B-side books (Self Produced & Limited Editions)  is an independent editorial project whose philosophy is to be a platform for the self-production and distribution of limited editions and books related to urban mobility and the interpretation of the territory produced and transformed by these movements.
Created by Carlos Albalá & Ignasi López, B-side books explores different and carefully curated ways of materializing the work of artists in the world of printed publication

Carlos Albalá & Ignasi López
210 x 140 mm, 144 pages, 64 fragmented images (composing 8 posters)
CMYK Colour, Softcover, sewn in sight
Publication date: 2010
Edition of 100

Carlos Albalá
300 x 235 mm, 36 pages + covers, 13 colour images
CMYK Colour
Digital high quality printed on cotton paper
Cover: numbered thick cardboard
Publication date: 2011
Signed & numbered. Limited edition by demand at june 30th 2011


Hannah Darabi

Unreal City, 2011
artist book, cardboard, 29×19 cm
Inkjet prints
20 pages
Unreal City is a series of photographs of construction projects in various countries such as, Iran, France, United States, Germany, etc. This series was formed during the trips in order to find something known in new landscapes.Originally from Tehran, I found abroad the opportunity to reactivate the imaginary associated with this city: a construction site.

Playing a contradictory role in the urban scene, constructions constitute both signs of construction and ruin, a silent off-screen of the city, something that is hidden, how the change of a scene is usually hidden in the theatre. Therefore it is important for me to produce an image of a construction as it is, I eliminated the geographical references.  The construction as a degree zero of the architecture, however, an existing multitude of signs subsist them as singular urban forms.

Hannah Darabi

Gabriel Jones

Irhann 09, 2008: 42×49 in / 107×124.5 cm. Ed. 4+2 AP


“Irhann” is a ficticious series of anti-glorious landscapes filled with old remains of what seems to be nuclear missiles and other weapons that failed in exploding and simply crashed on the ground. By way of manipulated photographs and details of authentic footage, photographer, Gabriel Jones does not imply criticism directed toward the politics of a specific country, he rather creates a fictitious visual “scenario” using absurdity to criticize the tragic absurdity of wars. Jones describes an imaginary and elusive country, revealing a surreal perspective of our world by playing with two seemingly similar objects, the nuclear missile, an icon of mass destruction, and the rocket, an icon of scientific research and progress, He uses rockets to create ambiguity. At first glance the viewer has the impression of witnessing a desolate war ara but then realises that these objects are in fact rockets and satellites.

In Jones’ landscapes, the rockets (or parts of them) and at times satellites, rest at indistinct locations, abandoned due to their malfunction and reference playfully a whole register of human emotions between angst and curiosity. Jones adds to the mystique by combining these created images with reframed, rephotographed and silksceened, real life video stills from archives.

Navigating between photography and silk screened video stills, Jones’ work hovers between the imaginary and the hyper real, leaving an arsenal of impressions that transcend time and ultimately loose their threatening effect.

Irhann 02, 2008: 30×35 in / 76×89 cm. Ed. 7+2 AP.

Irhann 08, 2008: 30×35 in / 76×89 cm. Ed 7+2 AP

Irhann View 07, 2008 (silkscreen): 13×19 in / 33×48 cm. Ed 12

Irhann View 05, 2008 (silkscreen): 13×19 in / 33×48 cm. Ed 12

See also The Suburbs series, made for Arcade Fire

Taiyo Onorato & Nico Krebs

The Great Unreal.
Photographs by Taiyo Onorato and Nico Krebs.
Editions Patrick Frey, 2009. 148 pp., Color and black & white illustrations, 9×13″.

With a title that refers to the manipulation and illusion that features in their photographs, the images of Swiss artists Onorato and Krebs also contain a healthy dosage of whimsical humor that helps them explore the American landscape and its peculiar details. Tricks of the eye, accidents of nature, spectacular views, and clever interventions flow through the pages of this image filled book. No text, only full and half-page colour and black and white photographs.

see also article in American Suburb X

Avenue Jenny, Nanterre (2001-)

Cyrille Weiner

C-print, 80×80 cm

C-print, 80×80 cm

C-print, 80×80 cm

C-print, 80×80 cm

C-print, 80×80 cm

Yves Bélorgey

Dalle de Bobigny Magic Cinema 2009, huile sur toile 150 x 150 cm

Depuis une quinzaine d’années, Yves Bélorgey parcourt les banlieues des grandes métropoles, de Marseille à Mexico, en passant par Varsovie ou Istanbul, pour en ramener des peintures et dessins de grand format d’immeubles HLM.
Les représentations de paysages urbains d’Yves Bélorgey, portent un regard critique sur les édifices de l’architecture moderne des années 60. Il les représente dans une frontalité brutale et exhibe l’organisation sociale qui conditionne le système urbain des banlieues. Ces barres d’immeubles sont représentées sur le mode du réalisme sans pour autant chercher à dupliquer la photographie, tout en excluant les préjugés sociaux dont ils sont d’ordinaire affublés. Le regard n’est à la fois ni pessimiste, ni optimiste, parfois imprégné d’une certaine nostalgie.
Les “œuvres” architecturales collectives dont on parle ici sont significatives d’une standardisation. Yves Bélorgey les aborde sur le mode documentaire, selon toutes leurs potentialités comme autant de cas particuliers et les désigne comme les lieux de formation du “corps social”.
Il observe ces immeubles comme les monuments d’un projet social révolu, comme les représentants des ruines d’une certaine époque dont l’ambition –aujourd’hui remise en question- était d’offrir un confort minimum pour tous. Il envisage la peinture comme un enjeu politique et lui donne un sens militant : réaliser des peintures d’immeubles signifie travailler le nombre, la densité et le paysage actuel de la ville ; c’est une façon de faire le pont entre le tableau et l’immeuble, deux œuvres autonomes isolées.

En 2003, Yves Bélorgey réalisait un ensemble de tableaux en hommage à Jean Renaudie, et s’attaquait ainsi pour la première fois aux immeubles d’un architecte « reconnu ». C’est alors l’occasion pour l’artiste de développer de nouveaux éléments picturaux dans sa peinture. Les particularités de ces architectures lui permettent d’intégrer des inserts dans la composition de ses tableaux, faisant ainsi se confronter perspectives fuyantes et vues frontales.
Pour sa seconde exposition à la galerie Xippas, il présente un ensemble de tableaux issus de repérages dans la banlieue de Londres. Les architectures, celles de Alison et Peter Smithson ou Alan Forsyth et Gordon Benson entre autres, ont été choisies pour leur statut comparable à celles de Renaudie, car ayant assimilé la critique de l’architecture rationaliste, en s’attachant à concevoir de nouveaux modes d’habitat.

Rue Parmentier a Montreuil 2009, huile sur toile, 150 x 150 cm
Rue du President Wilson a Montreuil 2010, huile sur toile, 120 x 120 cm
Vue de la rue des Sorins Bagnolet 2008-2009, huile sur toile, 150 x 150 cm
Ashiyahama (3) Kobe 2009-2010, huile sur toile, 105 x 105 cm

Cyrille Weiner

“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

Le ban des utopies, 2007

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)

Jüergen Bergbauer

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’.

Geert Goiris

What I try to seize upon in my work might best be described as traumatic realism, assigning to the word “trauma” its surgical meaning: Of a breaking point, not in the psychological sense of coping with an unresolved past, but as a short transitory glimpse of another reality.
My images refer to familiar fictions.Simultaneously, they register authentic locations. The fusing of fact and fiction is precisely the fracture that I intend to conserve. I try to preserve viewpoints in all their perplexity. The first acquaintance with a place is important: the strong impression that interferes with a number of stored-up but unpronounced images from our collective memory.
Everything I photograph is real, unlikely as it may seem. I don’t manipulate the photographs, but push their insinuating capacities forward by carefully choosing the moment, framing and viewpoint. To me, a picture is successful when the representative and the narrative elements alternate.
For the past five years, I have been working on this series of images to be compiled in a book called Resonance. These shots are a kind of derivate of media-images: cinema, television or other photographs.
The individual works are connected with each other in a cryptic narrative, like a fabricated memory. The series functions as a distant memory, which is not specific. Rather than bringing me back to the places they depict, these pictures remind me of a way of seeing.
I discover all the images “by accident”. Often there is a central motive that points at human presence, but this is not a formula. Somehow I try to install a doubt into the notion of the sublime landscape by imposing an anomaly onto it. Often there is an allusion to catastrophe, a calamity or disaster: some final event to put the materialistic myth of progress in perspective.
These images are mainly set in landscapes, found at the outer reaches of society, touching on the confines of civilization. These places have a face, a particular physiognomy that bears traces of a bygone or human presence.
By bringing together various regions and climates, a mental landscape emerges. The significance of the location shifts from reality to the realm of ideas.
I do not aspire to make a reportage in the sense of imparting something essential about the country or area where the picture was taken. On the contrary, often only minor details such as the relief or the vegetation are left as vague indicators for orientation. The places I visit are obviously of capital importance, because they are all unique. But I choose not to play out the specific. I try to level intrinsic geographical, climatological and sociological qualities into a global mental image, where different worlds seamlessly fuse their various characteristics and externalise a feeling of anxiety, foreboding and fear. Together they demonstrate a detached yet intense association with my surroundings.
I often use extremely long exposure times, allowing the effect of blur to render the specific time frame indistinct. I trade the moment for state of being. Instead of using a camera to cut a slice of time, I use it to gather evidence of duration, without a clear “before” and “after”. In order to undermine the attributed “realism”, I make it evident that this is not a reality: these are images of a reality.

In All due intent, catalogue Manifesta 5, 2004, pp.156-157.

Geert Goiris


Thanks to Maureen Auriol – mentions obligatoires

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