Kaugummi is an independent publishing house and a label based in Rennes, France.
They publish and promote artist books, zines nd records since 2005.
They mainly focus on contemporary drawing, photography and psych sounds.
Kaugummi Books
8A allée Pierre Tumoine
35000 Rennes
France
TELL MUM EVERYTHING IS OK #2 “OUTSIDERS”
- Limited edition of 300 ex.
- Hand numbered
Fanzine printed on “Cyclus offset” 140g, a wood-free paper
Type used : ITC Officina Sans et Serif
Format : 143 x 195 mm
Cover : “Natural Evolution” 280g
Extend : 80 pages
The Éditions Frédéric Pierre & Camille Françoise / Éditions FP&CF are an associativ and independant publishing house based in Paris, France.
They publish the fanzine TELL MUM EVERYTHING IS OK and some portfolios of young photographers.
The Editions FP&CF is also a collective identity composed by Claire Schvartz, Maxime Milanesi and all the people who help and participate to the creation of our editorial productions.
“La valeur des villes se mesure au nombre des lieux qu’elles réservent à l’improvisation” Siegfried Kracauer, Rues de Berlin et d’ailleurs, 1964
album japonais Moleskine, 60 pages pliées en accordéon, tirages jet d’encres pigmentaires, tampons d’encre
édition limitée à soixante exemplaires, pour Cheminements 2008 Le paysage comme terrain de jeux, Centre de photographie de Lectoure
Joachim Brohm
Steidl, 2008. 120 pp., 40 color illustrations., 11½x9¾”.
Joachim Brohm’s work demonstrates that there are other kinds of “straight” photography in Germany besides the “Becher school.” The effect of Brohm’s work is comparable to that of the Bechers: he equates reproduction and the autonomous image, realism and abstraction, but his vision is different. While Thomas Ruff, Thomas Struth, or Axel Hutte place classical subjects such as humankind, a landscape, or the city at the center of their work, Brohm’s images seem strangely empty. Their centers seem to have fled; a surface has appeared in front of the camera’s lense that surrounds the actual image. In one image, a high wall obscures a house; one can only see the chimney and the peak of the roof. In another, one can only surmise what can be seen through the holes of a sheet of corrugated iron. Decentralization, the empty center becomes characteristic of Brohm’s work; the dynamic components of the image are pressed to the periphery just as in the paintings of Sam Francis or Clyfford Still.
The coverings – walls, fences, or ceilings – that Brohm photographs stress the two-dimensional character of the photographic image. Sometimes triangles on the edges allow surprising glimpses into the depth of an image, and they prevent one from considering Brohm’s photography as conventional abstract work. Doors and windows also break through the surface. In one of his best works, the structure of a simple rental house’s facade is revealed through its broken stucco. Also, the image is slightly crooked so that the windows are cropped. The special but unspectacular choice of this strange view makes this photograph a rhythmical, appealing representation of muted color.
Brohm also moves the central image around the photograph through the use of strange camera angles. In several works it seems as if the camera had fallen forward off the tripod. Instead of architecture one sees street or grass. And these flat forms are imprinted by structures or signs of the past. For example, tire tracks have created a crucifix in the middle of a golf course. Or storms and damage have left behind traces on walls, signs that appear self-referential in these photographs. The photographed traces become traces on the photographic paper.
Characteristic of Brohm’s work is a dark, cloudy sky that appears white in the photographs. Another photographer would light the image so that the sky would have a gray tone in order to differentiate between image and paper, but Brohm prefers to allow the two to merge. Thus, background and subject are combined and create marked forms beyond the rectangle.
Behind these formal concerns, there lies a political and social content. In a new work – an image of a mosaic with classical decoration – small swastikas actually form the pattern. This is not immediately apparent, but upon closer examination they are evident. This mosaic is still in the entry foyer of the Haus der Kunst in Munich which, in 1937, was dedicated to the city by Adolf Hitler as a National Socialist temple of art.
By: Justin Hoffman & Charles V. Miller, Artforum International, January 1, 1993
(quoted from American Suburb X)
Extrait du film Le Regard du myope, Benjamin Serero, 2009.DR
Le cinéaste Benjamin Serero a réalisé un film intitulé Le regard du myope, consacré au travail du photographe Christophe Bourguedieu qu’il a suivi lors d’un voyage en Finlande. Le document s’applique à décrire la méthode de Christophe Bourguedieu, ou plutôt son absence de méthode, quelque chose comme une manière de quête de la relation. S’agit-il d’un compte-rendu fidèle ou bien d’une mise en scène d’un des photographes les plus secrets de la scène contemporaine ? La projection du film sera suivie d’un entretien avec le réalisateur et Christophe Bourguedieu.
© Christophe Bourguedieu, Tavastia
Christophe Bourguedieu et Benjamin Serero seront invités par Michel Poivert, le mercredi 3 février 2010, à 18h30.
Le cycle d’entretiens proposé par la Société française de photographie aura lieu cette année à l’Université Paris I, Centre Michelet, 3 rue Michelet, 75006 Paris. (Amphithéâtre).
de 18h30 à 20h30, entrée gratuite, sans réservation.
untitled (parterre de pieces coupees I)
100 cm x 125 cm (40” x 50”) lambdaprint on aluminium / diasec face matt, 2004
untitled (parterre de pieces coupees II)
100 cm x 125 cm (40” x 50”) lambdaprint on aluminium / diasec face matt, 2004
untitled (escalier monumental I)
100 cm x 140 cm (40” x 55”) lambdaprint on aluminium / diasec face matt, 2004
untitled (orangerie I)
100 cm x 110 cm (40” x 43”) lambdaprint on aluminium / diasec face matt, 2004
Jardin a la francaise
The formal vocabulary of the Baroque as a stand-in for an idea of history and its connected values. If Andre LeNotre, the architect of the gardens of Vaux le Vicomte and Versailles would present a design for a garden today, he would most certainly do this with form.z or any other 3-D graphic software. Detailed studies of the various elements might look like these pictures. Turned in a perspective, that simulates the point of view of a 3.50 meters tall spectator, isolated, and placed on a beige field of colour, suggesting the sandy ground. Illumination settings on ”diffused”and ”omni’.
Midway
Message from the Gyre
These photographs of albatross chicks were made on Midway Atoll, a tiny stretch of sand and coral near the middle of the North Pacific. The nesting babies are fed bellies-full of plastic by their parents, who soar out over the vast polluted ocean collecting what looks to them like food to bring back to their young. On this diet of human trash, every year tens of thousands of albatross chicks die on Midway from starvation, toxicity, and choking.
To document this phenomenon as faithfully as possible, none of the plastic in any of these photographs was moved, placed, manipulated, arranged, or altered in any way. These images depict the untouched stomach contents of baby birds in one of the world’s most remote marine sanctuaries, more than 2000 miles from the nearest continent.
Chris Jordan, Seattle, October 2009
Romancing the banal in a post-print world
Spread around Paris, Lyon, Barcelona and New York the friends Jeremy Egry (b. 1979), Aurélien Arbet (b. 1985), Marco Barrera (b. 1985) and Nicolas Poillot (b. 1978) get together in JSBJ. These French photographers not only produce their own zines and larger collaborative photographic publications, they also host the portfolio based website where they promote a large number of new and talented photographers.
The Errata Editions Books on Books Series
Errata Editions’ Books on Books series is an on-going publishing project dedicated to making rare and out-of-print photography books accessible to students and photobook enthusiasts. These are not reprints or facsimiles but complete studies of those originals. Each in this series presents the entire content, page for page, of an original master bookwork which, up until now, has been too rare or prohibitively expensive for most to experience. Through a mix of classic and contemporary titles, this series spans the breadth of photographic practice as it has appeared on the printed page and allows further study into the creation and meanings of these great works of art.
Each in the Books on Books series contains; illustrations of every page in the original photobook being featured; a new essay by established writers on photography composed specially for this series; production notes about the creation of the original edition; biography and bibliography information about each artist.
Books on Books #4
Chris Killip: In Flagrante
Essays by John Berger and Sylvia Grant, Gerry Badger, Jeffrey Ladd
Hardcover w/ Dustjacket
80 pp, 9.5 x 7 in.
65 Duotone and 4-color illustrations
ISBN: 978-1-935004-06-6
Chris Killip’s In Flagrante is often cited as the most important photobook to come from England in the 1980s. Published in 1988, In Flagrante describes the communities in Northern England that were devastated by the deindustrialisation common to policies carried out by Thatcher and her predecessors starting in the mid-1970s. Books on Books 4 presents Killip’s political yet lyric work and a new essay by Gerry Badger called Dispatches from a War Zone.
Books on Books #3
Sophie Ristelhueber: Fait
Essays by Marc Mayer, Jeffrey Ladd
Hardcover w/ Dustjacket
96 pp, 9.5 x 7 in.
89 4-color illustrations
ISBN: 978-1-935004-04-2
Sophie Ristelhueber’s Fait, which in French means ‘fact’ or ‘what was done,’ remains one of the most powerful statements about the aftermath of war. In October of 1991, Ristelhueber photographed the battle-scarred landscape of Kuwait following the end of the first Gulf war with Iraq. Books on Books 3 presents all 71 black and white and color photographs as seen in the original artist book as it was conceived and designed by Ristelhueber. Marc Meyer of the Musée d’art contemporain de Montréal contributes an essay that discusses Ristelhueber’s disturbing yet beautiful achievement.
Books on Books #6
Yutaka Takanashi: Toshi-e
Essays by Gerry Badger, Gozo Yoshimasu, Jeffrey Ladd
Hardcover w/ Dustjacket
176 pp, 9.5 x 7 in.
120 Duotone illustrations
ISBN: 978-1-935004-10-3
Yutaka Takanashi’s Toshi-e (Towards the City) is a landmark two-volume set of books from one one of the founders of the avant-garde Japanese magazine Provoke. Published in 1974 and considered the most luxurious of all of the Provoke era publications, its brooding, pessimistic tone describes the state of contemporary life in an unnamed city in Japan undergoing economic and industrial change. Books on Books 6 reproduces all one hundred sixteen black and white photographs that make up the two volumes. Photographer, writer and book historian Gerry Badger, contributes an essay called Image of the City – Yutaka Takanashi’s Toshi-e.
