Book Du Jour: Yolanda by Ignacio Navas


Title of publication: Yolanda
Name of artist: Ignacio Navas
Additional contributor/s: Municipal Archive of Tudela, Ponce + Robles Gallery and Trimgo Studio (Preprint)
Design: Jorge Fernández Puebla
Editor: Myself & the indispensable help of many friends
Series name: n/a
Press: n/a
Publication date: April of 2014
Place of publication: Madrid, Spain
Edition size: 200 copies in english and 200 in spanish
Format: Softcover zine
Size: 16×14,5 cm
Number of pages: 96
Type of printing: Digital color printing
Type of paper: Fedrigoni Arcoprint 85gr
Name of printer: Pulse Comunicación
Number of pictures: 72
Price: 18€

Description of book: It all begins two years ago, in 2011, when Ignacio Navas discovers in a photograph of his own baptism the existence of an unknown young woman holding him in her arms. Who is it? What is her name? Seeking to find out who she is and reconstruct his life becomes an obsession that materializes as Yolanda.
A series of snapshots taken from family albums are intermingled with recent pictures taken by the young photographer in the settings in which the life of this young woman un¬folded. It is a story loaded with generational references, remnants of a life cut short, a tale imbued with considerable emotional restraint, wich is also a perusal of a love story. Indeed, it is a tribute to the photographer’s own uncle, Gabriel, the partner of the young Yolanda up until her death. Gabriel becomes the narrator of a story articulated through the autobiographical tale that takes us back to an era -the late eighties and early nineties- and a Spain in which many Yolandas disappeared.

This story is represented with tremendous sensitivity, which the photographer explains like this: “When I was six years old my aunt Yolanda died of AIDS. I don’t remember anything about her. Through old family albums and conversations with my uncle I try to get to know her sixteen years later. want to tell her story, that of her generation and her journey throungh life and disease.”

This project was conceived as an investigate endeavour in progress wherein the viewer irremedia¬bily gets close to its protagonists, infiltrating the environment of this young woman, entering into this intimate story and biography of Ignaicio Navas.

(Text by Tania Pardo)

The best thing about self-publishing: Freedom.

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SPBH ♥ Sam Hutchinson


Sam Hutchinson

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Book Du Jour: Bee B.O by Sophia Moseley


Title of publication: Bee B.O
Name of artist: Sophia Moseley
Additional contributor/s: -
Design: Sophia Moseley
Editor: Sophia Moseley
Series name: -
Press: AND Publishing
Publication date: May 2014
Place of publication: London, UK
Edition size: 30
Format: Softcover
Size: 100 x 70 mm
Number of pages: 32
Type of printing: Digital
Type of paper: 140gsm House Cartridge
Name of printer: Bizhub C6000
Number of pictures: 15
Price: £4

Description of book: Bee B.O is a documentation of observations on the human condition, told through recorded conversations, short stories, poetry and appropriated imagery. The publication was conceived during a residency at The Banff Centre, Canada, in March 2014.

The best thing about self-publishing: The absence of third parties.

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Self Publish, Be Naughty: Prins De Vos


Prins De Vos

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Book Du Jour:
Will They Sing Like Raindrops or Leave Me Thirsty
by Max Pinckers


Title of publication: Will They Sing Like Raindrops or Leave Me Thirsty
Name of artist: Max Pinckers
Additional contributor/s: Text by Hans Theys, ‘Photographs as Poems’, Montagne de Miel, February 2014 (
Design: Jurgen Maelfeyt (
Editor: Max Pinckers
Press: De Bedoeling vzw
Publication date: June 2014
Place of publication: Brussels, Belgium
Edition size: 1000
Format: Softcover
Size: 21 x 29 cm
Number of pages: 232
Type of printing: Full colour offset
Type of paper: Munken
Name of printer: Die Keure, Bruges, Belgium
Number of pictures: 140
Price: Original price €50

Description of book: This book consists of several elements (text or images), each treated differently on the level of the layout. One kind of images always consists of a sequence of photographs made inside the headquarters of the Love Commandos. They can be recognized through the smallness of the photographed spaces, the presence of the blue walls and a more simple use of lighting. These sequences create horizontal lines that weave through the book. The irony of this graphic approach resides in the fact that these photographs are the most documentary ones, whereas being organized in sequences contradicts the myth of the decisive moment or the “moment of truth” the photographer is supposed to capture. Thus the use of sequences seems to stress the consistent, but seemingly vain attempt of the photographer to capture the reality in front of him, but it also emphasizes the limited space these people have to hide and live in.

Another series of “images” consist of vertically arranged, bleeding texts, extracted from the weblog of the Love Commandos. Together with the documentary sequences, they seem to weave a basic grid for the book.

There is also a set of “images” consisting of found material. These can be found documents or newspaper articles, but also found photographs or ‘found footage’ such as inscriptions in bamboo trees or posters on walls.

Another category seems to be added for abstract reasons. They are not easily explained. They deviate the most from the photographs Pinckers used to make until today. They open his work to the future, e.g. by documenting sculptural integrations made on location in collaboration with the artist Gauthier Oushoorn.

Yet another series of images mainly consists of staged photographs or photographs that seem to be staged and documentary at the same time. They are characterized by very intricate lighting, using different light sources and flashes. In this book they have a kind of visually narrative function. They recount (visual) stories, related to the general subject of the book. They are also the result of instant improvisation with found situations and randomly encountered people. They demand a quick way of reacting from the photographer and try to touch upon the subject matter through invention. Some of these photographs also have a purely documentary character, e.g. when they show us parts of ceremonies or settings or photographer’s studios related to arranged marriages.

A quite distinct set of images consists of five photographs of still lives against a black background. They attain a symbolic function and are linked to the main theme through a narrative approach. For instance, we see a bottle with a perfume of True Love made by a professional perfume maker or a marble statue of a rose seller made by a sculptor of religious statues, both commissioned by the photographer.

A last series of images consist of idealized digital landscapes retrieved from a photo studio, where they are used as backdrops for portraits.

To Max Pinckers the status of each image and the hierarchy between the different series of images is of great importance. This is translated in the way they function or are presented in the book. Found images are printed full bleed, larger than his own photographs. The digitally constructed landscapes have no direct documentary value, because they show places that don’t exist, but as purely fictive images they might refer to contemporary internet-aesthetics. The still lives made against a black background are straightforward objective registrations of objects that refer to actions that have been executed or provoked by the artist. Together with the text from the weblog and newspaper articles all these images create a context or narrative structure for his own photographs. The photographs of the sculptures made in collaboration with the sculptor Gauthier Oushoorn, on the other hand, are situated in the ambiguous domain of objective registration and pure staging. “Perhaps an opening to the future,” the artist says, “related to the early registrations of land art.” In general the book is about how different types of photographs can function through the context they appear in, without any restrictions dictated by a one-dimensional aesthetic viewpoint. Having these different ways of representation intermingle reveals the political aspect of the way we treat images and use aesthetic elements in our lives.

– Excerpt from the text by Hans Theys, Montagne de Miel, 25 February 2014.
First published Will They Sing Like Raindrops or Leave Me Thirsty, Brussels, Belgium, May 2014.

The best thing about self-publishing: It makes me happy.

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