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Cover of A Loose Thread of Red

Out Of Office

A Loose Thread of Red

Morgan Hickinbotham

€23.00

The first book in a series of four explores a connection between images taken as part of a larger series in Japan over one summer and one winter. Each book has been lovingly hand-constructed.

The presence of self doubt is deeply felt when trying to compile a collection of photographs that have endured an endless process of revision and recompilation.

Scouring every inch of each image to find microscopic relations between subject, composition and colour until eventually something shifts and that 'everything in its right place' feeling soothes the throbbing head.

It's not an easy thing to articulate. It's a sort of subterranean relationship between each frame, as if a mysterious past or conspiracy that links everything together is identified, but still not understood.

It's as if the book always intended to exist and that you had been entrusted with the task of giving it life. (As you had possibly already done before?)
There's a certain term of phrase for someone who does the same thing repeatedly and expects different results.

So what is it to the person who stares at the same collection of images over and over and starts to see something different?

After such intense scrutiny nearly all memory associated with the photograph deteriorates. All that remains are hazy fragments of the original memories that seem like they're trying to tell you something but can't quite remember what it was.

And sandwiched around those memories are the new ideas that you've completely made up to talk yourself into sending this all off to the printers and moving on with your life.

Poetry has never been my strong suit, all attempts to metaphorically circumvent feeling or intention merely end up being interpreted as either the metaphor itself or something else entirely.

So perhaps we can sum this up very simply.

This is a book about red things.

Red has a way of implying a behind the scenes existence, a warning, distance, communication.

Or maybe, just overdue.


19 pages, 26.9 x 19 cm, softcover, Out of Office (Melbourne)

Language: English

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Cover of In the forest of grief I grew into a shrub of gold

Archivist Addendum

In the forest of grief I grew into a shrub of gold

Delaine Le Bas

Photography €47.00

For British artist Delaine Le Bas, dress is divine. Clothes appear as both mask a nd memorial within an expansive body of work exploring mythologies of Le Bas’s Romani ancestry. Embroidered and hand-painted textile is central to the artist’s lyrically activist practice, alongside costume, writing and performance. In a new series of portraits by the British photographer Tara Darby, directed by Jane Howard, gold leaf dances across the planes of Le Bas’s face in repose, it wraps and jangles around her wrists, glimmers across her clothes. In a notebook she has inscribed: “In the forest of grief I grew into a shrub of gold.” The grief is alchemical.

As Stephen Ellcock writes:

‘The maxim ‘Know Thyself’ was inscribed in gold on a column on the threshold of Pythia’s temple, serving as a warning that wisdom, understanding, empathy and anything remotely resembling peace of mind are unachievable without selfawareness, reflection and ruthless self-criticism.’

The fragments of hope, anger, magic and curiosity redolent in Le Bas’s work form a call to action. A reminder of the racism, exclusion and subjugation that abound. Photographs of Le Bas, which Darby has been making for more than a decade, present the artist as truth sayer, inquisitive goddess and modern-day Sibyl.

Through the incorporation of texts—a conversation between gallerists John Marchant and Keiko Yamamoto with curator Claire Jackson—drawings from Le Bas’s journals, archival images taken at her home and the restyling—and reflection—of her own personal wardrobe, In the forest of grief I grew into a shrub of gold radiates psychological, social and political wisdom. Fashion is revealed as both tyrannical disguise and liberating regalia.

Cover of Fraitaxtsēs sores tsîn ge ra≠gâ – Ondjembo yo Null Vier

Archive Books

Fraitaxtsēs sores tsîn ge ra≠gâ – Ondjembo yo Null Vier

Ixmucané Aguilar

Photography €30.00

A complete documentation on a multimedia exhibition by Berlin-based artist Ixmucané Aguila, giving voice to voiceless descendants of victims of genocide in Namibia.

Genocide in Namibia is an especially sensitive matter—its history has at times been ignored, underestimated, or even denied outright. In the artistic documentary Fraitaxtsēs sores tsîn ge ra≠gâ – Ondjembo yo Null Vier, Ixmucané Aguilar has worked in close collaboration with Nama and OvaHerero people who vividly evoke memories and rituals of mourning caused by human loss and land dispossession under Imperial Germany's violent occupation.
From these personal encounters emerge portraits, visuals and narratives as documental fragments, consisting of living voices which insist on defending memory as an invocation to witness and never to remain passive in the face of social injustice. Rather than a linear collection of data referring to distant places and its distant past, this work engages with stories as chronicles calling to be recognised as pieces of humanity and time.

Alongside Aguilar's portraits, this publication also contains contributions by human rights attorney Wolfgang Kaleck and the curator of the work Tristan Pranyko, along with poetry by Namibian artists Nesindano Namises, Fritz Isak Dirkse and Prince Kamaazegi, and narratives, testimonies, chants and mourning rituals shared by OvaHerero and Nama people in present-day Namiba.

Published on the occasion of the eponymous exhibition at National Art Gallery of Namibia, Windhoek, in 2023

Ixmucané Aguilar (born 1983) is a Guatemalan Berlin-based visual artist/designer who, through multi-layered documentary photography, engages in extensive field research to put out installations and art publications to relay her work in an artistic language.

Cover of Notes on a life not lived

Self-Published

Notes on a life not lived

Despina Vassiliadou

Poetry €30.00

This publication is based on a project by Despina Vassiliadou that ran from 2015-16. It presents a collection of photographs taken during the period, accompanied by fictional short stories.

Cover of NIGHTNIGHT

Self-Published

NIGHTNIGHT

Aïda Bruyère

In collaboration with Laurent Poleo-Garnier, NIGHTNIGHT is an archive of images and texts from different sources addressing the theme of the night. Over the book as a party that degenerates with fatigue, alcohol and other stimulants, images and layout deteriorate, the subjects get tired, the vision is cloudy...

Cover of L'Alpin chez lui

La Mousse Éditions

L'Alpin chez lui

Clémence Passot

Photography €28.00

L’ Alpin Chez Lui - Les jolis jouets du Queyras présente une collection de jouets en bois artisanaux fabriqués dans les Alpes. Ces figurines naïves aux couleurs vives et aux contours découpés, montées sur un socle et conçues pour une main d’enfant, attirent le regard par leur graphisme épuré.

Depuis 1920, les Jouets du Queyras sont fabriqués à Arvieux, dans les Hautes-Alpes. Cet ouvrage, réalisé par Clémence Passot, retrace l’histoire et l’évolution de la coopérative ouvrière « L’Alpin chez Lui », offrant un témoignage unique sur la vie sociale et économique de la montagne.

Conception graphique et direction éditoriale: Magali Brueder & Clémence Passot