Search results for ""RM Verlag SL""

Graciela Iturbide, the Hasselblad Award-winning Mexican photographer, is renowned for her exceptional career in documentary and artistic photography. With a poetic and profound approach, she skilfully captures the essence of Mexico''s life and culture.Through Alfonso Morales'' compelling narrative, we delve into Graciela Iturbide''s fascination with capturing the lives of the Latino street gang White Fence in Los Angeles'' Eastside. It explores the complexities of this community, offering a powerful reflection on identity and migration.White Fence offers an unparalleled visual journey through Graciela Iturbide''s travels, showcasing unseen images carefully recovered from her archive, accompanied by iconography and documents that will help to better understand its history and broaden our knowledge.On May 2, 1986, images were captured that gave rise to the book A Day in the Life of America. Graciela Iturbide formed part of the team of photographers who, over the course of twenty-four hou

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The photobook titled A little louder by Abdo Shanan on the protests in Algeria is the result of the I Premi Mediterrani Albert Camus Incipiens, organized by the Trobades & Premis Mediterranis Albert Camus of Menorca. This project whose strength of vision is combined with the universality of the revolts against injustice shows the absence of crowds, flags and banners, despite the ever-present determination of the protesters. From an estranged proximity, Abdo Shanan questions and documents in his own way the “hirak”, the peaceful protest movement that has shaken Algeria since February 22, 2019 and that continues with vigor despite the pandemic. The Premi Mediterrani Albert Camus Incipiens wants to highlight emerging trajectories in journalism that resonate with the ethics of the journalist that Albert Camus was.Among the 16 finalist proposals from nine different countries, which included text, photography and illustration, the proposal by the Algerian photographer Abdo Shanan, A Little Louder, struck the jury, made up of Mustapha Benfodil, Sophe Dufau and Juan Valbuena and who deliberated in September of 2020.

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Devil’s Rib tells of the radical but inspiring choice some people make to live in the wildness. Mateusz Kowalik, through a very curated selection of images, takes us to this longed-for territory as well as revealing its flip side. Modern hermits that voluntarily decide to escape the frantic rhythm of their daily urban lives and dwell in nature, with its beauties and difficulties. Mateusz documents, in his native Poland, a world where nothing is taken for granted. Apparently idyllic, the imperfect landscapes and the people we meet succeed in depicting at the same time strength and vulnerability, tension and calmness, with brief texts offering further insight into this alternative lifestyle choice.The natural world and the resilient lives portrayed are in harmony with the values that the Star Photobook Dummy Award wants to celebrate.

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Catálogo gathers photographs of prostitutes that were provided to the select clients of a brothel and shown to artist Miguel Calderon by his uncle when he was thirteen years old, so that he could choose one of them to undergo his “initiation into manhood.” Thirty years later, Calderon has recovered these images and transformed them into part of a narrative which, out of a very specific context and age, he uses to analyze and recount his sexual awakening. But what happens when a child grows into a youth thinking that sex has a monetary value and that making love without paying for it is rather the exception than the norm? The loss of their virginity has always been a rite of initiation that adolescents have to face. In Mexico City in the 1980s the beginning of a youngster’s sexual life was largely conditioned by the social pressures exerted by his classmates. To remain a virgin was synonymous with weakness and mockery; losing one’s virginity became a matter of life and death, generally achieved by a visit to a brothel. The girls in the boy’s life, whether classmates or neighbors, only increased the pressure by insisting that they would not lose their virginity until marriage. The girls themselves were part of a social construct in which it was implicit that the boys would lose their virginity to a prostitute. But the brothels were not charitable organizations: you had to pay. For that there were the grandfathers’ gold pens, the candlesticks, the wallets of absent-minded mothers, and the complete collections of Star Wars.

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In 1952, Cuban-Mexican designer Clara Porset organized Mexico’s first design exhibition, “El arte en la vida diaria. Objetos de buen diseño hechos en México” (Art in daily life - well-designed objects made in Mexico).That show, together with Porset’s ideas, marked a turning point in the trajectory of design in Mexico by aspiring the unification of local traditions and the dream of industrialization. This colourful book surveys the genealogy of artisans, promoters, entrepreneurs and designers who have contributed to the development of Mexican handcrafted designs for the better part of the last seventy years, staking their claims on a hybrid or mestizo form of material culture and furnishing modern life with a locally specific way of producing objects.

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We live in the midst of a photographic renaissance where we have become accustomed to consuming images with the same voracity and delight with those who devour junk food. To withstand the deluge that floods our retinas day after day, we consume them without digesting them properly or we just swallow them. Rarely do we pause to look more closely; To read, appreciate or question an image. Erik Kessels' multivolume In Almost Every Picture has long been a coveted and revered classic of vernacular photography. In Erik Kessels: Image Tsunami the Dutch art director has turned his attention to the abundance of images available for finding on the Internet, shared in their millions on websites like Flickr. In a world where everyone produces and edits photography, where, as Kessels says, "the average kid today gets photographed more than a celebrity of 50 years ago," what does a single image mean, and what is its status in the overwhelming flood of images? In Kessels' words: "Image Tsunami holds an enormous collection of images that I live with, that I remix and edit. It's a representation of the overload of imagery that is in my head. My hope is that the book will inspire others to make their own remixes of these images."

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Since the 1980s, Juan Travnik has been wandering through a ghostly Buenos Aires at dawn recording the blackness of the harsh urban and peripheral landscapes, empty of any human presence. Over the years, colour has become increasingly important. The moribund shades of his chromatic repertoire transmit his despondency in the face of the crisis that Argentina is currently going through. Everywhere, the changes to the walls and sidewalks, the splashes and stains here and there, the rust, the cracks and holes, the accumulation of plaster all transude a sombre anguish, bathing the city in a dismal light.

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Fashion photography occupies an unknown place, although of great importance, in Antoni Miralda's career.This book allows us to understand how influential his work was at that time. After settling in Paris, the artist began to collaborate regularly with ELLE magazine between 1964 and 1971, working on contemporary seasonal collections linked to the art world.Among the many reports carried out by Miralda for ELLE magazine there is one that stands out for the notoriety of the model who stars in it, the iconic Twiggy. Most images at the time showed models in studios, while Miralda took these models out into the street, into an uncodified and unpredictable space, requiring from the photographer and the team a decision-making process that was never entirely aprioristic. Faced with the Grand Paris of Haussmann or the Paris of museums and imposing cathedrals, Miralda prefers the blind points of historicist urbanism; popular, uncliched places with a great human density. No-Flash Fashion, with its contemporary design and its references to fashion magazines and archives, presents for the first time a detailed view of the undiscovered work of one of the most versatile and iconic artists of the twentieth century.

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