Série d'affiches risographiques monochromes noires.

Soft cover
Offset printing
Concept: Kenny Ozier-Lafontaine & Margot Taupin
Graphic design: Margot Taupin & Céline Gay
Paper: Cyclus offset 115gr + Transwhite 110gr
210x135 mm
150 exemplaires

30 €

Jambon-Klaxon est une revue collective qui réunie à chaque nouveau numéro des artistes plasticiens et des poètes autour d'un thème commun.
Le numéro #0 inaugurale s'articule autour de thème de la charogne
21 artistes plasticiens et photographes
16 poètes
Réunis dans 1 revue
"Le poète d'aujourd'hui n'est pas un ramasseur de livres mais d'immondices et de déchets
La poésie est malade
La poésie est monosyllabique
La poésie ressuscite les charognes"

Chaco Books
Madrid, Spain
Andrés Orjuela
Text : Santiago Rueda
Book Design: Verónica Fieiras
Traditional bound folder with screen printing and binder rings, made in Mexico City
Paper : Arcoprint Milk White paper 150gr
78p. 210x300 mm
2018

250 copies

El Espacio circulated in Bogota for almost five decades. It was one of the few and last “Red Press” of the city. Every morning, it showed gore pictures of crimes, red headlines and topless women in the last page. Its photographic archive, thrown away and collected by street recyclers, was sold by weight as reusable paper. It was almost definitely lost but due to the fact that some pictures fell into the hands of few collectors, a small part of it was saved. A group of original images, with their identification data on the back, was selected by Andrés Orjuela. He has chosen to re-interpret and gradually reveal remains of this archive. The prehistory of drug trafficking becomes imminent, current, since Archivo muerto is a mirror where we see the same street murders, the same stowaways trying to cross the border, the same police abuses, the same small traffickers captured and exhibited in the news nowadays. Orjuela witnesses them in other time and in other faces. He enlarges the original images and manually lights them up, to paint the harmful mundane; inspecting, in this way, the pernicious order of the worlds. The images keep the title of the original photographs, that is, the identification title given by the newspaper, and it includes, as an annex, an 1:1 size descriptive sheet, made in a hurry as in the newspaper’s newsroom, with dates and annotations; keeping the structure. This look is closer to the executioner than to the victim, since the artist does not alter in essence the instructive message of the extinct Bogota’s newspaper. The application of the pigments, highlights, by contrast, the own “brutalism” of El Espacio, Thus, as a witness and as an archiver, Orjuela makes visible the invisibility of the already described social order. Divided, illuminated, as the story itself, this archive is dedicated to those who live in hardship. More than a file of evils, it is a file of misfortune, of the captured, arrested, executed, run over, shot and slashed. Extracted from the archive of El Espacio, these images are like tarot cards. They appear without chronological, iconographic, sequential order, which allows us to see together the punishments and abuses, the crimes of tomorrow. Perhaps, the progressive interest that Archivo muerto reaches today has to do with the “Colombianization” of the world in general, which consists in the corruption without borders and in all fronts: the Panama Papers and Odebrecht, the growth of private armies –such as Blackwater–, Colombian paramilitaries and Mexican Los Zetas, coups without coup in countries like Brazil and Paraguay; the normalization of crime and the evident global narcotization that lead us to return to the almost inevitable issue of drugs and Colombian society. Archivo muerto has to do, obviously, with that moment when Colombians “stopped washing dishes and started to wash money” –borrowing the words of the Colombian filmmaker Luis Ospina. The glorification of Escobar in Netflix, of which publishers all around the world are accomplices and beneficiaries by publishing the memories of his son, brothers and various biographies. They all maliciously conceal the relations among the CIA, the mafia and the dark regimes from Central and South America. In Colombia, there is a long history and tradition of violence from which anyone can learn. Something that can not be denied is the development of a criminal culture –promoted by it’s political class– that comes through the birds and bandits of La Violencia in the 50’s and continues with the bands that controlled the emerald mines and the beginnings of cocaine trafficking to Batista’s Cuba, with the origins of marijuana trafficking from the Caribbean Coast to the shores of Florida in the years after the war in Vietnam, which reaches its zenith not with Pablo Escobar, but with Álvaro Uribe and his government that murdered more citizens than the three dictatorships of the Southern Cone combined. Hence, today we use the term “Colombianization” to describe the violent deterioration of any society. Archivo muerto chooses the past to witness, fragmentarily, the development and evolution of a primary violence, which is the product of a tremendous and not mentioned social exclusion, true mother of all evils.

Chaco Books
Madrid, Spain
Images : Nicolas Janowski
Text : Luis de Lasa
Book Concept & Design: Verónica Fieiras & Martín Bollati
Soft cover
Paper :Munken Lynx 120 gr - Translucent de 100 gr
120p. 165x240 mm
2017

In 1520, a fleet of four vessels sailing from Spain reach the Isla Grande of Tierra del Fuego. Between the sixteenth and nineteenth centuries, the island was successively occupied. The spread of diseases brought by white men -to which they had no natural immunity-, professional assassins hired by landowners, as well as hunger and malnutrition, gradually wiped out the island’s inhabitants. By the beginning of the twentieth century, only 200 of them remained alive with only one surviving to the present day. Nicolás Janowski recreates the historical imagery associated with Tierra del Fuego as a boundary-place, the last frontier of civilization anchored at the southern end of the habitable land. The phrases in this book are fragments from various ship’s logs written on board of european expeditions that traveled through Tierra del Fuego between 1520 and 1834.

Chaco Books
Madrid, Spain
Images, Text & Project: Brad Feuerhelm
Book Concept & Design: Verónica Fieiras & Martín Bollati
Soft cover
Paper : Munken Lynx 100gr/300gr and Vinyl Stickers
20p. 280x205 cm
2016

25 euros

Limited Handmade Edition of 250

Soft Touch re-works images pulled from various magazines and re-formatted into a sticker album where what remains becomes a comment on the use of empathy within photography and its economy of mass distribution. Considering the image consumer and image collection practices, the book highlights a cultural interest in the horror that photography can apply in its negated subjects: Biometrics, pixilation, obfuscation and censor bars. Giving access to an already collected and filled album, Soft Touch becomes a meta-experience of collecting what another once collected and as a consequence, a contemporary photographic practice of accumulation.

Editions Innocences
Paris,France
Beach towel / serviette de plage
recto 100% microfiber / verso 100% cotton
1000x1800 mm
50 exemplaires

The image shows, in negative, the lower part of the Shroud of Turin. This representation features details of the Christ's crucifixion. It is considered by the Catholic Church as an icon, and by some believers as a relic. And by Innocences, as the first photographic picture.

Temporairement Sold Out

Self-publishing
Paris, France
Soft cover
Offset printing
2017
96p. 270x200 cm
250 copies

Au début du christianisme, les gyrovagues étaient des moines errants sans résidences ou maîtres. Libres de tous dogmes, ils étaient contraints par un fort lien à la nature et à la matière primitive. Durant des promenades et des retraites dans la Nature – ces périodes de solitude qui transforment les expériences et amènent à l’introspection – le photographe français Constantin Schlachter développe une photographie ascétique et instinctive. Avec les images réalisées, il forme une fiction sensorielle qui résonne dans la conscience collective. Entre 2011 et 2015, il photographie ses sensations par le biais du paysage et de ses détails. En utilisant différents media (appareils photos, microscope) et à travers des manipulations digitales et analogues, il recherche et fixe l’émotion originelle qu’il a appréhendée lors de la prise de vue. Chaque medium et chaque processus de manipulation correspondent à un état d’esprit spécifique. Son travail La Trajectoire du gyrovague est une quête intérieure dans un paysage mental, où la confusion d’échelles, de couleurs et de matières forme une boucle dans laquelle les sujets sont constamment réinventés et transformés. La barrière de l’espace concret est ébréchée par des couleurs, sujets et textures anormaux. Dans ce chant obscur et naturel, les images primitives de l’être humain, grottes maternelles et créatures mystiques se font écho. Par la confrontation de ces images symboliques, un récit allégorique propre à chacun se tisse. Nous laissant arpenter un domaine mental dominé par la Nature.

Arp2 publishing / Classe moyenne éditions
Brussels,Belgium / Lille,France
Soft cover
Offset printing
40p. 23x29 cm
2018 

"Ces images ne sont ni fenêtres, ni miroirs. Elles n’ouvrent pas sur un espace extérieur ; à peine perceptibles, on cherche à voir, non une sensation, un sentiment, une introspection : quinze versets visuels pour tromper l’ennui, conjurer le sort, le phlegme, la gueule-de-bois, la chance, la déprime, les aléas, le non-dit, les paris, les démons de la nuit, la maladie, peut-être la mort, comme des incantations impromptues."
Antonio Guzman

"These images are neither windows nor mirrors. They do not open onto an exterior space. Being scarcely perceptible, we try to see, not a sensation, but an emotion, an introspection: fifteen visual verses to outwit boredom, to break the spell, to ward off indifference, a hangover, fate, depression, randomness, the unspoken, bets, night-time demons, illness and perhaps death, like impromptu incantations."
Antonio Guzman