Steven Kasher Gallery inaugurates a new exhibition space in New York with a solo exhibition of Paul Kooiker, previewing his upcoming major retrospective at the Fotomuseum in The Hague, which will open in October. Eleven large-scale color nudes from the artist’s recent project ‘Sunday’ will be presented, together with pieces from the series ‘Hunting and Fishing’ and a unique installation of images from ‘Room Service’.

Paul Kooiker (Rotterdam, 1964) was previously featured on Fantom Issue 02, Winter 2010.

Paul Kooiker
Opening: Thursday, September 11th, from 6 to 8 pm
From September 12th to October 25th, 2014
Steven Kasher Gallery
515 West 26th Street, New York
Above: Paul Kooiker, Sunday #1, 2011. Courtesy Steven Kasher Gallery.


Alex Webb and Rebecca Norris Webb, “Alex Webb and Rebecca Norris Webb on Street Photography and the Poetic Image”

This is the first release (together with Larry Fink’s) of the new Photography Workshop Series edited by Aperture. The series features a selection of the world’s most renowned photographers, who were asked to share their approaches, techniques and insights on photography for the purpose of recreating the workshop experience in a book.

Internationally acclaimed for their color photographs, Alex Webb and Rebecca Norris offer their experience and thoughts on seeing and being in the world with a camera. Presenting both their own images and others’, they invite the readers to reflect upon a wide range of practical and philosophical issues, drawing some guidelines to carry out a both structured and intuitive body of work.

Alex Webb (b. San Francisco, 1952), member of Magnum Photos since 1979, is best known for his acclaimed colorful documentation of Latin America and the Caribbean. Rebecca Norris Webb (b. Rushville, Indiana, 1956) is a former poet. She published four books of her photographic work, which mainly focuses on the relationship between people and nature.

Rob Hornstra and Arnold van Bruggen, “The Sochi Project: An Atlas of War and Tourism in the Caucasus”

‘The Sochi Project’ was born in 2007 from the will of Rob Hornstra and Arnold Van Bruggen’s to tell the story of the city of Sochi, Russia, site of the controversial Winter Olympic Games that took place earlier this year. The city is located on the border of the conflict zone Abkhazia and, across the Caucasus Mountains, the poor republics of North Ossetia and Chechnya.

The city is today unrecognizable, but long before it received the international media attention, the authors travelled repeatedly to the region. Here, they carried out a solid research and documentation in order to depict the relationship between the complex reality of the place and the glamorous event represented by the Olympics, the most expensive in history.

Rob Hornstra and Arnold Van Bruggen, born in the Netherlands, respectively work as documentary photographer and as writer and filmmaker, both of them embracing the methods of slow journalism. The Sochi Project: An Atlas of War and Tourism in the Caucasus is the first comprehensive publication dedicated to the project, which can be explored online at

Nan Goldin, “The Ballad of Sexual Dependency”

First published by Aperture in 1986, Nan Goldin’s groundbreaking publication The Ballad of Sexual Dependency – now considered as a contemporary classic – was given new life in a fresh paperback edition with new scans from the original transparencies. Originally presented as a slide projection, this body of work offers an intimate visual portrait of the photographer and her tribe’s – as Goldin defines it – unrestrained urban lifestyle in the 70’s and 80’s, marked by the young protagonists’ insatiable quest for intimacy and understanding with friends, family, lovers.

The photographs were taken between London, Berlin, Provincetown (Massachusetts) and New York, where she’d lived since 1978. While revealing an intense, often dramatic personal odyssey, Goldin’s color, visceral photographs are also capable to raise issues of wider relevance, such as the communication between men and women and an endless struggle between autonomy and dependency.

Nan Goldin was born in Washington D.C. in 1953 and currently lives between Berlin, Paris and New York. Thanks to The Ballad of Sexual Dependency, her first book, she gained the international interest that followed over the years of her career, along with prestigious prices and acknowledgments.

Alex Webb and Rebecca Norris Webb, Alex Webb and Rebecca Norris Webb on Street Photography and the Photographic Image
128 pp., 29.95 $

Rob Hornstra and Arnold van Bruggen, The Sochi Project: an Atlas of War and Tourism in the Caucasus
512 pp., 80.00 $

Nan Goldin, The Ballad of Sexual Dependency
148 pp., 35.00 $

Above: From The Photography Workshop Series: Alex Webb and Rebecca Norris Webb on Street Photography and the Poetic Image (Aperture, 2014); Rebecca Norris Webb, Blackbirds, 2005-11 © Rebecca Norris Webb; Alex Webb, Tehuantepec, Mexico, 1985. © Alex Webb.

From The Sochi Project: An Atlas of War and Tourism in the Caucasus (Aperture/The Sochi Project, 2013), photographs by Rob Hornstra,
texts by Arnold van Bruggen. The Beach, Adler, Sochi region, Russia, 2011; The Ballroom, Pitsunda, Abkhazia, 2010. © Rob Hornstra / Courtesy Flatland Gallery.

From The Ballad of Sexual Dependency, Photographs by Nan Goldin (Aperture 2012). C.Z. and Max on the beach, Truro, Mass. 1976, The Hug, New York City 1980. © Nan Goldin.


Andy Sewell, “Something like a nest”

Sewell’s new book, now available for pre-order, consists of beautiful landscapes, domestic interiors and still-lives that make up a delicate portrayal of today’s English countryside.
The artist explores how our idea of this land, and the pastoral symbolism related to it, intersects with contemporary culture. Sewell goes beyond the clichés in order to create a visual experience in which the noise of contemporary life melts into bucolic conventions and habits.

Andy Sewell, born in 1978, lives and works in London. He received international acclaim for his first publication “The Heath” (winner of the International Photobook Award in 2012), a beautiful wander around the Hampstead Heath Park in London.

Andy Sewell, Something Like a Nest
108 pp., 35.00 £ (pre-order price)

Above: © Andy Sewell 2014


Luca Panaro’s latest publication “Casualità e controllo. Fotografia, video e web” deals with the loss of control on the image that has marked the visual arts – and contemporary culture in general – since the advent of digital technologies.

Particularly focusing on photography, video and web, Panaro retraces the insights of theorists, writers and film directors of the past – Susan Sontag, Walter Benjamin, Vilém Flusser, Luigi Pirandello, Italo Calvino, Buster Keaton and Michelangelo Antonioni to name a few – in order to highlight the role of the machine in a historical perspective and relate it to the contemporary art world.
Across Andy Warhol, Philippe Parreno and Franco Vaccari’s experiences, the 9/11 attacks seen from Wolfgang Stahele’s installation in a gallery in New York, up to web-based works by Carlo Zanni and Roberto Cuoghi, the author reflects on the unpredictability of the image and the artwork.

Luca Panaro (b. Florence, 1975) is an Italian art critic, curator and photography professor.

Luca Panaro, Casualità e controllo. Fotografia, video e web
54 pp., 9.90 €

Above: Michelangelo Antonioni, “Blow Up” (1966)


The collective exhibition “Phantoms in the Dirt”, hosted at MoCP in Chicago, gathers sixteen artists whose works focus on the mutability of the photographic imagery in relation to the (often invisible) forces that leave their mark on our surroundings: enigmatic remnants and traces, cryptic objects, rugged landscapes altered by human activities.

Guest curated by Karsten Lund and presented in collaboration with the Contemporary Arts Council, the show features pieces by Jeremy Bolen, Matthew Brandt, Shannon Ebner, Assaf Evron, Anya Gallaccio, Jay Heikes, Joachim Koester, Harold Mendez, Richard Mosse, Eileen Mueller, Arthur Ou, Alison Rossiter, Adam Schreiber, Daniel Shea, Greg Stimac and Shane Ward. In addition to the photographs, the exhibition includes sculptures, a 16mm film and a site-specific installation.

Phantoms in the Dirt
Until October 5th, 2014
MoCP – Museum of Contemporary Photography
Columbia College Chicago
600 South Michigan Avenue, Chicago

Above: Matthew Brandt, Grays Lake, ID 7, 2013, courtesy Yossi Milo Gallery, New York.


Hans J. Wegner, "Just One Good Chair"

In order to celebrate the one-hundredth birthday of Danish designer Hans J. Wegner (1914–2007), Hatje Cantz dedicates the monograph Just One Good Chair to his groundbreaking career, identified with the production of an unrivalled number of chairs. Trained as a furniture maker, Wegner was capable to push the technical limitations of wood by always giving prominence to elegance and irony.

Considered to be one of the leading figures of the past century’s furniture design, Hans J. Wegner gave shape to about 500 chairs, some of them now recognized as classics, such as the Round Chair (now simply The Chair, 1949), the China Chair (1943) and the Flag Line Chair (1950).

Marcel Dzama, “Puppets, Pawns, and Prophets”

The book Puppets, Pawns, and Prophets illustrates Marcel Dzama’s solo exhibition at David Zwirner Gallery in London. The artist’s eclectic puppets and masks, a peculiar subject matter that originates from Dadaism and Marcel Duchamp’s influences above all, are presented here in form of drawings, collages, sculptures, dioramas, paintings and video stills.

Best known for his prolific drawings, Dzama recently expanded his production to three-dimensional works. The artist freely makes use of the gallery architecture by filling it with fantastic objects, hanging puppets, as well as monitors placed on the windows so that his two videos, inspired by the game of chess, could be seen from the street.

Hans J. Wegner, Just One Good Chair
256 pp., € 49.80

Marcel Dzama, Puppets, Pawns, and Prophets
184 pp., € 35.00

Above: Hans J. Wegner, Flag Line Chair (1950). All images © Hatje Cantz


Vivian Sassen’s exhibition “In and Out of Fashion”, currently on show at the Fotografie Forum Frankfurt, focuses on the fashion work the Dutch photographer has developed in the past 18 years, alongside her acclaimed artistic career. The presented images – more than 300 pieces between past classics, new work and a site-specific installation – are marked by her distinguished innovative strength and surrealistic feel. A catalogue published by Prestel accompanies the exhibition.

Viviane Sassen was born in 1972 in Amsterdam, where she lives and works. Her photographs have been included in several major collectives such as The Encyclopedic Palace at the 55th Venice Biennale (2013). She was awarded the prestigious International Center of Photography Infinity Award for Applied/Fashion/Advertising Photography in 2011.

Viviane Sassen, In and Out of Fashion
Until August 17th, 2014
Fotografie Forum Frankfurt
Braubachstraße 30-32, Frankfurt am Main

Catalogue: 296 pp., 60.00 $
Prestel Verlag

Above:© Viviane Sassen, from the “Sol & Luna” series


Hosted at Andrea Rosen Gallery in New York, the exhibition “Back Grounds: Impressions Photographiques (2)” traces a history of conceptual, process-based photography ranging from the early experimentations of the 19th century to the contemporary era.

The show, organized with Olivier Renaud-Clément, produces an intimate dialogue between artists Liz Deschenes (Fantom 02, Winter 2010) , Martin d’Orgeval, Gaylen Gerber, Chargesheimer, Sherrie Levine, Baron Adolphe Humbert de Molard, Alfred Stieglitz and James Welling (Fantom 08, Autumn 2011).

Back Grounds: Impressions Photographiques (2)
Until August 8th, 2014 - Update: now extended through Friday, August 15th
Andrea Rosen Gallery
525 West 24th Street, New York

Above: Adolphe Humbert de Molard, Untitled, 1848. © Lance Brewer, courtesy Andrea Rosen Gallery, New York.


Roe Ethridge, “Sacrifice Your Body”

The author’s narrative – largely inspired by David Lynch’s approach to film-making and pertaining to the “new school of synthetic photography” – aims to undermine the veracity, morality and ingrained materiality of American life through a clash of visual styles, histories and meanings.

Roe Ethridge was born in 1969 in Miami and is currently based in New York. His work has been extensively exhibited worldwide. He was shortlisted for the prestigious Deutsche Börse Photography Prize in 2011.

Guido Guidi, “Veramente”

Retracing the distinctive 40-year career of Italian photographer Guido Guidi’s, “Veramente” gathers excerpts of his entire oeuvre spanning from 1959 to the present. Pioneer of Italian landscape photography, Guidi’s body of images highlights the importance of the medium as a process and experience of understanding, and carries out a visual discourse upon the meaning of seeing itself.

The publication accompanies an eponymous touring exhibition that took place at the Fondation Henri Cartier-Bresson in Paris, at the Huis Marseille Museum voor Fotografie in Amsterdam, and will be on show at the Museo d’Arte della Città, Ravenna, in October 2014.

Guido Guidi was born in Cesena, Italy, in 1941, where he still lives and works. He teaches at IUAV, where he studied architecture himself. Veramente is his second book published by MACK, after “Preganziol, 1983” (2013).

Roe Ethridge, Sacrifice Your Body
128 pp., € 45.00

Guido Guidi, Veramente
172 pp., € 45.00

Above: all images © Roe Ethridge and Guido Guidi, courtesy MACK.


Shomei Tomatsu, “Chewing Gum and Chocolate”

“Chewing Gum and Chocolate” is the first comprehensive publication dedicated to the portrayal of postwar Japan that Shomei Tomatsu begun producing in the late 1950s. Starting from the devastating consequences of the atomic bomb in Nagasaki, his photographic documentation provides a profound description of the impacts of the American occupation that followed.
The title refers to the handouts that foreign soldiers used to offer the Japanese children, in a moment where nutrition was already a major issue: sugary and addictive candies, but lacking any nutritional value.

Shomei Tomatsu (1930–2012), who played a central role in postwar Japanese photography, took part to the groundbreaking ‘New Japanese Photography’ exhibition at MoMA in 1974. In 2011, the Nagoya City Art Museum dedicated a major retrospective to his work. He received prestigious prizes during the course of his career, among which the 1999 Japan Art Grand Prix.

Andrea Ferrari, “The pictures included in this envelope”

Andrea Ferrari’s intriguing publication “The pictures included in this envelope” collects a series of objects, photographs and memorabilia found in the house of Giulia Carrobbio’s, a mysterious Milanese chemist.
Enigmatic cases and envelopes, marked by their owner’s notes and traces, invite the reader to go over the pages with a fine toothcomb, hunting the material and sensorial qualities of the represented objects in quest of their hidden meanings.

Andrea Ferrari (b. 1970) lives and works in Milan, where he graduated in philosophy. This project was shortlisted for the European Publishers Award and for the Kassel Dummy Award in 2013.

Johan Nieuwenhuize, “IMG_”

‘The city’ plays the role of the protagonist in Johan Nieuwenhuize’s ongoing project “IMG_”. Taken during several trips to Europe and USA, the abstract and semi-abstract photographs collected in this book depict fragments of technological structures, buildings, cars, reflections. The deconstruction of well-known elements of the everyday life wants to trigger the readers’ visual limitations, allowing them to associate the images freely in search of new, unexpected interpretations.

Johan Nieuwenhuize (b. 1980) is a Dutch artist and curator, based in The Hague. Founder and director of Platform57, his work has been presented on various magazines and exhibitions in Holland and abroad.

Shomei Tomatsu, Chewing Gum and Chocolate
224 pp., € 49.90

Andrea Ferrari, The pictures included in this envelope
106 pp., € 48.00

Johan Nieuwenhuize, IMG_
114 pp., € 35.00

Above: all images © Kehrer Verlag Heidelberg Berlin


Jules Spinatsch, “Snow Management Complex”

The beautiful monograph “Snow Management Complex” presents Jules Spinatch’s 12 years of in-depth exploration of the Swiss Alps, a long-term research that mainly focuses on the winter sports industry and its impact on the mountainscape. Divided into seven chapters, the book, skillfully conceived and designed, offers a broad variety of representations of this sublime context, from the preparation of ski slopes at night and medical still lifes up to the author’s collection of historical postcards of the Alps.

Awarded the international BMW Prize at Paris Photo in 2004 for this project, Spinatsch has been shown in many notable institutions, among which The Museum of Modern Art (NY), Tate Modern (London) and SFMoMA (San Francisco).

Walead Beshty, “Natural Histories”

Presenting a 10-year comprehensive overview of Walead Beshty’s production, the new extended edition of the reference monograph “Natural Histories”, previously published in 2011, intends to depict the artist’s varied approaches towards photographic and sculptural representation.
Beshty’s research is primarily centered on the concept of the ‘in-between’ in its multiple forms, be it depopulated modern housing developments pending demolition, plants contained within isolated highways or abandoned shopping malls. In the most recent works, daily activities such as air travelling or the shipment of a package appoint the in-between as a means of production itself.

Walead Beshty (London, 1976) is based in Los Angeles. His work – yet represented in important public collections such as The Hammer Museum in LA and The Guggenheim Museum in New York – has been exhibited in numerous galleries and institutions around the world.

Jules Spinatsch, Snow Management Complex
252 pp., € 54.00

Walead Beshty, Natural Histories
192 pp., € 40.00

Above: all images © Walead Beshty, Jules Spinatsch and JRP|Ringier


Erik Schubert’s first publication “How to Win Friends and Influence People” grows out of American writer Dale Carnegie’s classic book of the same name, dealing with the pursuit of success and happiness in life.

Photographs of lonely interiors, defective products, infomercial sets, exhibitions ephemera and nevertheless the family home underlie the author’s exploration on how our appetite for success shapes our visual world.

Schubert makes use of dark humor and subtle irony to portrait the inconsistency of a world built on reputation and charisma, at the edges of catastrophe.

Erik Schubert was born in 1980 in Nebraska. Graduated at Massachusetts College of Art (BFA) and Design and Columbia College (MFA), he currently teaches at University of Colorado. His work has been shown in several exhibitions throughout the USA.

Erik Schubert, How to Win Friends and Influence People
88 pp., $ 45.00.

Above: all images © Erik Schubert and Lavalette, 2013


The exhibition “Somos Libres II” – the titles refers to the Peruvian national anthem – presents a selection of works from Mario Testino’s contemporary art private collection, curated by Neville Wakefield. Focusing on the tension between photography and abstract painting, the exhibition includes works by Tauba Auerbach, Richard Avedon, Cecil Beaton, Andy Warhol and many others.

Curated by the students of IULM under the coordination of Vincenzo Trione, Anna Luigia De Simone and Veronica Gaia di Orio’s, the exhibition aims to explore the atelier as the self-representative environment where both the creative processes and the artist’s personal life take place.
The exhibited works include a homage to Michelangelo Buonarroti’s sculpture – one of the author’s dearest themes – photographs of happenings and performances, and a number of portraits depicting the relationship between artists and their finished art work.

Somos Libres II. Works from the Mario Testino Collection
Until September 14th, 2014
Pinacoteca Giovanni e Marella Agnelli
Lingotto - via Nizza 230/103, Turin

Above: Anne Collier, Photography (2009). Courtesy Corvi-Mora, London; Anton Kern Gallery, New York; Marc Foxx, Los Angeles.


“Il rosa non è un colore” is the first short movie by creative director and photographer Marc Gourmelet, result of a journey with a single camera, a tripod, a lens and a story to tell.
Shot on a mesmerizing and unidentified Italian landscape, the film pivots on the presence of a color: Pink.
The story within the movie is disclosed in a slow, quiet succession of moving images, words and long silences.

The project, presented by the independent publisher Sunday, was displayed for the first time at the festival Fotografia Europea 2014 in Reggio Emilia.

Marc Gourmelet, self-taught photographer since the 1980s, is a creative director for luxury fashion brands and a photography collector. He lives and works in Milan.


“The Rendering Eye: Urban America Revisited”, a book project by Swiss historians Regula Bochsler and Philipp Sarasin published by Edition Patrick Frey, offers a striking overview of American cityscapes where deserted streets, buildings and industrial sites impressively recall a post-apocalyptic imaginary.

The many screenshots contained in the book – a selection of the respective ongoing web project – were extracted from the 3D Flyover function of Apple Maps, which is based on vector graphics and algorithms that continually generate new images. As a result of ceaseless calculations and technological innovation, an uncommon but familiar depiction of America’s major cities takes shape. Devoid of the human presence, the depicted buildings, parking lots, trees and industrial machineries appear distorted, melted, picturesque.

According to the nature of their source, these images are nevertheless temporary. As the rendering database will be improved and the streams of data expanded, the algorithms will be refined and the visualization of reality will become perfectly photorealistic. Thus, these pictures ideally represent the memory of a future past.

Regula Bochsler and Philipp Sarasin, The Rendering Eye: Urban America Revisited
288 pp., € 54.00.

Above: all images © Edition Patrick Frey


The Berlin-based label Abandoned Audio and Frantic Gallery from Tokyo join forces for "Metamachine", a collaborative project at the border of visual art and electronic music.

International musicians who work with a vast range of techniques, from analogue field recording to drone effect, meet Japanese artists active in the field of oil painting and digital art to collaborate on six video works presented online as well as showcased during in art exhibitions taking place in Singapore, Liverpool and Tokyo.

Presentation in UK: Metal in Liverpool, Jul 4 / October 26, 2014.
Presentation in Japan: Frantic Gallery, Tokyo, September / November, 2014.
Internet: all works are now online and you can see them on Metamachine Youtube Channel

Above: Atsushi Koyama and Aepiel, “Undefined 6”, single channel video, 11'4'', 2014


Our publisher and Editor-at-Large Massimo Torrigiani and Davide Quadrio, curator and producer, will be the curators of the Contemporary Istanbul New Horizons section which this year will have China as the guest country. New Horizons is a section of Contemporary Istanbul that represents a specific country by offering an annual focus on contemporary art from the selected geographic region. ​The curators will be managing, organizing and coordinating the entire curatorial process of this section by chosing which artists and galleries which will be on display and that will represent Chinese contemporary art during Contemporary Istanbul’s 9th edition.

Contemporary Istanbul 9th Edition​. ​The leading art fair that brings international focus to the dynamic art scene in the unique metropolis, will take place from November 13th to November 16th 2014 at the Istanbul Congress Centre and the Istanbul Convention and Exhibition Centre (ICEC). The cross-over of Contemporary Istanbul, Istanbul Design Biennial and Art Istanbul Week will make Istanbul the core or/and heart of a broad international art audience.


Since its creation in 2003, LOOP has estabilished as a reference in the field of moving image in contemporary art. The 2014 edition of the event, which includes LOOP Art Fair, SCREEN public festival and LOOP Studies – platform for professional debate, will take place from May 29th to June 7th.
With a variety of small-scale collateral talks, touring projects and exhibitions, LOOP represents the ideal ground for meeting and networking in the lively city of Barcelona.

LOOP Barcelona 2014
Fair: June 5th to 7th
Festival: May 29th to June 7th
For more information:


Maanantai Collective, “Nine Nameless Mountains”

Conceived around the topographical notions of distance and scale, the book gathers images realized by the eight young members of the Finnish collective Maanantai.
Mixing a variety of media – analog photography, video stills, laser prints, mobile shots and drawings – the collective shares experiences, hazardous observations and improvised happenings with a playful and curious attitude towards the unknown, where the mountain represents the leading thread.
The road-trip is thus meant as an occasion for the group to experience and celebrate their friendship, photography and chance.

Michele Cera, “Dust”

“Dust”, Michele Cera’s first book, was at first driven by the Italian photographer’s interest for Albania, a country that is geographically close to his, however distant in terms of culture and history.
Exploring the outskirts of Albanian towns, Cera discovers places that unexpectedly resemble the Italian post war imagery. By depicting the relationship between the people and their environment, he highlights the fragility of the Albanian urban landscape and that of its inhabitants, making use of a photographic language that hails directly from the Italian tradition of landscape photography.
The color plates are followed by a conversation of the author with our associate editor Francesco Zanot.

Douglas Ljungkvist, “Ocean Beach”

“Ocean Beach” titles a series of images that Brooklyn-based photographer Douglas Ljungkvist produced between 2009 and 2012 at the 1940’s New Jersey Beach Resort of the same name.
First characterized by light pastel colors and graphic accuracy, Ljunkvist’s depiction of the landscape suddenly turns into a tragic report: the occurrence of Hurricane Sandy in 2012, besides destroying the over 60 cottages of the Jersey Shore, becomes part of the author’s ongoing project, transforming a serene visual documentation into a portrayal of ruins and sand.

Maanantai, Nine Nameless Mountains
70 pp., € 29.90

Michele Cera, Dust
72 pp., € 29.90

Douglas Ljungkvist, Ocean Beach
108 pp., € 29.90

Above: all images © Kehrer Verlag Heidelberg Berlin


Resulting from a journey to Iceland headed out by Claudio Giunta, writer and literature professor, and photographer Giovanna Silva, the new Humboldt publication “Tutta la solitudine che meritate. Viaggio in Islanda” consists of a beautiful choreography of notes and images, where Silva’s photographs of the natural landscape meet the words of a variety of personalities – writers, poets, visual artists – who reflected upon the theme.

At a first glance threatening and melancholic, the explored environment – blessing the authors with little rain and long bright days – provides the viewers with multiple answers to the question: “Why should someone born twenty parallels to the south fall in love with Iceland?”

Only driven by curiosity and intuition, the authors freely drove through rough roads off the beaten tracks of Route 1, producing an alternative view of a country that is increasingly gaining international interest.

Claudio Giunta, Italian Literature professor at Trento University, has published his reportages on a variety of publications, and currently contributes to the cultural supplement of “Il Sole 24 Ore” and to “Internazionale” online.

Giovanna Silva is an Italian photographer and publisher whose work, stemming from journeys all over the world, has been published on a large number of magazines and monographs.
She was previously featured on Fantom #02, Winter 2010.

Claudio Giunta and Giovanna Silva, Tutta la solitudine che meritate. Viaggio in Islanda 184 pp., € 19.00.

Above: all images © Humboldt Books, 2014


We are happy to announce “Mario Milizia”, an exhibition curated by Fantom for Marsèlleria Permanent Exhibition in Milan. 
The show presents paintings, sculptures, videos and a sound piece from the series “Eyes Wide Open” and “Maxisequestro”.

Please join us at: Mario Milizia
Marsèlleria Permanent Exhibition
via Paullo 12/A, Milan
Opening on Wednesday, May 14th at 6 pm  
From May 15th to June 13th 2014 

Mon–Fri 9-13 14-20, Sat–Sun on appointment


Triennale di Milano, in collaboration with IULM University, is hosting “In Atelier. Aurelio Amendola: fotografie 1970-2014”, a solo exhibition dedicated to Italian photographer Aurelio Amendola’s long-lasting activity. The show will be open from Wednesday, May 7th until June 8th 2014.

Curated by the students of IULM under the coordination of Vincenzo Trione, Anna Luigia De Simone and Veronica Gaia di Orio’s, the exhibition aims to explore the atelier as the self-representative environment where both the creative processes and the artist’s personal life take place.
The exhibited works include a homage to Michelangelo Buonarroti’s sculpture – one of the author’s dearest themes, photographs of happenings and performances, and a number of renowned artists’ portraits depicting the relationship between artists and their finished art work.

In Atelier. Aurelio Amendola: fotografie 1970–2014
Opening: Tuesday, May 6th, at 7 pm
From May 7th to June 8th 2014
Triennale di Milano
Viale Alemagna 6, Milano

Above: Aurelio Amendola, Claudio Parmiggiani, Bologna 2003.


Ping Pong Conversations is the result of a long dialogue between critic and curator, and Fantom associate editor, Francesco Zanot, and American photographer and publisher, Alec Soth.

Divided into short question-and-answer chapters, the book explores the artist’s extended and multifaceted work in a friendly, cozy atmosphere. Soth’s both famous and less known photographs track the main stages of his work, each of them triggering a new comment, an original thought. Thus the volume is at the same time an in-depth survey of the artist’s journey and a unique guide into the ways photographic images can be read.

The combination of words and photographs brings up subjects such as storytelling, the use of color or black and white, staged and candid approaches, personal and political issues, generating new, unpredictable sequences, connections and meanings.

Here, an abstract from the book:
Francesco Zanot: You know the majority of existing photographs are just failures and mistakes. Painters try to keep most of the canvases they paint, while with photography it’s just the opposite. You edit out most of the photos you take.
Alec Soth: For me photography has failure built into it. It’s about this wish to possess time, but you never can, you can’t preserve a moment. It’s a medium of desire, and of trying to fulfill that desire, but never reaching it...
Francesco Zanot: What about this picture of a man’s hand holding a dental plate?
Alec Soth: It was at a church dance, and this man was showing someone his dentures and talking about them, so I asked him to wait and hold it out. It’s a funny picture, it’s like he’s holding his smile for me.

Alec Soth was born in 1969 in Minneapolis, Minnesota, where he currently lives. His work has been featured in numerous exhibitions and publications worldwide and awarded with remarkable fellowships and prizes; his varied activity includes Little Brown Mushroom, the publishing company he founded in 2008. Soth was previously featured on Fantom Issue 3, Spring 2010.

Alec Soth and Francesco Zanot, Ping Pong Conversations,
182 pp., € 25.00.


Simon Starling’s publication “Black Drop” is drawn from the eponymous film project the artist produced in 2012. The documentary, now reproposed as a shot-by-shot sequence, investigates the relationship between the astronomical observations of the transit of Venus and the birth of cinema.

The voiceover of the film, now in form of subtitles, retraces the history of moving image technology, starting from the invention of the “photographic revolver” by French astronomer Jules César Janssen, fundamental for the further development of the Lumière brothers’ cinematograph.

Assuming that the 2012 transit would be the last to be recorded on celluloid (the next one will in fact occur in 2117), the artist himself travelled to Hawaii and Thaiti with a small film crew in order to witness and film the phenomena, as well as to visit its previous sites of observation and documentation, goal of several epic voyages between 1874 and 1882.

Simon Starling was born in 1967 in Epsom, England. He studied at Nottingham Polytechnic and the Glasgow School of Art. His work has been shown in numerous notable institutions and international venues, and in 2005 was awarded with the Tate’s Turner Prize.

Simon Starling, Black Drop
208 pp., € 39.00.


Italian artist Linda Fregni Nagler’s book The Hidden Mother collects more than 1.000 children portraits – tintypes, ambrotypes, snapshots, daguerreotypes, cartes de visite and cabinet cards – taken between the advent of photography and the 1920’s by mostly anonymous authors.

At the time the photographs were taken, because of the slow exposure times, babies needed to be kept still by a parent concealed in the background. Covered in a cloth, cut out of the frame, even literally scratched away from the image, these hidden figures are the central theme of this work by Linda Fregni Nagler.
The effort once made to remove the mother’s presence in favor of the child’s identity, yet failed, vanishes as the artist invites you to look closely at the actual size images printed in the book, seeking for what you were originally not supposed to see at all.

At the end of the book, a detailed appendix reports physical qualities, texts written on the back and historical-anthropological elements of each photograph, as well as the personal keywords used by the artist in order to organize, catalogue and rearrange the large amount of materials. This process is in fact identified as an integral part of the artistic operation.

The original photographs were shown at the 55th Venice Biennale within “The Encyclopedic Palace”, curated by Massimiliano Gioni.
Linda Fregni Nagler’s collection was first featured with a text by our associate editor Francesco Zanot in Fantom #00, Summer 2009.

FZ (…) If we observe these photographs in the context of your work, the way in which we interpret them changes radically. Instead of focusing our attention on the protagonists of these portraits, we start to seek out that which cannot be seen (or only partially). Unlike all the image genres and typologies we know, the Hidden Mother images are defined on the basis of what is not there (or at least, what shouldn’t be there). Hence, they remind us that photography is not only to do with the objects and the situations captured between the four edges of the frame, but rather it treads a thin line between inclusion and exclusion. While they denote presences, these images reflect just as many attempts at evasion. Midway between the burqa and Houdini’s escapology, the gestures of these hidden mothers underline the importance of the invisible in photography, and introduce a sort of apology of disappearance, meant as a playful, social and political action.
LFN There’s a Latin word which defines the particular contents of these photographs very well: absconditum. That is, the object of hiding. A 14th century sculpture found at the Metropolitan Museum of Art in New York, Shrine of the Virgin, illustrates this concept perfectly. The Virgin holds the baby Jesus in her arms, but this is only one of the two forms it may take: when closed, the sculpture envelops the absconditum, while on opening it reveals the adult Christ and the symbols of the Trinity. In the closed position, the Virgin Mary is a treasure chest guarding the holy revelation hidden within her. Believing it is an act of faith. There is another term, a Greek one, which may be used to refer to the Hidden Mother photographs: apocalypsis. It is used to express the ‘unveiling of the concealed’. It means discovery, manifestation or apparition. The final revelation.

FZ There is one further element that defines the category of the Hidden Mother: the very notion of their disappearance cannot be entirely successful (it might be more apt to speak of ‘Not-So-Hidden Mothers’ or ‘Wannabe Hidden Mothers’). Only the images that show a residue of this attempt may be included in this typology, for if the disappearance were complete, we would be unable to note any difference from an ordinary child portrait. This means that to a greater or lesser extent, all the photographs in The Hidden Mother bear the traces of failure. The Hidden Mother is an enormous and poignant anthology of errors. It tells of men’s ambitions and their inability to achieve them.
LFN Failure is in fact a key topic of reflection for me. I try to develop it in my works and I recognise it very often in those artists who interest me. For example, the axiom that guides the production of Francis Alÿs is: ‘Maximum effort, minimal result’.
In photography, the progressive fall in the costs of an error and the fact that it may often be resolved simply by taking another shot, has led to a form of diseducation of the gaze: there is now no longer any means by which to safeguard discarded images. Here, on the other hand, scope for error correction may still be found, and in concrete terms this might mean tighter framing or a blotch of ink. It is this very failure of the attempt to hide the protagonists of The Hidden Mother that I celebrate here. I put it on a pedestal every time I collect a new photograph.

Extract from F. Zanot, “Houdini’s Burqa. A conversation with Linda Fregni Nagler” in L. Fregni Nagler, The Hidden Mother, MACK, London 2013

Linda Fregni Nagler, The Hidden Mother
432 pp., € 45.00.

Above: © Linda Fregni Nagler 2013, courtesy MACK


Erwin Wurm's"De Profundis", a publication by Hatje Cantz, collects a series of hand-painted photographs representing naked or barely dressed men posing in front of the camera.

Using a variety of media, such as drawing, photography and painting, the artist takes inspiration from the ideal beauty of the Gothic language, where the representation of the body is defined by an introspective and ascetic feel.
The theatrical atmosphere contained in the pictures turns each frame into a stage where the subject plays the role of an actor; in several cases, the performance involves the artist himself.

Passing of time - thus growing old - is the theme the Austrian artist invites you to reflect upon as you flip through the pages, while facing the actual appearance of a 21st Century human body.

Erwin Wurm, De Profundis
166 pp., € 25.00.

Above: © Erwin Wurm/Albertina, Wien. VBK, Wien 2012


Contextually with the Salone del Mobile 2014, Marsèlleria presents OROBORO, an exhibition where Carlo Zanni's works are put in dialogue with a selection of design items created by designers Raw-Edges, Ilaria Innocenti, Giorgia Zanellato and by producer Mirko Rizzi.
The exhibition unfolds as a journey towards three key concepts: birth, life, and death; identity formation and development in relation to others; political tension and participation. The dialogue between Carlo Zanni's digitally produced works and the design pieces is the meeting ground where "immaterial" artworks and handmade objects coexist.

Carlo Zanni was born in La Spezia, Italy, in 1975. Since the early 2000s his practice has involved the use of Internet data to create time-based social consciousness experiences investigating our life. His work has been shown in numerous galleries and museums worldwide. He is also founder of artists' video-sharing website

Carlo Zanni, OROBORO
From April 7th to 25th 2014
Marsèlleria Permanent Exhibition
Via Paullo 12/A, Milan


The Dummy Award 2014 is open for entries. Selected by a jury of international experts, the best fifty dummies will be exhibited at a variety of photo events worldwide and, among the participants, three winners will be chosen for The PhotoBookMuseum Cologne in September. The First Prize includes the publication of the winner’s dummy – in cooperation with k-books (Germany), a feature in the magazine European Photography and a presentation of the project during the next edition of the festival in 2015.
Photographers are invited to submit their so-far unpublished photobooks by May 15th, 2014.

Application deadline: May 15th, 2014
For more information:


Batia Suter' installation at the Fantom-Marselleria booth for MiArt 2014, opening today. Come and see us there. Booth A26 - Institutions, Associations and Foundations area.


We are happy to announce our participation to the upcoming edition of Miart - International Fair of Modern and Contemporary Art, which will take place in Milan from March 28th to 30th.
As a result of our collaboration with Marsèlleria‚ a multidisciplinary exhibition space in Milan‚ we will present a site-specific installation by Amsterdam-based artist Batia Suter.

The booth will also contain a small bookshop dedicated to Suter's latest book,Surface Series, and to Marsèlleria and Fantom publications and limited editions. On this occasion, the few remaining copies of Fantombooks: Vedove/Widows by Takashi Homma, Fiume by Guido Guidi‚ both sold out and already matter for collectors‚ and Al lavoro! by Charlotte Dumas will be available for purchase, together with past issues of Fantom Magazine.

Please visit us at booth A26 - Institutions, Associations and Foundations area
We look forward to seeing you!

miart‚ fieramilanocity
March 28th to 30th 2014
Entrance Viale Scarampo, Gate 5 pad. 3, Milan.


Our Editor-in-Chief Selva Barni will contribute to Meeting Place, the largest and most international portfolio review program in the world, which occurs in Houston, Texas, in conjunction with the FotoFest International Biennial of Photography & Photo Related Art.

The 2014 edition of the festival will take place from March 15th to April 27th. Under the main curatorship of Karin Adrian von Rogues’, this year’s exhibitions, lectures and collateral events will focus on Contemporary Arab Video, Photography and Multi Media art, displaying a variety of contemporary artists from the Middle East and Northern Africa.

FotoFest 2014
March 15th – April 27th, 2014
Houston, Texas

Above: Tarek Al-Ghoussein, (In) Beautification, 1333, 2011. Courtesy of the artist and The Third Line, Dubai


Camilla Grimaldi inaugurates her new exhibition space in London with Martina Bacigalupo’s first exhibition in the UK, “Gulu Real Art Studio”.

The project – published by Steidl in 2013 – consists of a selection of found photographs that the artist recovered from the Gulu Real Art Studio in the city of Gulu in northern Uganda.
Ready-made, unconventional images, in which the subjects’ faces have been cut out to be used as photo booth portraits, highlight gestures and details of the city’s inhabitants, slowly revealing their identities.
Martina Bacigalupo, member of Agence Vu in Paris, was born in Genoa (Italy) in 1978 and is currently based in Burundi. Her work has been published in newspapers and magazines worldwide.

Martina Bacigalupo, Gulu Real Art Studio
27 March - 26 April 2014
Camilla Grimaldi Gallery, London W1S 3AN

Above: M. Bacigalupo, Gulu Real Art Studio 2013. © the artist, courtesy of Camilla Grimaldi Gallery, London


The result of the collaboration between digital platform Artshare and renown Shangainese gallerist and curator Leo Xu, the online exhibition “JPEGS: New Practices in Photography” explores the ways in which the advent of digital images is leading the development of new methodologies, concepts and techniques.

The exhibition features the works of four Chinese emerging artists mostly represented by gallery Leo Xu Projects – namely Chen Wei, Cheng Ran, Guo Hongwei and the artistic duo composed of Zhang Jungang and Li Jie – as well as a selection of slides from Xu’s talks and lectures on Chinese photography and the Internet, held in a variety of universities and institutions.

“JPEGS: New Practices in Photography”
March 6th – April 6th, 2014

Above: Chen Wei, "Countless Unpredictable Stand No.1", 2006. ©


We are glad to celebrate the birth of a new independent publishing house, Skinnerboox. Founded by Milo Montelli and based in Italy, it focuses on contemporary photography with particular attention towards Italian young authors. The inaugural released titles are Thoreau by Alessandro Calabrese and I resti del viandante by Giuseppe De Mattia.

Alessandro Calabrese’s work is the result of an artist residency conducted between 2012 and 2013 at the Natural Park of Mont Avic in Valle d’Aosta, Italy. The series, inspired by the writings of Henry David Thoreau – in particular “Walden, Life in the woods” – constitutes a delicate and inquiring wandering on the relationship between man and nature and its unexpected visual connections.

In “I resti del viandante”, Giuseppe De Mattia explores a seaside landscape in Southern Italy, matching forgotten and abandoned objects – evidence of human activities – with photographs depicting the geographical conformation of the land, elements that meet in an intriguing visual journey.

The name Skinnerboox comes from the Skinner Box, an “operant conditioning chamber” invented by Dr. Skinner in the early 30's, a device of primary importance for the study of animal behavior.

Alessandro Calabrese, Thoreau
80 pp., € 22.00
Skinnerboox, 2014

Giuseppe De Mattia, I resti del viandante
44 pp., € 15.00
Skinnerboox, 2014


International Kontinent Photography Awards is now now open for entries. The awards aim to honor best photographers in the world of photography and provide them global recognition and new opportunities. The winners, one for each of the six categories, will be selected by an internationally renowned jury and awarded with exhibitions, book publishing and representation.
Deadline: 1 May 2014 ·


"Sensory Spaces" is a series of solo projects commissioned by the Boijmans Van Beuningen Museum (Rotterdam) for its Willem van der Vorm Gallery exhibition space. Artists have been invited to respond to the architectural qualities of the space, emphasizing notions of transformation and surprise. Among them, after Oscar Tuazon and Sabine Hornig, American-based artist Elad Lassry (featured on Fantom #03). By using photography, stagings, films and performances, he exposes the problematic relationship between image and reality with consummate control.

Sensory Spaces 3: Elad Lassry
February 22 - June 1, 2014.
Museum Boijmans Van Beuningen, Rotterdam, The Netherlands

Above: Elad Lassry, Woman (Ball), 2014. © the artist, courtesy of David Kordansky Gallery, Los Angeles

Fantom Editions