Caravaggio’s Head of Medusa, 1596/97, painted in two versions, not only reflects light but is a painted reflection. Similarly, these photographs are all reflections in plate glass mirror. They document a relation in the present without content.
First edition of 50
Language: English
"Having a party (hope you will be there)", is a catalogue of an exhibition organized by Mickael Marman and D&TLG at CFAlive in Milan with artists from the black European diaspora, including original contributions, photos of the show, as well as a brand new intro text by Olamiju Fajemisin.
Sasha Phyars-Burgess’ first monograph, Untitled. Spanning three bodies of work, this 200-plus page monograph includes poems by Ser Alida and Aurora Masum-Javed, a conversation between Sasha Phyars-Burgess, Juliana Huxtable and Carolyn Lazard, and essay by Bill Gaskins. Designed by Studio Lin.
As recipient of the second annual Capricious Photo Award, Sasha is a vital, emerging voice in contemporary photography, engaging the charged line between documentary and fine art. Her work ranges from affecting studies on diaspora, family and place to revolving social phenomenons in which energy, beauty and power meet.
The second annual jury panel was helmed by Capricious Founder and Publisher Sophie Mörner and Associate Publisher Anika Sabin alongside Lauren Cornell, Katherine Hubbard, JOFF, Matt Keegan, Guadalupe Rosales, Ka-Man Tse, and Lyndsy Welgos.
The Hortus project is an open investigation into the nature of seemingly common objects through 'Floriography', urban gardens, and the history of female rights. Hortus was inspired by urban gardens in West Amsterdam and created with its plants by Lilia Luganskaia.
Joanna Cresswell about the 'Hortus':
History teaches us that a language of flowers can communicate endless things about the culture in which it emerged, and herein lies Lilia Luganskaia's interest. Taking inspiration from the world of 19th Century sentimental flower books, Hortus presents itself as a set of notes towards a modern handbook for contemporary floriography, considering what the discipline might look like today. By collecting common flora across one year in the urban gardens around her home in Amsterdam and cross-referencing their meanings with publications from the past, Luganskaia reflects on their natures, their roles, and the symbolic familiarity they might hold for the communities living with them. A female artist and reader of the twenty-first century, she seeks out the essence of modern life through her lens, and through flowers, just like the women who came before her.
Lilia Luganskaia (1990) Russian - Dutch multidisciplinary artist and author, based in Amsterdam. In her artistic practice, Lilia uses her background in documentary techniques to focus on what she calls ‘investigating reality’. Her practice is research-based, Lilia decodes abstract notions such as love, tourism, bureaucracy, politics, and feminism through the use of constructed images, sculptures, videos, and installations. One of the key elements of her work is to understand multiple aspects of the photographic image.
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...
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.