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L'heure bleue by Anne-Sophie Costenoble

L'heure bleue by Anne-Sophie Costenoble

35 EUR
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L'heure bleue by Anne-Sophie Costenoble
35 EUR

Arp2 Publishing
Brussels, Belgium
Hard cover
Design : T’ink Studio
Texts : Xavier Canonne, David Courier et Jean-François Spricigo
64p. 190x260 mm
2018

35 euros
300 copies


Elle est douce la seconde qui entame l’heure bleue, lumière veloutée sur les corps et le végétal. Elles se révèlent toujours dans les instants brillants de l’entre-deux, les étincelles de l’âme, effleurent les couleurs velours. Les mouvements expriment la vie à l’infini dans ce passage du jour à la nuit. Pour le présent ouvrage, les images ont eu besoin de mots. Pour les sentir voler vers des paysages intimes plus lointains.
Valérie Callewaert


At the skin of time by Peter Waterschoot

At the skin of time by Peter Waterschoot

35 EUR
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At the skin of time by Peter Waterschoot
35 EUR

Arp2 Publishing
Brussels, Belgium
Soft cover with a book jacket
83p. 188x280 mm
2018

35 euros


Dans l’ombre et les backstages des lieux de rendez-vous, dans le décor sans luxe des hôtels délaissés, il y a une résistance à la tyrannie des sunlights et des sourires carnassiers des communicants. / Dans l’abstraction des nuits de dérives, il y a des éclats d’infini qui sauvent des turpitudes du jour. / Nous sommes avec Peter Waterschoot, voyageur romantique et inventeur d’hétérotopies, naviguant entre Ostende, Venise, Calais, Osaka, Hambourg, Cologne, Bruxelles et Istanbul, partout où l’existence n’est pas encore totalement sous contrôle, disparaissant du champ social pour accorder sa solitude à celle des derniers vivants.

In the shadows and backstages of meeting places, in the spartan decor of run-down hotels, there is a resistance to the tyranny of sunlights and the communicants’ predatory smiles. / In the abstraction of dissolute nights, shards of infinity save us from the turpitudes of the day. We are with Peter Waterschoot, romantic voyager and inventor of heterotopias, navigating inbetween Ostend, Venice, Calais, Osaka, Hamburg, Cologne, Brussels, Istanbul; places where life has not yet been entirely brought under control. / We are passengers in a lucid dream, a cosa mentale inviting us into abandonment and a heightened state of mind.



Ice fishers by Aleksey Kondratyev

Ice fishers by Aleksey Kondratyev

24 EUR
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Ice fishers by Aleksey Kondratyev
24 EUR

Loose joints
London, England
Singer-sewn softcover with alternating papers and insert
60p. 240x300 mm
2018

24 euros


For generations, Kazakh fishers have set out on to the frozen Ishim River in the hope of catching fish beneath the ice. The Ishim flows through the country’s capital, Astana, a high-rise, futuristic city that was built virtually from scratch in the 1990s, when the exploitation of Kazakhstan's oil reserves began. The city is intended to be an emblem of post-Soviet modernity and a hallmark of the country’s entrance into the global economy. On the ice, the fishermen brave temperatures that often reach forty degrees below zero. While they fish, they protect themselves from the harsh weather with salvaged pieces of plastic, patched together from discarded packaging or rice bags found outside markets selling western, Chinese and Russian goods. By looking at the appropriation of these imported materials and their subsidiary application, Kondratyev illuminates the material flow of global capitalism and its effect on local, nomadic practices. Tracking this flow reveals the point at which international trade policy meets individual lives.

Aleksey Kondratyev (b. 1993 in Bishkek, Kyrgyzstan) received his BFA from Wayne State University in Detroit and is a current MFA candidate at the University of California, Los Angeles. Kondratyev's work has been exhibited at the Neue Schule für Fotografie in Berlin; the Museum of Contemporary Art in Rome; Les Rencontres d'Arles; the Benaki Museum in Athens; and the Galleria Foto-Forum in Bolzano. His work has been published in the Financial Times, CNN, Der Spiegel, the New York Times, Vogue, and National Geographic. He lives in Los Angeles.


Humanise something by Sarah Piegay Espenon

Humanise something by Sarah Piegay Espenon

25 EUR
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Humanise something by Sarah Piegay Espenon
25 EUR

Loose joints
London, England
Open spine Soft cover
176p. 137x195 mm
2018

25 euros


Humanise Something Free of Error meditates on man’s attempts to influence the climate through weather modification, in the form of a visual research project compiled over three years.

Taken broadly, weather modification refers to man-made attempts to intervene in natural weather patterns through advancements in science and technology. Initially, this took the form of positive gestures to stimulate food production and alleviate water scarcity, or to prevent damaging weather such as hail or hurricanes. The 20th century saw these processes integrated into military and capitalist technologies: to extract profit from the land, and to destabilize economies, ecosystems, agriculture and financial commodity markets. The weaponization of the weather and the prospect of environmental warfare raises questions about the ethics of harnessing natural forces as a form of power.

Gathered from sources as diverse as press libraries, online forums and the artists’ photographic archives, Humanise Something Free of Error is an oblique response to these issues of power, left open-ended through visual associations along the thin line between peaceful and hostile usage of geoengineering. This critical engagement questions man’s ability to responsibly manage powerful and harmful ecological forces.

The experiments evident in Humanise Something Free of Error are inseparable from the impending climate crises of our age, and paint an urgent picture of extreme hidden trajectories to control ecological change. Contained within is also an essential obscurity: the unknowable covert operations taking place in the skies above; the invisibility of the state. Collecting these images together asks questions about our living relationship with the planet, as well as about man’s relationship with technology - whether we are in control of the processes we have released upon the world, or whether they are now in control of us.

Sarah Piegay Espenon (b. 1990) is an artist and designer, and the co-founder of Loose Joints. Her work generally incorporates archival photography and examines at the impulses to collecting and process data. Humanise Something Free of Error is her first book.



Shaky ground, Traces of the Great War at the Ypres Salient by Peter Dekens

Shaky ground, Traces of the Great War at the Ypres Salient by Peter Dekens

35 EUR
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Shaky ground, Traces of the Great War at the Ypres Salient by Peter Dekens
35 EUR

The Eriskay connection
Breda, The Netherlands
Concept and photography: Peter Dekens
Essay: Guido Van Hengel
Design: Rob van Hoesel
Soft cover
Paper : Biotop 3 next 120gr, Opakal 60gr, Rainbow black 230gr
128p. 195x290 mm
2018

35 euros

Edition of 750

One hundred years ago, on 11 November 1918, the armistice came into effect. For the special occasion of this commemoration we will include a free a high-quality Baryta inkjet photo print (18x27 cm / 7x10.6") with every purchase of the book until the end of this year.

Peter Dekens’ earliest memory of the First World War dates back to 1979, aged 12. One of his cousins found an old, unexploded bombshell and tried to dismantle it. The explosive went off and he succumbed to his injuries later that same evening.

Driving along the former front line in Ypres (Belgium) now it’s nearly impossible to imagine that one of the most horrific wars of all time was waged here one hundred years ago.

The traces of the Great War have been almost completely erased from the landscape, over the course of decades, hundreds of bunkers were removed. To this very day, human remains and projectiles are still found every time someone sticks a spade into the soil. Somewhere beneath the sod, tens of thousands of missing soldiers are presumed to lie undiscovered, along with hundreds of thousands of unexploded shells.

An estimated thirty per cent of the 1.5 billion bombshells fired during the First World War never went off. Some of the people who live in the area have developed a sixth sense for this hidden history: where tens of thousands of tourists and travellers pass by unknowing, the locals know that the slightest raise or dip in the road could be an indication that war remnants still lie uneasy beneath the earth.

For centuries, Europe was a divided continent with countless wars and infinite redefinitions of shared borders. It briefly seemed as though the First World War would be the very last, the “war to end all wars”. Ultimately, however, those years planted the first seeds of the Second World War. Long-lasting peace, prosperity and progress did not come to Europe until after 1945. The establishment of the European Community was envisioned as an affirmation of permanent peace in Europe. With the recent situation surrounding Brexit and the surge in nationalist, anti-European movements in various European countries, it seems that the awareness of the importance of unity stands on shaky ground again. The traces of a history of war seem to be fading rapidly from memory.


Jambon-Klaxon #0

Jambon-Klaxon #0

13 EUR
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Jambon-Klaxon #0
13 EUR

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"


Archivo muerto by Andrés Orjuela

Archivo muerto by Andrés Orjuela

48 EUR
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Archivo muerto by Andrés Orjuela
48 EUR

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.



Fin del Mundo by Nicolás Janowski

Fin del Mundo by Nicolás Janowski

35 EUR
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Fin del Mundo by Nicolás Janowski
35 EUR

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.



Soft touch by Brad Feuerhelm

Soft touch by Brad Feuerhelm

25 EUR
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Soft touch by Brad Feuerhelm
25 EUR

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.


Miracolo! by Innocences Editions

Miracolo! by Innocences Editions

30 EUR
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Miracolo! by Innocences Editions
30 EUR

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.


La trajectoire du Gyrovague by Constantin Schlachter

La trajectoire du Gyrovague by Constantin Schlachter

40 EUR Épuisé
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La trajectoire du Gyrovague by Constantin Schlachter
40 EUR

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.


Épuisé
Photographic fields - Joël Van Audenhaege

Photographic fields - Joël Van Audenhaege

25 EUR
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Photographic fields - Joël Van Audenhaege
25 EUR

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


Infra- REBECCA TOPAKIAN

Infra- REBECCA TOPAKIAN

20 EUR
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Infra- REBECCA TOPAKIAN
20 EUR
Classe moyenne éditions
Lille, France
Soft cover
Offset printing
Silver ink on black paper
40p. 21x29,7 cm
2017

"In the series “Infra-”, I’m using a digital transformed camera – the low-pass filter on the sensor has been removed so the camera is sensible to infrared. In the complete night of dancing parties, I enlighten my subjects by using an infrared led panel, invisible to the human eye but visible to the camera, allowing me to act discreetly. The subjects then reveal themselves in moments of abandonment, far from any staging, and offer the viewer portraits of selflessness - «non-portraits»."