"Meat" is primarily about Body-Form, deformation, the flesh, the carnal. How all matter decays, transforms itself from one form to another and ultimately disintegrates into ash. Stacks of bone shards and ash, the human remains after cremation, appear like hotel pillows ready for laundry on a factory line in the morning. Biographies exist, momentarily, within slabs of frying flesh like gristle, fat, nerve or bone whilst the landscape looms outside, this endless city, ever present, howling like a beast to chew you up and spit you out disfigured once more, or swallow you up completely once you emerge from this illusory sanctuary.
She spoke to me through gums. When she was born a boy, her German father had already flown back to Europe just like you would close a brothel door.
Her past was a diffusion of buzzing neon lit hospital wards, operating theatres, and red light;
I was surprised to see she had no penis, most of the lady boys I’d been with and photographed had dicks. She’d gone the whole way.
She told me aside from all of the surgery she received and underwent to slowly over the years become a woman, that she’d been in three serious car accidents. It showed.
If you flicked through it all rapidly like you would a full deck of playing cards, the sound would be the same, a sharp shocking snap. Any card you randomly pull out, a slab of meat.
Olivier Pin-Fat. In Bangkok. Outdated medium format colour films, along with 35mm monochrome films of various kinds. Embracing the accidental. The damage. The entropic surge.
His practice is all about the physicality of the materials he uses. Manipulating the films before and after the darkroom, in the end he prints what he feasibly can, what is “given” to him by his process.
As he puts it: “The scratches on the negatives are random, they’re not forced or designed, it’s not artifice, it comes from when I hang wet film and stroke the negatives all the way down in a streak with two fingers to get excess water off for more effective drying after a painfully rigorous developing process for the emulsions.”
Those “broken” photos suit perfectly this ‘Bangkok’ series, a city that according to Pin-Fat “it’s frayed, it’s choked, it’s bestial, it’s repetitive, it’s looped, it’s endless, it’s addictive, you smoke it and it smokes you, it’s an animal trap, it’s compelling chaos, it’s bait, it’s hunter, it’s life and it’s doom, it’s all teeth and jowls – a place to get lost in and in so doing have segments or steaks of meat bitten and torn out of you forever, or if not pieces, then your entirety.”
“The series is a culmination and liquidized assemblage, a collage or layering of all of these processes. It’s not an accident waiting to happen, it’s a gathering of the detritus and a collecting of the remains from a crash that’s already occurred.”
"Meat" consists of 28 signatures printed in 6 different printing techniques: Offset, Silkscreen, Letterpress, Photocopy, Digital printing, Risograph, using 8 different paper stocks.
Each copy of "Meat" will be painfully hand-bound by Void team.
Hand-binding 250 copies of a book this complex will last for several months, and each copy will be unique: dated and signed by the person who produced it.
“Meat” brings together more than 500 Olivier Pin-Fat's photographs, and 2 of his texts: one about the project and context of “Meat”, the other, about his approach to photography.
As an invited artist displaying his very personal view on the project, the book comes with an entr’acte by Brad Feuerhelm: “The Bleach at the End of the Bottle Tastes Just as Nice”
In Olivier’s words: “Brad’s text spins my work on its head, then spins it in the opposite direction simultaneously whilst raising questions about how we look at or read images, what porn is or not, where the fine line between the gratuitous and resonant lies, where placement really is, what is real or isn't, what is art or isn't, what direct and unsentimental representation can mean through the eyes of certain practitioners, what mirrors what (violence, to the negative/material) or vice versa [...] It runs in parallel with my work, although at a tangent, and in the end elevates it. Much of the conversation pieces btw are Brad and i chatting on messenger.”
“We have never been confronted by such images, which are so direct, so devoid of romanticism and yet so sensitive at the same time. pin-fat presents his work in gigantic albums, which refer more to the format of ‘real’ cinema than to documentary, emphasizing the fascinating aspect of his generous as well as disturbing approach.” – Christian Caujolle (1998)
Olivier Pin-Fat was a member of Galerie VU and Agence VU in Paris from 1997–2008. In 2011 he founded ‘AM projects’. He works solely in analogue.
23,5 x 34 cm
Numbered Limited Edition
230 numbered copies + 20 collectors' editions + 5 artists' books
Cloth cover with silkscreen artwork.
2 texts by the artist + an entr'acte by Brad Feuerhelm
"Meat" by Olivier Pin-Fat will be released in SEP '18.
For enquires, write email@example.com
“The Splitting of the Chrysalis and the Slow Unfolding of the Wings” arose from the unforeseen return of the photographer to his homeland.
Isolated in the countryside of an island, he was confronted with his traumatic past, his memories and himself.
Gradually, through wandering in nature, a conceivable field of action was created within him, an intermediate space full of transformative dynamics, a place of becoming.
This book is a visual notebook, constructed through this experience, that attempts to capture the cycle of an internal process of metamorphosis.
17 x 23 cm
Embossed hardcover with silver, black & dry embossing
Also available as a collector's edition box
Edition of 20
Comes in a portfolio with 1 fine art print, signed and numbered by the artist
The Book comes in a black cover version
Buy "The Splitting of the Chrysalis and the Slow Unfolding of the Wings" by Yorgos Yatromanolakis now.
“Luca Desienna’s My Dearest Javanese Concubine is an intense and personal visiont of the lives of two Javanese people - Tira and Dayang. Its blend of intensely personal images, sense of commitment from Luca and a mix of the emotional and documentary hit the spot for me. It’s on the edge of several different things, but somehow Luca’s very passionate and personal commitment keeps it from tipping over.”
Invited by Luca Desienna to create a limited edition of “My Dearest Javanese Concubine” (his book to be released in the Summer of 2018), Void proposes an alternative reading of the project. The Outtakes Limited Edition by Void includes material edited out of the standard edition, showing the background of the project and all those impressive photos that otherwise would not see the light of day.
18,5 x 27 cm
Signed and Numbered Limited Edition of 100 copies
With an exclusive conversation between Michael Ackerman and Luca Desienna
The background of the project is Franz Kafka’s short story "A Hunger Artist"
that tells the story of a starving artist that keeps
his practice with the same (or maybe more) passion
even after the public’s interest diverges to different and new forms of amusement.
"Hunger" is a project in 7 chapters
34 x 50 cm
Edition of 300
Hunger 1 - 40 pages - ISBN: 978-618-83318-4-6
Hunger 2 - 40 pages - ISBN: 978-618-83318-6-0
Hunger 3 - 44 pages - ISBN: 978-618-83318-7-7
Buy "Hunger" now.
Stéphane Charpentier’s photographs manifest conflicted inner worlds; they haunt with the essence of the present time. “The Core”, continues his never-ending analog series.
Scattered within a worn scientific text, the photographs make a poetic parallel between the duality of human souls and nuclear fission. At the heart of a being or the deep center of an atom, energies coalesce, diffuse, or ignite. “The Core” shows visions of characters trapped in an alienating and dystopian environment, and the perception that human activity has overpassed a forbidden or dangerous border.
20 x 26,5 cm
100 numbered copies
Soft cover with silkscreen vegetal paper oversleeve.
Greek texts with English notes
“If there is a task for art it is to represent its time. Art that does not hurt anyone probably does not serve anything.” - This was Attilio Solzi’s answer when told that some situations portrayed in ‘Home Video Diary’ would raise a few eyebrows amongst conservative people.
The straightforward title of Attilio Solzi’s new book might not do justice to its complexity.
The reader only needs to glimpse a few pages of his work before they are flooded with questions. What is happening? What leads these people to such surreal moments? Who are they? Where do these daily life spectacle take place?
Attilio’s way of seeing it is: “Ultimately, life is a comedy played between the drama and the grotesque. Depending on where you were born, one or the other character prevails. Around me, 90% is grotesque. I start from there, but then each "actor" adds their own ideas.”
Fascinated by vernacular photography and family home videos made during holidays and parties, Solzi’s idea was to make low-quality videos that mix the contemporary view of directors such as Ulrich Seidl and the poetics of certain avant-garde photography of the 1970s.
‘Home Video Diary’ is a project that started about 10 years ago. It was a "time-consuming" job over the years that only ended when Attilio’s camcorder broke.
The videos have been shot in the small Italian village where Attilio lived. The people portrayed on those videos aren’t actors or models but his acquaintances, friends and neighbours... People that he knew. People who allowed him to enter into their intimate moments, and who in return were able to enter into Attilio’s peculiar universe.
Who is playing a character? Who is playing themselves? It is hard to figure out where reality ends and fiction begins. The strong bond between artist and the people within the images blurs such definitions. In the words of the artist: “’Video Diary’ is fiction but wants to be truer than the truth. It is a look at daily life where the border between the real and the surreal is not clear.”
‘Home Video Diary’ is definitely a book that raises more questions than answers.
1 Spaghetti Recipe
Text by Achille Filipponi
Language: Italian / English
Designed by João Linneu
From 2005 to 2009 Antoine d’Agata had spent most of his time in Cracolandia, the crack neighborhoods of São Paulo and Salvador. Doubtless the roughest areas of Brazil.
With 169 images and more than 140 unseen photographs, “Cidade de Pedra” is the most comprehensive document about this period. It reveals the brutality and the
intimacy of his experience.
57 Unbound Folds
142 Unseen Images
56 Full colour Offset unbound folds
+ 1 Black and White fold with text in 3 languages:
French, Portuguese and English
Designed by João Linneu
"Cidade de Pedra" was launched at Paris Photo, 11 NOV '16
“Paradise Inn” aims
to highlight the consequences
of this massive and
The word "Paradise" literally means walled enclosure or recreational and entertainment area, probably derived from the Persian word "Pardes" which is attributed to the walled pleasure gardens of the Great King of Persia.
In recent decades, countless of artificial "paradises" were developed around the world and their number still grows faster than ever before. This industry that manufactures an entertainment product of mass consumption meant to satisfy the average man's need for recreational time and fun, is called tourism.
The tourism industry has drastically intruded the land, transforming it into a product while causing several effects with a severe socio-cultural character. Destinations are in danger of losing their original appearance, structure and identity, through a standardization process that aims to satisfy the tourists' wishes. What is not understood though, is that this process doesn't degrade only the final product but mostly affects the local societies which have to survive the low periods relying only on the remnants of a seasonal industry.
“Paradise Inn” aims to highlight the consequences of this massive and uncontrolled tourist development. In Greece, as in Southern Europe in general, these effects are reflected on the constructed landscape mostly through the unregulated and shoddy architecture, the kitsch and folklore decoration, the construction and adoption of artificial elements and entertainment structures, the falsification of identity and cultural heritage, the violation of the natural environment and finally the desolation that occurs after peak season.
As Μ. Proust said, the only true paradise is the paradise we have lost. "Paradise Inn" is a tribute to all the lost paradises, in which millions of ordinary people manage to impose their own selves, the desperate experience that anyone could eventually face: the impairment of our quality of life and aesthetics and the loss of use of the natural space.
Artist book by the Greek photographer Marinos Tsagkarakis.
15 x 21 cm
84 color pages divided into 3 x 28 pages books
With 2 postcards
Edition of 90 + 10 A.P.s