Blue Mud Swamp       Filipe Casaca

Blue Mud Swamp by Filipe Casaca
Pente 10 Gallery & Filipe Casaca, 2012

31,4×23,7cm
56 p. + 8 p. (26 Color Images)
Velvetbound Hardcover
Booklet with text by Mingyu Wu
Normal Edition – 270 Copies (SIGNED)
Special Edition – 30 Copies (SIGNED) with Print (20x30cm Inkjet Print)

‘Come and see’
And I looked, and behold the pale horse,
and he that sat on him was dead.

The shoreline, hot and humid, is a postcard that attracts and invites Men to settle where the land meets the Yellow Sea. However, the reality is dissonant. Although surrounded by natural beauty, beaches and entertainment facilities, the city and its urban spaces transmits, as a whole, a feeling of artificiality. In some cases the abundance created a certain degradation and abandonment. With a splendor that takes us back to a recent past, a certain melancholy is present, as happens with all that was new, colorful and perfect but perished with time. Dalian; China.

http://filipecasaca.com/books/blue-mud-swamp#/i/0

A Partial Eclipse | Martin Boyce


A Partial Eclipse
Martin Boyce

60 pages | 25 colour plates
21 cm x 32 cm
Tipped-in image on embossed hardcover
MACK, 2013

 

Martin Boyce is known for his large installation work in sculpture, creating angular replications of the world around him, finding meaning in everyday surroundings and working steel structures into amplifications of these moments in space and time.

“It’s all about landscape, I’m interested in the psychological landscape, the physical landscape, the built environment, the things we pass through everyday and then occasionally catch a glimpse of and maybe see something that has a meaningful resonance.”

A Partial Eclipse brings together photographs from an on-going private library of images which feeds into Boyce’s work. The images adopt a sombre and darkened palette, as if the light has been stolen from each photograph creating the illusion of a mythical perma-dusk allowing us to see the world as Boyce sees it. Images of trees and foliage permeate the collection, ellipses and perforations reoccur, patterns of cracks, fractures and spider webs repeat and thresholds appear in the form of windows and doorways

http://www.mackbooks.co.uk/books/60-A-Partial-Eclipse.html

Casa de Campo | Antonio M. Xoubanova


Casa de Campo
Antonio M. Xoubanova

144 pages | 72 colour plates
15 cm x 21 cm
Printed and embossed linen hardcover
MACK, 2013

 

“Someone was here, somebody did this. Stuff happens here.”

Casa de Campo is a photographic fable rooted firmly in the realities of Madrid’s largest public park. Casa de Campo sprawls, five times the size of Central Park, to the west of Madrid. Between 2008 and 2012 Antonio M. Xoubanova wandered the paths of this urban woodland examining the people, animals and objects he saw as if he was on uncommon ground. Inadvertently he found himself transforming a given reality into narrative fiction.

Designed as an ancient fairy tale, the book is made up of five chapters referring respectively to love, death, fleeting moments, symbols and a lack of direction. It examines both the symbolic and the oneiric through the gathering together of people, animals, animate and inanimate beings within this single space. In his text Luis Lopez posits that for any researcher, archaeologist, intruder or anthropologist their findings will always be the same: someone was here, somebody did this. Stuff happens here.

http://www.mackbooks.co.uk/books/58-Casa-de-Campo.html

Paintings | Anj Smith


Paintings
Anj Smith

104 pages | 40 colour plates
24 cm x 33 cm
Printed paper hardcover with UV varnish highlight
MACK, 2013

 

The eerie, luminous, compact portraits and landscapes of London-based artist Anj Smith are exercises in extravagant meticulousness. The magic of her laboriously depicted figures and motifs, however, derives in large part from the contrast Smith creates in surrounding areas of loamy, thickly applied impasto. This formal incongruence – between the intricate and the inchoate, between a jewel-like glow and rough scratchings, between filigree and mire – is crucial to Smith’s work. It suggests that she seeks to navigate a murky psychological space far beyond the reach of her virtuosic single-bristle brush. In her world, certainty is just a vestige of the past, with everything today existing in a fragile, constantly shifting instability.

http://www.mackbooks.co.uk/books/59-Paintings.html

The Candidate | António Júlio Duarte


The Candidate
António Júlio Duarte

20 pp | colour
37 cm x 30 cm
Ghost, 2012

 

Macau was the last remaining European colony in China when the Portuguese transferred back the Sovereignty over Macau to China on the 20th of December 1999. The government in Macau is now headed by a chief executive, who is appointed by the People’s Republic of China’s central government after selection by an election committee, whose members are nominated by local corporate bodies.
In June 2009 Fernando Chui Sai On declared himself the sole candidate for Macau’s chief executive election. He was nominated by 286 members of the 300-member election committee, most with direct ties to Beijing. On election day, the 26th of July 2009, 282 committee members voted for Chui (14 blank, 4 abstention).

António Júlio Duarte followed Fernando Chui Sai On when he was leading his campaign in the streets of Macau in July 2009.

http://www.ghost.pt/crbst_7.html

Kodachrome | Luigi Ghirri


Kodachrome
Luigi Ghirri

104 pages | 92 colour plates
20.2 cm x 27 cm
Paperback with booklet insert
MACK, 2012

 

In 1978 Luigi Ghirri self-published his first book, an avant-garde manifesto for the medium of photography and a landmark in his own remarkable oeuvre. Kodachrome has long been out of print and on the 20th anniversary of Ghirri’s death, MACK is proud to publish the second edition.

Part amateur photo-album, Ghirri presents his surroundings in tightly cropped images, making photographs of photographs and recording the Italian landscape through it’s adverts, postcards, potted plants, walls, windows, and people. His work is deadpan, reflecting a dry wit, and is a continuous engagement with the subject of reality and of landscape as a snapshot of our interaction with the world.

http://www.mackbooks.co.uk/books/44-Kodachrome.html

NYLPT | Jason Evans


NYLPT
Jason Evans

160 pages | 80 duotone plates
29.5 cm x 24 cm
MACK, 2012

 

The images in NYLPT are drawn from one body of work, collected in New York, London, Paris and Tokyo, presented in discrete digital and analogue forms. Jason Evans is preoccupied with the tradition of street photography as an aesthetically colonized form, with precedents resilient to re-interpretation; he says, “Sometimes you visit a place and it looks exactly as you expected it to. Like it does in pictures or on TV or at the movies. It’s like a feeling of nostalgia for something you’ve never known.”

NYLPT is a result of Evans’s compulsive visual collecting alongside an informed and intuitive focus that frames reoccurring motifs in a process-driven work. Evans invests in chance, luck and persistence, randomly layering exposures on film in camera; what emerges are delightful surprises – the reward for not thinking too much – and a visual thinking matter that is both familiar and strange.

http://www.mackbooks.co.uk/books/47-NYLPT.html

Bad Liver and a Broken Heart | São Trindade

Bad Liver and a Broken Heart
São Trindade

28 unbound pages | Riso
27 cm x 20 cm
Ghost, 2012

 

The origin of this work of self-fiction can be found in one of São Trindade’s sketchbooks, this one entirely devoted to the subject of loss or decadence. With references to the aesthetics of crime scenes and nightlife photographed by Weegee in New York in the 1930 and 1940’s, the device is simple: in a “real décor,” São Trindade’s body, abandonned and unconscious, is photographed. The body is always the same but differently ‘prepared’ and ‘composed’ with new dresses, new gestures, new signs of a recent activity or a different personality. Each image has its particular story and each space is a sounding board for each of these performative states of body.

‘Bad Liver and a Broken Heart’ is the first book of the Portuguese visual artist São Trindade (1960).

http://www.ghost.pt/crbst_6.html

The River Winter | Jem Southam


The River Winter
Jem Southam

96 pages | 40 colour plates
33 cm x 27.7 cm
Embossed hardcover
MACK, 2012

 

“Winters, like ice ages, are Janus faced, for after the freeze comes thaw and flood, as water is returned to life and movement. Freeze, thaw, flood: the great climatic cycles that created the topography of the northern hemisphere, and which continue to shape the idea of winter that lies deep in our cultural imagination.”
Richard Hamblyn

In November 2010, after a photographic lull of half a year, Jem Southam took a photograph which became the first in this series, The River Winter and which spurred him to make one of the most concentrated bodies of work in his career. From late autumn through to the earliest signs of spring, along the banks of the river Exe in Devon, Southam chose locations and took photographs, returning at regular intervals. This pattern continued for the next five months with Southam documenting the subtle agencies of change transforming the landscape. By the end of January 2011 he realized this had become a new work, one that caught the effects of the Earth’s turn on film, one which followed the passage of a single winter.

http://www.mackbooks.co.uk/books/48-The-River-Winter.html

Rodeo Drive, 1984 | Anthony Hernandez


Rodeo Drive, 1984
Anthony Hernandez

96 pages | 41 colour plates
30 cm x 30 cm
Clothbound hardcover with tipped-in image
MACK, 2012

 

Rodeo Drive, 1984 is a series of 41 images of shoppers on Beverly Hills’ infamous shopping highway. The subjects appear caught unaware, glancing up as they walk, or daydreaming as they wait to be served in its commercial landscape of shops and restaurants. Anthony Hernandez poses as a dispassionate observer, recording the big hair, wide shoulders and cinched waists of the 1980’s in sunlit photographs.

Hernandez does not simply document the urban experience, but reveals in his images the complexity of social spaces, implying economic disparity and racial divide. Layers of socio-economic tension are exposed on a street in an overt symbol of civic success; as Lewis Baltz observes, “these are the victors…enjoying the spoils of their victory on Rodeo Drive”.

http://www.mackbooks.co.uk/books/46-Rodeo-Drive-1984.html