
in which he offers insight into his impetus and approach regarding this emotional series.
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'The Imaginary Friend' depicts a dream of a young woman who commutes every morning by train
across the Maas bridges on the Dordrecht-Rotterdam route. She passes an abandoned bridge
keeper's tower and imagines a friend lives there. She decides to bring him to life. With the help of
sculptor Stuart Smith of Madame Tussauds, an enigmatic figure takes shape. Because train
passengers have mere seconds in passing to notice this inhabitant of the tower, their perception
is fragmented and they never know exactly what they have seen. An image emerges of an
eccentric hermit in a "folly" who briefly shakes travellers awake from their lethargy and stimulates
the surreal life. Photographer and writer Pieter van Oudheusden (1957-2013) recorded the
appearance and disappearance of this enigmatic resident of the Wijnhaven Tower in hundreds of
Polaroids.
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PHOTOGRAPHY
The acclaimed Danish photographer Henriette Sabroe Ebbesen's first monograph 'Self
Reflection' blurs the line between photography and painting, reality and fantasy in an exploration
of the human body and the subconscious self. By using mirrors, reflections and illusions Ebbesen
examines how the human body and mind can be visualized and interpreted by the viewer. The
distorted materials, used throughout the book, blur the lines between photography and painting,
providing a symbolic boundary between reality and imagination. By placing nature, the nude
body, fruits and flowers in a surreal context, Ebbesen creates a clash between the familiar and
the odd.
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Kudzu, a highly destructive plant first imported into the US from Asia, has become known as "The
vine that ate the south". During the Great Depression, farmers were paid to plant it as it was seen
as a good way to combat soil erosion. However, Kudzu can grow over 30cm a day and, as such,
today it represents a huge problem for the southern states, even entering the lexicon as a
synonym for 'something that comes in and rapidly takes over everything'. Since 2010 Sabine
Bungert and Stefan Dolfen have been working on long term projects together. They are interested
in the development of cities and landscapes due to social changes. They are focused on public
places, looking for signs of sociocultural aspects of humans, which are expressed in the
environment. They both studied photography and editorial design at University Essen (Folkwang),
Germany.
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The seventh volume in a series published by the Nederlands Fotomuseum in collaboration with
Lecturis focuses on Dutch documentary photographer Ad van Denderen. It coincides with a
retrospective exhibition of his oeuvre, which is primarily focused on apartheid, migration, and
geopolitical conflicts. His work, which was initially narrative and later more conceptual and
innovative, is marked by his complete immersion in his subject matter. His travels brought him to
South Africa, Israel, Palestine, and more. In addition to an extensive collection of photographs,
the book contains texts by curator Jenny Smets, Birgit Donker, Bianca Stigter, Frits Gierstberg,
and Van Denderen himself.
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From Lithuania, Ukraine, and Georgia to Kyrgyzstan and Uzbekistan, photographer Ai Hoshino
journeys throughout the former Soviet sphere of influence in northern Eurasia in her quest to
document the bygone relics of a vast socialist state. This collection of photographs focuses on
abandoned vehicles and other modes of transport that still remain in the former countries of the
Soviet Union. These include cable cars, Ferris wheels, automobiles, railroads, airplanes, ships,
tanks, trucks, and more. Although they will disappear into oblivion in the not too distant future,
Hoshino captures these silent but eloquent inorganics in their final resting places.
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Soviet architectural design often evokes images of brutalism, Stalinist style, and austere, straight-
lined concrete blocks. However, objects such as the thousands of derelict bus stops scattered
throughout the former Eastern Bloc and Central Asia seem to have a different aesthetic that
surpasses the scope of these preconceptions. Rather than being mass-produced, many of them
were created by local architects, students, or artists, and still retain a quiet charm today. Whether
distinctively shaped, decorated with beautiful mosaics, or painted in once-bright colours, these
bus stops that time forgot are lovingly documented by photographer Ai Hoshino.
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