A book by Olivier Pin-Fat,
Painfully handcrafted & published by Void.
‘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 Outdated medium format colour films, along with 35mm monochrome films of various kinds.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.”
MEAT Comes in 3 different editions:
230 copies of the handmade edition.
20 collector’s edition copies containing 20 different handmade darkroom prints, printed, numbered and signed by the artist.
5 one-of-a-kind artist’s book handmade by Olivier Pin-Fat.
“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
Buy ‘Meat’ by Olivier Pin-Fat now.
Read more about ‘Meat’ in:
Photobookstore Magazine – Best Photobooks of 2018: Brad Feuerhelm
American Suburb X – Photobooks 2018: A Conversation + with Gabriela Cendoya-Bergareche
Favorite Photobooks of 2018 – Cat Lachowskyj
Shortlisted – Prix du Livre d’Auteur 2019 – Les Rencontres Arles
Download ‘Meat’ presentation PDF.
Olivier Pin-Fat is also featured in ‘Hunger 3’.