"Through KDB's <collages> and their <short circuit> effect in our ways of seeing, the book intends to explore and deepen the concept of <void> and its <visibility>, proposing a work that's situated at the border of different artistic disciplines, from <photography> to <cinema> to <performance> and to <painting>.
<Photographer without a camera>, KDB collects and re-uses pictures and supports from old magazines and papers, engaging them in a vision that occurs directly in the <hand>, becoming thereby more physical and tactile. KDB gives new meaning and life to what is <residual>, saving the images from destruction and including them in a new narration that combines <intimacy> and <anonymity>. Hers is therefore a work about <memory>, although never by a process of accumulation but by way of <substraction>.
The images are deprived of something that disappears from view but remains perceptible and refers to a kind of entirety. The collage itself is a signal that's <present and resistant>, the <form of an emptiness> that is hence never <absence>.
KDB's work calls to mind the techniques of <photomontage> or <film editing>, using the <cut> as <border> or <frame> that determines what is visible and <essential>. Keeping in mind the collages' highly <cinematographic> content, the book takes therefore inspiration from <Michelangelo Antonioni>'s filmic sensitivity, along with a few suggestions from the arts, that share his <pure, geometric and linear vision>.
Like the Italian director, whose «interest - according to John Berger - is always <beside> the event shown», Avarie has been trying to focus its attention on the <unseen> elements of the collages, such as the cut-out photographs and words from KDB's notebooks or the reverse side of the support papers. In particular, the <off-screen> position of the texts in the book allows to frame the collages <in-between>: the void actually specifies itself as an <interstice>.
KDB's <text-fragments> - <sharp, precise and evocative> as <scripts> - interact with Antonioni's writing which inhabits the book's interstitial spaces: the extracts here inserted derive from what he himself defined as <films I wrote>, series of <unfinished stories> he never found the chance to shoot. Texts therefore, that belong not less to the order of <visualizations of the absent> as they render perfectly perceivable an image that doesn't exist."
Photos of the book : © Pino Musi for Avarie
178 pages - Softcover
Avarie Publishing, 2014
New - Mint condition
This book is no longer in stock
Warning: Last books in stock!
.Sold out. Presentation by Libraryman: "Page after page they undress. Their legs laying down gracefully on a bed, resting for eternity—so it seems. Others are standing up, can you feel the warmth coming out of their skin? It seems they are dancing together from scene to scene. Inviting you to join them. Their naked bodies find refuge between the paint...
I Close My Eyes, Then I Drift Away
.Last copies. Presentation by Libraryman: " The idea for I Close My Eyes, Then I Drift Away by Katrien De Blauwer was founded as a commission for De Blauwer to anatomise archival works of French photographer François Halard into a new and rare narrative. With a seductive and dreamlike state, bordering femininity and masculinity, she lets the observer...
Les photos qu'elle ne montre à personne...
.Copies of the sold out first printing (2nd printing announced). Presentation by Editions Textuel & Rencontres d'Arles: " « A photographer without a camera » revealed to the general public during the 2022 Rencontres d'Arles festival. Whatever you do, don't tell Katrien de Blauwer that she makes collages: « Let's say I'm a photographer without a...
.Last copy.352 pages - Softcover AVARIE Publishing, 2016 Format : 16 x 30 cm New - Mint conditionPublisher's presentation (excerpt) : "From static oblivion aims to deepen, starting from Ion Grigorescu's rich production, the reflection about the status of the image as a balance of forces in tension, as form of what is in continuous movement and as a...
Position(s) is a retrospective and introspective essay on the work of French photographer Antoine d'Agata (Magnum Photos) known for images that are often raw or crude, sometimes pornographic or violent, but always captivating. One way or another these images always provoke strong reactions from the public.124 pages - Softcover Avarie, 2012 New - Mint...