Ping Pong Conversations is the result of a long dialogue between critic and curator, and Fantom associate editor, Francesco Zanot, and American photographer and publisher, Alec Soth.
Divided into short question-and-answer chapters, the book explores the artist’s extended and multifaceted work in a friendly, cozy atmosphere. Soth’s both famous and less known photographs track the main stages of his work, each of them triggering a new comment, an original thought. Thus the volume is at the same time an in-depth survey of the artist’s journey and a unique guide into the ways photographic images can be read.
The combination of words and photographs brings up subjects such as storytelling, the use of color or black and white, staged and candid approaches, personal and political issues, generating new, unpredictable sequences, connections and meanings.

Here, an abstract from the book:
Francesco Zanot: You know the majority of existing photographs are just failures and mistakes. Painters try to keep most of the canvases they paint, while with photography it’s just the opposite. You edit out most of the photos you take.
Alec Soth: For me photography has failure built into it. It’s about this wish to possess time, but you never can, you can’t preserve a moment. It’s a medium of desire, and of trying to fulfill that desire, but never reaching it...
Francesco Zanot: What about this picture of a man’s hand holding a dental plate?
Alec Soth: It was at a church dance, and this man was showing someone his dentures and talking about them, so I asked him to wait and hold it out. It’s a funny picture, it’s like he’s holding his smile for me.

Alec Soth was born in 1969 in Minneapolis, Minnesota, where he currently lives. His work has been featured in numerous exhibitions and publications worldwide and awarded with remarkable fellowships and prizes; his varied activity includes Little Brown Mushroom, the publishing company he founded in 2008. Soth was previously featured on Fantom Issue 3, Spring 2010.

Alec Soth and Francesco Zanot, Ping Pong Conversations,
182 pp., € 25.00.


Simon Starling’s publication “Black Drop” is drawn from the eponymous film project the artist produced in 2012. The documentary, now reproposed as a shot-by-shot sequence, investigates the relationship between the astronomical observations of the transit of Venus and the birth of cinema.

The voiceover of the film, now in form of subtitles, retraces the history of moving image technology, starting from the invention of the “photographic revolver” by French astronomer Jules César Janssen, fundamental for the further development of the Lumière brothers’ cinematograph.

Assuming that the 2012 transit would be the last to be recorded on celluloid (the next one will in fact occur in 2117), the artist himself travelled to Hawaii and Thaiti with a small film crew in order to witness and film the phenomena, as well as to visit its previous sites of observation and documentation, goal of several epic voyages between 1874 and 1882.

Simon Starling was born in 1967 in Epsom, England. He studied at Nottingham Polytechnic and the Glasgow School of Art. His work has been shown in numerous notable institutions and international venues, and in 2005 was awarded with the Tate’s Turner Prize.

Simon Starling, Black Drop
208 pp., € 39.00.


Italian artist Linda Fregni Nagler’s book The Hidden Mother collects more than 1.000 children portraits – tintypes, ambrotypes, snapshots, daguerreotypes, cartes de visite and cabinet cards – taken between the advent of photography and the 1920’s by mostly anonymous authors.

At the time the photographs were taken, because of the slow exposure times, babies needed to be kept still by a parent concealed in the background. Covered in a cloth, cut out of the frame, even literally scratched away from the image, these hidden figures are the central theme of this work by Linda Fregni Nagler.
The effort once made to remove the mother’s presence in favor of the child’s identity, yet failed, vanishes as the artist invites you to look closely at the actual size images printed in the book, seeking for what you were originally not supposed to see at all.

At the end of the book, a detailed appendix reports physical qualities, texts written on the back and historical-anthropological elements of each photograph, as well as the personal keywords used by the artist in order to organize, catalogue and rearrange the large amount of materials. This process is in fact identified as an integral part of the artistic operation.

The original photographs were shown at the 55th Venice Biennale within “The Encyclopedic Palace”, curated by Massimiliano Gioni.
Linda Fregni Nagler’s collection was first featured with a text by our associate editor Francesco Zanot in Fantom #00, Summer 2009.

FZ (…) If we observe these photographs in the context of your work, the way in which we interpret them changes radically. Instead of focusing our attention on the protagonists of these portraits, we start to seek out that which cannot be seen (or only partially). Unlike all the image genres and typologies we know, the Hidden Mother images are defined on the basis of what is not there (or at least, what shouldn’t be there). Hence, they remind us that photography is not only to do with the objects and the situations captured between the four edges of the frame, but rather it treads a thin line between inclusion and exclusion. While they denote presences, these images reflect just as many attempts at evasion. Midway between the burqa and Houdini’s escapology, the gestures of these hidden mothers underline the importance of the invisible in photography, and introduce a sort of apology of disappearance, meant as a playful, social and political action.
LFN There’s a Latin word which defines the particular contents of these photographs very well: absconditum. That is, the object of hiding. A 14th century sculpture found at the Metropolitan Museum of Art in New York, Shrine of the Virgin, illustrates this concept perfectly. The Virgin holds the baby Jesus in her arms, but this is only one of the two forms it may take: when closed, the sculpture envelops the absconditum, while on opening it reveals the adult Christ and the symbols of the Trinity. In the closed position, the Virgin Mary is a treasure chest guarding the holy revelation hidden within her. Believing it is an act of faith. There is another term, a Greek one, which may be used to refer to the Hidden Mother photographs: apocalypsis. It is used to express the ‘unveiling of the concealed’. It means discovery, manifestation or apparition. The final revelation.

FZ There is one further element that defines the category of the Hidden Mother: the very notion of their disappearance cannot be entirely successful (it might be more apt to speak of ‘Not-So-Hidden Mothers’ or ‘Wannabe Hidden Mothers’). Only the images that show a residue of this attempt may be included in this typology, for if the disappearance were complete, we would be unable to note any difference from an ordinary child portrait. This means that to a greater or lesser extent, all the photographs in The Hidden Mother bear the traces of failure. The Hidden Mother is an enormous and poignant anthology of errors. It tells of men’s ambitions and their inability to achieve them.
LFN Failure is in fact a key topic of reflection for me. I try to develop it in my works and I recognise it very often in those artists who interest me. For example, the axiom that guides the production of Francis Alÿs is: ‘Maximum effort, minimal result’.
In photography, the progressive fall in the costs of an error and the fact that it may often be resolved simply by taking another shot, has led to a form of diseducation of the gaze: there is now no longer any means by which to safeguard discarded images. Here, on the other hand, scope for error correction may still be found, and in concrete terms this might mean tighter framing or a blotch of ink. It is this very failure of the attempt to hide the protagonists of The Hidden Mother that I celebrate here. I put it on a pedestal every time I collect a new photograph.

Extract from F. Zanot, “Houdini’s Burqa. A conversation with Linda Fregni Nagler” in L. Fregni Nagler, The Hidden Mother, MACK, London 2013

Linda Fregni Nagler, The Hidden Mother
432 pp., € 45.00.

Above: © Linda Fregni Nagler 2013, courtesy MACK


Erwin Wurm's"De Profundis", a publication by Hatje Cantz, collects a series of hand-painted photographs representing naked or barely dressed men posing in front of the camera.

Using a variety of media, such as drawing, photography and painting, the artist takes inspiration from the ideal beauty of the Gothic language, where the representation of the body is defined by an introspective and ascetic feel.
The theatrical atmosphere contained in the pictures turns each frame into a stage where the subject plays the role of an actor; in several cases, the performance involves the artist himself.

Passing of time - thus growing old - is the theme the Austrian artist invites you to reflect upon as you flip through the pages, while facing the actual appearance of a 21st Century human body.

Erwin Wurm, De Profundis
166 pp., € 25.00.

Above: © Erwin Wurm/Albertina, Wien. VBK, Wien 2012


Contextually with the Salone del Mobile 2014, Marsèlleria presents OROBORO, an exhibition where Carlo Zanni's works are put in dialogue with a selection of design items created by designers Raw-Edges, Ilaria Innocenti, Giorgia Zanellato and by producer Mirko Rizzi.
The exhibition unfolds as a journey towards three key concepts: birth, life, and death; identity formation and development in relation to others; political tension and participation. The dialogue between Carlo Zanni's digitally produced works and the design pieces is the meeting ground where "immaterial" artworks and handmade objects coexist.

Carlo Zanni was born in La Spezia, Italy, in 1975. Since the early 2000s his practice has involved the use of Internet data to create time-based social consciousness experiences investigating our life. His work has been shown in numerous galleries and museums worldwide. He is also founder of artists' video-sharing website

Carlo Zanni, OROBORO
From April 7th to 25th 2014
Marsèlleria Permanent Exhibition
Via Paullo 12/A, Milan


The Dummy Award 2014 is open for entries. Selected by a jury of international experts, the best fifty dummies will be exhibited at a variety of photo events worldwide and, among the participants, three winners will be chosen for The PhotoBookMuseum Cologne in September. The First Prize includes the publication of the winner’s dummy – in cooperation with k-books (Germany), a feature in the magazine European Photography and a presentation of the project during the next edition of the festival in 2015.
Photographers are invited to submit their so-far unpublished photobooks by May 15th, 2014.

Application deadline: May 15th, 2014
For more information:


Batia Suter' installation at the Fantom-Marselleria booth for MiArt 2014, opening today. Come and see us there. Booth A26 - Institutions, Associations and Foundations area.


We are happy to announce our participation to the upcoming edition of Miart - International Fair of Modern and Contemporary Art, which will take place in Milan from March 28th to 30th.
As a result of our collaboration with Marsèlleria‚ a multidisciplinary exhibition space in Milan‚ we will present a site-specific installation by Amsterdam-based artist Batia Suter.

The booth will also contain a small bookshop dedicated to Suter's latest book,Surface Series, and to Marsèlleria and Fantom publications and limited editions. On this occasion, the few remaining copies of Fantombooks: Vedove/Widows by Takashi Homma, Fiume by Guido Guidi‚ both sold out and already matter for collectors‚ and Al lavoro! by Charlotte Dumas will be available for purchase, together with past issues of Fantom Magazine.

Please visit us at booth A26 - Institutions, Associations and Foundations area
We look forward to seeing you!

miart‚ fieramilanocity
March 28th to 30th 2014
Entrance Viale Scarampo, Gate 5 pad. 3, Milan.


Our Editor-in-Chief Selva Barni will contribute to Meeting Place, the largest and most international portfolio review program in the world, which occurs in Houston, Texas, in conjunction with the FotoFest International Biennial of Photography & Photo Related Art.

The 2014 edition of the festival will take place from March 15th to April 27th. Under the main curatorship of Karin Adrian von Rogues’, this year’s exhibitions, lectures and collateral events will focus on Contemporary Arab Video, Photography and Multi Media art, displaying a variety of contemporary artists from the Middle East and Northern Africa.

FotoFest 2014
March 15th – April 27th, 2014
Houston, Texas

Above: Tarek Al-Ghoussein, (In) Beautification, 1333, 2011. Courtesy of the artist and The Third Line, Dubai


Camilla Grimaldi inaugurates her new exhibition space in London with Martina Bacigalupo’s first exhibition in the UK, “Gulu Real Art Studio”.

The project – published by Steidl in 2013 – consists of a selection of found photographs that the artist recovered from the Gulu Real Art Studio in the city of Gulu in northern Uganda.
Ready-made, unconventional images, in which the subjects’ faces have been cut out to be used as photo booth portraits, highlight gestures and details of the city’s inhabitants, slowly revealing their identities.
Martina Bacigalupo, member of Agence Vu in Paris, was born in Genoa (Italy) in 1978 and is currently based in Burundi. Her work has been published in newspapers and magazines worldwide.

Martina Bacigalupo, Gulu Real Art Studio
27 March - 26 April 2014
Camilla Grimaldi Gallery, London W1S 3AN

Above: M. Bacigalupo, Gulu Real Art Studio 2013. © the artist, courtesy of Camilla Grimaldi Gallery, London


The result of the collaboration between digital platform Artshare and renown Shangainese gallerist and curator Leo Xu, the online exhibition “JPEGS: New Practices in Photography” explores the ways in which the advent of digital images is leading the development of new methodologies, concepts and techniques.

The exhibition features the works of four Chinese emerging artists mostly represented by gallery Leo Xu Projects – namely Chen Wei, Cheng Ran, Guo Hongwei and the artistic duo composed of Zhang Jungang and Li Jie – as well as a selection of slides from Xu’s talks and lectures on Chinese photography and the Internet, held in a variety of universities and institutions.

“JPEGS: New Practices in Photography”
March 6th – April 6th, 2014

Above: Chen Wei, "Countless Unpredictable Stand No.1", 2006. ©


We are glad to celebrate the birth of a new independent publishing house, Skinnerboox. Founded by Milo Montelli and based in Italy, it focuses on contemporary photography with particular attention towards Italian young authors. The inaugural released titles are Thoreau by Alessandro Calabrese and I resti del viandante by Giuseppe De Mattia.

Alessandro Calabrese’s work is the result of an artist residency conducted between 2012 and 2013 at the Natural Park of Mont Avic in Valle d’Aosta, Italy. The series, inspired by the writings of Henry David Thoreau – in particular “Walden, Life in the woods” – constitutes a delicate and inquiring wandering on the relationship between man and nature and its unexpected visual connections.

In “I resti del viandante”, Giuseppe De Mattia explores a seaside landscape in Southern Italy, matching forgotten and abandoned objects – evidence of human activities – with photographs depicting the geographical conformation of the land, elements that meet in an intriguing visual journey.

The name Skinnerboox comes from the Skinner Box, an “operant conditioning chamber” invented by Dr. Skinner in the early 30's, a device of primary importance for the study of animal behavior.

Alessandro Calabrese, Thoreau
80 pp., € 22.00
Skinnerboox, 2014

Giuseppe De Mattia, I resti del viandante
44 pp., € 15.00
Skinnerboox, 2014


International Kontinent Photography Awards is now now open for entries. The awards aim to honor best photographers in the world of photography and provide them global recognition and new opportunities. The winners, one for each of the six categories, will be selected by an internationally renowned jury and awarded with exhibitions, book publishing and representation.
Deadline: 1 May 2014 ·


"Sensory Spaces" is a series of solo projects commissioned by the Boijmans Van Beuningen Museum (Rotterdam) for its Willem van der Vorm Gallery exhibition space. Artists have been invited to respond to the architectural qualities of the space, emphasizing notions of transformation and surprise. Among them, after Oscar Tuazon and Sabine Hornig, American-based artist Elad Lassry (featured on Fantom #03). By using photography, stagings, films and performances, he exposes the problematic relationship between image and reality with consummate control.

Sensory Spaces 3: Elad Lassry
February 22 - June 1, 2014.
Museum Boijmans Van Beuningen, Rotterdam, The Netherlands

Above: Elad Lassry, Woman (Ball), 2014. © the artist, courtesy of David Kordansky Gallery, Los Angeles


Hasselblad Foundation assigned its 33rd prestigious International Award in Photography to Catalan photographer Joan Fontcuberta. Co-published by the Swedish Foundation and MACK specifically for this occasion, “The Photography of Nature & The Nature of Photography” combines six of the author’s most iconic series: Herbarium (1984), Fauna (1987), Constellations (1993), Sputnik (1997), Sirens (2000) and Orogenesis (2002).

Divided into as many chapters, the green velvet-covered volume deals with imaginary botanical and biological findings, undiscovered stars, mermaid fossils and Terragen technologies, up to the tale of a Russian astronaut still lost in space.

Filled with humor and fantasy - the author himself appears, disguised as Hans von Kubert or Joan Fontana - these invented myths repeatedly challenge the deceptive truthfulness of photography, subverting its logical assumptions.

Ironic artifices, clues and inconsistencies aim to call into question the veracity of the medium itself and its function as a means of representation, cornerstones of Fontcuberta’s long-lasting activity as a photographer.

Joan Fontcuberta, The Photography of Nature & The Nature of Photography
224 pp., € 50.00.

Also available as an ebook published by MAPP.

Above: © Joan Fontcuberta 2013, courtesy MACK


Seravezza Fotografia, the international photography event now in its eleventh edition, presents the first retrospective by photographer Frank Horvat. "House with Fifteen Keys" - held at the Palazzo Mediceo - chronicles 70 years of activity by the great master who was born in 1928 in Abbazia, Italy (today Opatija, Croatia).

Reportage, fashion, portrait, landscape and street photography are collected and reconsidered by the author in an exhibition of 290 photographs, arranged into 15 keys of interpretation. Besides the commissioned work, this collection also offers an in-depth survey on the artist's personal research from the 1980s up to today.

Frank Horvat, House with fifteen keys.
From February, 22 to April, 21, 2014
Palazzo Mediceo Seravezza

Above: "2003, Cotignac (France), Grègoire's Hands" and "Model Monique Dutto for Jours de France, Paris, 1958" © the artist


Aperture and The New Yorker salute Quentin Bajac, MOMA's new chief curator of photography.

Aperture Magazine.
Read "View from a Judgment Seat. Quentin Bajac in conversation with Philip Gefter" here

The New Yorker.
Read "View Finder. A new photography curator blurs boundaries at MOMA" by Vince Aletti here


Gallery Scaramouche presents the first solo exhibition in New York by Michael Bühler-Rose (featured in Fantom #08) introducing a new body of work which ranges from drawings and photographs to performative installations that contemplate the nature of transformation.

Engaged in a conversation between spirituality and artistic practice, Bühler-Rose's investigations stem from his years spent as a priest in a traditional school of Hindu practices. The notion of transformation is central to his exploration, as he turns the gallery space into a ritualistic site with the artist as catalyst. The viewer is enticed to partake in an immersive experience and Bühler-Rose's visual narratives as a pilgrim visiting a deity.

Michael Bühler-Rose, "Spirit & Matter"
Until March 30, 2014
Scaramouche, New York NY 10002

Above: Michael Bühler-Rose, Kusha, 2013, C-print, edition of 3 + 1 AP, 25 x 20 in. © the artist


Casa Ghirri is an intimate visit to Luigi Ghirri’s home in Roncocesi, a little town in the province of Reggio Emilia, Italy, a tribute that François Halard dedicates to the memory of the prematurely disappeared Italian photographer, who died in 1992 at the age of 49.

Walking the rooms of Ghirri’s beautiful house, Halard draws a delicate artist portrait through objects and glimpses, respectfully tracking the photographer’s work and life through the images he himself had hanged on the walls and leaned on his bookshelves.

Numerous are the references to Ghirri’s most iconic images. Each detail, reinterpreted and reframed, is a possibility for Halard to identify with the Italian photographer’s visual world and allow the viewer to do the same by flipping through the alluring pages of the book.

Through the lens of the camera, spaces acquire sacredness and everyday objects become magical theatres, in which the photographer silently undertakes his personal investigation.

François Halard, Casa Ghirri
80 pp., € 39.90.

Above: Casa Ghirri © François Halard 2013


Taking place in the context of “Les Rencontres Photographiques d’Arles”, every summer the Voies Off Festival brings to light emerging talents in contemporary photography, with participants from over 60 countries.

Among the entrants of the Voies Off Prize, now in its 19th edition, a Discovery Award will be assigned by SAIF, a French non-profit organization that deals with copyright fees and distribution for authors who work in the visual arts.

Portfolios can be submitted at Deadline: February 10th, 2014.


The Age of Collage. Contemporary Collage in Modern Art was edited and produced by German publisher Gestalten contextually to an eponymous group exhibition that took place at Gestalten Space in Berlin until January 5th, 2014.

Collecting a large number of artworks, the volume provides the viewers with an outstanding documentation of this strikingly variegated medium, tracing its history up to the most contemporary applications.

All the artists involved - Astrid Klein, Beni Bischof, Dash Snow, Martha Rosler, John Stezaker, Charles Wilkin and many others - are featured with a personal report including a brief description of their approach, together with a selection of their most representative images.

Influenced by a variety of sources - such as photography, painting and illustration, as well as science, pop art and erotica - and playing with elements of abstraction, constructivism and surrealism, the presented artists reflect on our collective visual imagination through irriverent, spontaneous and absolutely personal representations.

D. Busch, R. Klante, H. Gellige (edited by), The Age of Collage. Contemporary Collage in Modern Art
288 pp., 39.90 €.

Above: all images @ Gestalten, 2014


"Libya: Inch by Inch, House by House, Alley by Alley" belongs to a series of publications by Giovanna Silva in which photographs of landscapes underlie a wider exploration of countries living in state of war or crisis.

Silva’s itinerary draws the history of Muammar al-Gaddafi’s regime through the architectural structures he made build, then destroyed during the revolution. The trip starts from Benghazi, epicenter of the revolts, and culminates in Tripoli, location of the dictator’s bunker.

The narrative parallel unfolds with frequent archival images and news reports, written both in English and Arabic, following the steps of Gaddafi’s political and personal growth from the beginning of his rise to power up to his bloody controversial death.

A conversation between Giovanna Silva and Gaddafi biographer Angelo Del Boca is included in the pocket-sized volume, offering a deepened analysis of the Libyan historical and sociopolitical context.

Giovanna Silva, Libya: Inch by Inch, House by House, Alley by Alley
256 pp., € 20.00.

Above: all images @ Mousse Publishing


Edited by Otto Letze, Photorealism. 50 Years of Hyperrealistic Painting offers an extended overview of artworks realized by the leading figures of the movement, from its birth in the Sixties up to today’s digital experiences.

Fascinated by the shining ingredients of everyday modern life – among which are limousines, shop windows, plastic kitsch utensils and urban scenes – the featured artists employ photographs, scans, brushes and spray guns in order to create astonishing painted illusions on canvas.

Comprehensive texts by Linda Chase, Nina S. Koll, Otto Letze, Louis K. Meisel and Uwe M. Schneede accompany the images, providing the viewer with a complete in-depth survey of the theme.

Hatje Cantz published the volume on the occasion of the itinerant exhibition of the same title first held at Kunstalle Tübingen and Museo Thyssen-Bornemisza of Madrid, then currently displayed at Birmingham Museum and Art Gallery until March 30th, 2014.

Otto Letze (edited by), Photorealism. 50 Years of Hyperrealistic Painting
200 pp., € 35.00.

Above: Gus Heinze, Mobile Reentry Vehicle, 1990, Courtesy Bernarducci.Meisel.Gallery, NY


Hosted at Palazzo dei Pio in Carpi – a small city near Modena, Italy – as part of a series of exhibitions dedicated to eminent Italian photographers, “L’archivio ritrovato di V.P.” consists of a site-specific project commissioned to artist Paolo Ventura.

Focusing on the boundary between reality and fiction, central theme of the artist’s whole work, the exhibition involves the staging of a secret chamber within the walls of Palazzo dei Pio. Historical photographic materials retrace the story of the place through the personal archive of an unknown character, named V.P.

Curated by Luca Panaro and Promoted by Comune di Carpi, Gruppo Fotografico Grandangolo BFI and Nuovagrafica, “L’archivio ritrovato di V.P.” aims at exploring the relationship between contemporary photography and the territory of Carpi, and its historical-artistic peculiarities. A number of tours, talks and educational activities will take place in conjunction with the exhibition.

Paolo Ventura was born in Milan in 1968. His work has been shown in numerous institutions and galleries worldwide and published on important magazines. He now works and lives between New York and Anghiari, a little town in Tuscany.

L’archivio fotografico di V.P.
Opening: Saturday, December 14th, 2013, at 4 pm
From December 14th 2013 – March 2nd 2014
Palazzo dei Pio, Piazza Martiri 68, Carpi, Modena


The short series of sixteen photographs included in Preganziol, 1983 dates back to thirty years ago, when Italian photographer Guido Guidi took them within a single room in the homonymous Italian location.

Two windows allow the sunlight to penetrate, shaping the portrayed room’s space. The changes of light, only witnessed by the desolate walls and the photographer’s eye through the lens of his camera, underlie what the author aims to explore.

In a place where the vantage points are limited, Guidi allows the actual subject to unravel: passing of time becomes an unfolding, visible element, included but not limited to the boundaries of the frame.

Guido Guidi was born in Cesena, Italy, in 1941. Since 1989 he has taught photography at Ravenna Academy of Fine Arts and, since 2001, at IUAV in Venice, where he studied architecture himself. His inestimable work as a photographer is determined to explore and challenge the boundaries of the photographic language.

Guido Guidi, Preganziol, 1983
40pp., € 50.00

© Guido Guidi, 2013, courtesy MACK


Bonni Berubi in New York is hosting "Between Normalities", a solo exhibition
dedicated to Massimo Vitali’s new series of large-format color photographs.

The show, extending the main theme of the artist’s previous works, includes images representing crowds of people on vacation in Brazil, Sardinia, Lampedusa and Greece.
Massimo Vitali’s work, yet represented in a variety of collections, museums and publications worldwide, was previously featured on Fantom Issue 05, Autumn 2010.

Massimo Vitali. Between Normalities
From December 12, 2013 – February 1, 2014
Bonni Beruby Gallery, 41 East 57th St., New York

Above: Massimo Vitali, Bassa Trinità Blue Ball (#4798) (2013). © the artist


Published by MACK after winning this year’s edition of the First Book Award, “Between the Shell” by Paul Salveson consists of a series of photographs taken in New York and Virginia between 2006 and 2011.

Absurdist playful constructions are jocosely extracted from commonplace objects, within the walls of domestic environments.

Salveson’s photographic process is intended as a “private performance in an empty house, or after everyone falls asleep”, as the 28 year-old American author puts it.

The logical perception of the objects he depicts is in fact distorted, lost in the photographer’s attempt to bring into question their original function and cultural meaning.

Beyond the boundaries of the comfort zone, colorful cardboard pages find room, dragging the viewer into a brand new intriguing environment.

Paul Salveson, Between the Shell.
76 pp., € 47.50.


From December 5th – 8th, the 2013 edition of Art Basel will take place in Miami Beach.
A selection of leading international galleries will present masterpieces by historical and contemporary artists, while a rich program of events will be enlivening the whole city.

Uniquely for this occasion, within the Film section, the United States première “Nan Goldin – I Remember Your Face” (2013) by Sabine Lidl will be screened in the presence of the artist and the movie director, followed by an open discussion with the public.

Nan Goldin – I Remember Your Face
Friday, December 6th 2013 at 8:30 pm, Colony Theatre, 1040 Lincoln Road, Miami Beach
Free admission, limited seating

Art Basel, Miami Beach
December 5th – 8th, 2013

Above: "Nan Goldin. I Remember Your Face" from


“You see me. Personal Identities in the Digital Age”, a project curated by Paul Di Felice and Marinella Paderni, is the theme of Visible White Prize 2014, now open for entries.

The award aims to depict the new tendencies in contemporary, artistic portrait photography in the digital age, where social networks and new technologies have led to an increase of a “do-it-yourself” attitude towards photography as a means of understanding and representation of the self.

Single works or projects can be submitted at
Deadline: February 28th, 2014.


You are still in time to see “Rainbow Variations and Other Works”. The first major exhibition in Europe by Japanese artist Taisuke Koyama has been prolonged until December 28th.

Curated by our editor-in-chief, Selva Barni, and associate editor, Francesco Zanot, the show presents a series of works from the beginning of his carrier to the latest research, and highlights his pondering around the theme of variation and repetition, around the subtle differences between hyperrealism and abstraction.
The show is hosted at Metronom in Modena, the same gallery where they curated the solo show of Dutch artist Ruth Van Beek last May.

Taisuke Koyama, Rainbow Variations and Other Works
Until December 28th, 2013, Metronom, Modena


In Bart Michiels’ The Course of History seemingly quiet landscapes trail echoes and traces
of the bloodiest battles that occurred in Europe from antiquity to Second World War.

Taken from different distances, from vast landscapes to close details, the images of the New York-based Belgian photographer are a poetic, moving attempts to understand and possibly represent such complex spaces.

Above: Waterloo 1815, The Fall of The Imperial Guard, 2001

The tragic histories of these fields, hills and beaches are only revealed in the captions. The details of the event that took place in each site function as epiphanies of life and death as well as of our collective memory.

Above: Austerlitz 1805, Stare Vinohragy III and I, 2010

A closing and generous Selected Readings section quotes a series of significant texts to accompany these beautiful photographs, paving the way to further reflections on the sense and consequences of war.

Above: Monte Cassino 1944, Monastery Hill, 2004

Above:Sebastopol 1855, The Shadow of The Valley of The Shadow of Death I and II, 2008

Above: Monte Cassino 1944, Garigliano I, 2006

Bart Michiels, The Course of History
156 pp., €49.


The 17th edition of Paris Photo just ended. Since 2011 under the direction of Julien Frydman,
the fair saw the participation of 138 international galleries and 28 publishers.
Located in the heart of Paris, the stunning Grand Palais hosted a rich program of unmissable exhibitions and collateral events, confirming the fair’s unquestionable role in presenting a complete overview of the photographic panorama worldwide.

Above:View of Paris Photo

For the third time, beyond the exhibitors animating the ground floor, much room was dedicated to important institutions, such as the Instituto Moreira Salles (Rio de Janeiro), the Art Gallery of Ontario (Toronto) and the Museum Folkwang of Essen, whose collections were included in the “Recent Acquisitions” exhibition. Moreover, a selection of photographic artworks from Harald Falckenberg at Deichtorhallen (Hamburg) was shown in the “Private Collection”.

Above: View of the publishers' booths at Paris Photo

Alongside historical galleries and established authors – displayed were original vintage prints by masters such as August Sander, Alfred Stieglitz, Diane Arbus and Lewis Baltz to name but a few – on the booths’ walls found their place several pieces of young artists of different provenance, whose works highlight the variety of today’s approaches towards the photographic medium.

Above: Ina Jang, Christophe Guye, Zurich

Ina Jang (Seoul, 1982) is a Brooklyn-based photographer. Swiss gallerist Christophe Guye dedicated a large wall of his stand to her work – yet internationally promoted and shown in numerous important galleries, festivals and magazines – arranged as a delicate combination of pastel color photographs with a sprinkle of fashion, graphics and drawing.

Above: Mårten Lange, Robert Morat Galerie, Hamburg/Berlin

According to the landscape tradition, which still takes on a fundamental role in the fair offer, Hamburg and Berlin-based Robert Morat Galerie focused its attention on the ways artists relate to the subject in narrative terms, titling its stand “Biography of the Place”. Beautiful Bertien van Manen, Hans-Christian Schink and Bernard Fuchs’s pieces sustained Mårten Lange’s small-sized black and white photographs of natural elements, part of the 29-year old Swedish photographer’s project Another Language (MACK, 2012).

Above: Rosângela Rennó A01 [COD.] – A27 [S | COD.23] (RR Edições, Rio de Janeiro)

Martin Parr’s noteworthy selection of “protest” photobooks led the publishers’ area, where the most relevant picks of 2013 were shortlisted and exhibited on the occasion of the Aperture Foundation’s annual Prize.
Winner of the Photobook of the Year is Rosângela Rennó with her A01 [COD.] – A27 [S | COD.23] (RR Edições, Rio de Janeiro), while Óscar Monzón’s KARMAS (RVB Books, Paris / Dalphine, Madrid) was assigned the First Photobook Prize.

Above: Collective project Lost Home, Super Labo, Kanagawa

Since the amazingly increasing interest towards photography in book form has led to a packed schedule of signings occurring within the trade show, the presence of a whole team of international photographers around one single table would definitely catch the attention.
This was the case of Lost Home, a collaborative bookwork project organized and promoted by Japan-based independent publisher Super Labo. Ten renowned photographers – Harvey Benge, JH Engström, Roe Ethridge, Takashi Homma, Ron Jude, Daido Moriyama, Christian Patterson, Slavica Perkovic, Bertien van Manen and Terri Weifenbach – were asked to freely respond to a specially commissioned prose poem written by Japanese screen-writer Nobuyuki Ishiki. Collected in a 1000 limited edition box and finely printed, the 11 booklets (ten photobooks and the one containing Nobuyuki’s words) express each of the authors’ own understanding and visual representation of the idea of Lost Home. [Ilaria Speri]


Riccardo Benassi’s site-specific installation Techno Casa involves a cycle of ten black and white video-essays called “Attachments”, created ad hoc for this exhibition. The work interacts and communicates with the architecture of Marsèlleria, conceived as a system of presentation itself. The artist’s stream of thoughts, expressed through a variety of media, focuses on how the use of new technologies – smartphones in particular – completely alters our relationship with the quotidian.

Riccardo Benassi (Cremona, 1982) is an Italian artist, currently based in Berlin. Working with different media – sound, video and installations above all – he focuses his attention on the relation between artwork and space, which is always an integral part of his work.

Riccardo Benassi’s Techno Casa
November 15 – December 5, 2013
Via Paullo 12/A, Milan

Above: "Techno Casa – an introduction to" from © 2011/2013 Riccardo Benassi


Kaufmann Repetto are hosting two unmissable exhibitions in their Milan and New York galleries; the latter just inaugurated on this occasion.

In New York, the space they share with Andrew Kreps, hosts a personal exhibition of Italian artist Pierpaolo Campanini: the first in a series of events that will introduce to the city the Europeans represented by sisters Francesca Kaufmann and Chiara Repetto.

In Milan, Thea Djordjadze’s Oxymoron Grey shares the gallery with Ketuta Alexi-Meskhishvili, here with her first Italian solo show, a project room called Things Are Going Great In My Absence.
Alexi-Meskhishvili was featured with a portfolio in Fantom #2, in winter 2010.

Above:Ketuta Alexi-Meskhishvili, Things Are Going Great In My Absence. © the artist and Kaufmann Repetto.

Pierpaolo Campanini
November 9 - December 21, 2013
535 West 22nd Street, New York

Thea Djordjadze | Ketuta Alexi-Meskhishvili
November 21 2013 - February 1 2014
Via di Porta Tenaglia 7, Milan


The exhibition "Macchine per abitare. Architecture photographs and drawings from the Galleria Civica di Modena" collects around 100 works selected from the Gallery’s archives, including famous 20th Century architects’ drawings, architectural projects – both real and utopian – and images of finished architecture interpreted by photographers from around the world.

Studies of single buildings along with urban visions offer an extensive overview of some of the most important representatives of contemporary architecture.
“Macchine per abitare” is curated by Francesca Mora and Gabriella Roganti, promoted and organized by Galleria civica di Modena and Fondazione Cassa di Risparmio di Modena, with support from the Culture Councillorship of the Emilia-Romagna Regional Council.

Macchine per abitare.Architecture photographs and drawings from the Galleria Civica di Modena (Italy)
November 13, 2013 – January 26, 2014
Galleria Civica di Modena, Modena, Italy

Above: Ico Parisi, Grattacieli, 1986. © Fondo Ico Parisi, Galleria civica di Modena


Coproduced by Fondation Cartier pour l’art contemporain and Museo Amparo in Puebla (Mexico), América Latina 1960–2013 offers a new perspective on Latin American photography, focusing on the relationship between the text and the photographic language.

Sixty-two artists of different provenance – most of them were rarely exhibited in Europe – are gathered for this occasion to show the multiplicity of approaches relating to the medium and allow the viewer to rediscover the history of the continent.

América Latina 1960–2013
November 19, 2013 – April 6, 2014
Fondation Cartier pour l’art contemporain, 75014 Paris

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