{"title":"ARCHIVES","description":"","products":[{"product_id":"war-primer-2","title":"War Primer 2","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne of the defining artist's books of the twenty-first century, \u003c\/span\u003e\u003cspan\u003eWar Primer 2\u003c\/span\u003e\u003cspan\u003e sees Adam Broomberg and Oliver Chanarin revisit Bertolt Brecht's landmark \u003c\/span\u003e\u003cspan\u003eWar Primer\u003c\/span\u003e\u003cspan\u003e (1955) for the age of digital media. Brecht's original paired press photographs from the Second World War with sharp four-line poems, revealing how images shape public understanding of war and teaching readers to look beyond their apparent documentary truth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRather than simply updating Brecht's project, Broomberg and Chanarin shift their focus to the so-called \"War on Terror.\" They overlay the pages of \u003c\/span\u003e\u003cspan\u003eWar Primer\u003c\/span\u003e\u003cspan\u003e with photographs and video stills drawn from the internet (produced by soldiers, journalists, propagandists, and civilians) to create a dialogue between two eras of conflict. Images of the Twin Towers attacks, the execution of Saddam Hussein, and the presidency of George W. Bush intersect with Brecht's poems and wartime photographs, revealing enduring patterns in the circulation and political use of violence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBoth books question the authority of photographic images. If Brecht saw the press photograph as something to be deciphered, \u003c\/span\u003e\u003cspan\u003eWar Primer 2\u003c\/span\u003e\u003cspan\u003e asks what happens when images (instantly shared and endlessly reproduced) shape history as much as they record it. First published in 2011, the work remains a compelling reflection on the power of images in an age of digital media, misinformation, and fake news.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53679744745811,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/WarPrimer.png?v=1781706729"},{"product_id":"eden-is-a-magic-world","title":"Eden is a Magic World","description":"","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801270870355,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Eden.png?v=1779270641"},{"product_id":"reconstructed-history","title":"Reconstructed History","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA collection of fifty ink drawings in which Mike Kelley intervenes on reproductions from American school textbooks—illustrations, photographs, engravings, and cartoons depicting idealised figures and events from American history. Working directly on the printed page, he introduces a note of iconoclasm through loose but well-considered doodles, echoing the vandalism of a schoolchild’s textbook. The drawings are bound in the format of a high-school yearbook, bringing reverence and disruption into the same object.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Here we have a collection of grotesqueries, defacements of some of the most cherished images of our American past. Who could be responsible for such defilements?” writes the artist in his preface, “what could be the purpose in tarnishing the heroic figures and events we hold so dear? These are questions one is compelled to ask; yet might questions be better put to the images themselves? We might instead ask, why do these pictures provoke addition? What has been subtracted from them?”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eKelley’s introduction shifts attention from authorship to omission, asking not who altered the images, but what they already exclude. \u003c\/span\u003e\u003cspan\u003eReconstructed History\u003c\/span\u003e\u003cspan\u003e treats the schoolbook as an ideological construct rather than a neutral record, and its interventions as a form of counter-history that exposes the fragility of national narratives. The heroic image, in this reading, sustains its authority through what it leaves out.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe work strikingly resonates with Chris Marker’s meditation in \u003c\/span\u003e\u003cspan\u003eSans Soleil\u003c\/span\u003e\u003cspan\u003e (1983), where memory is described not as the opposite of forgetting but as “its lining”: we do not remember, but rewrite, much as history itself is rewritten.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027555930451,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/KelleyCover_b091cc5f-a662-4271-8625-e006aa2749a2.png?v=1789370959"},{"product_id":"vita-morte-e-miracoli-dell-architettura","title":"Vita, morte e miracoli dell’architettura","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eActive between 1968 and 1972, Gruppo 9999 was among the most visionary protagonists of the Italian neo-avant-garde, challenging the formal and institutional frameworks that defined architectural practice at the time. Founded by Giorgio Birelli, Carlo Caldini, Paolo Galli, and Fabrizio Fiumi, the group was based in Florence at Space Electronic, an experimental venue near the Santa Maria Novella station that transformed, within the same space, from an architecture school by day into a psychedelic club by night. A laboratory for exchange and experimentation, Space Electronic became the stage for Gruppo 9999’s radical exploration of architecture as a cultural, ecological, and ethical practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough their work, the group questioned the mechanisms of mass media, the acceleration of consumer culture, and the conventions of architectural production, proposing instead new forms of spatial and social imagination. Their research contributed to the intellectual climate that would soon be identified by Germano Celant, in 1972, as “radical architecture”: an anti-establishment movement that shifted attention away from the profession of architecture itself and toward a critical investigation of its foundations, possibilities, and limits.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePublished in 1971, this rare volume remains one of the most compelling documents of Gruppo 9999’s visionary universe. Richly illustrated with photographs, photomontages, drawings, and comics, it gathers images of projects, installations, and speculative environments that embody the group’s experimental approach. Produced in collaboration with Superstudio and featuring contributions by Ant Farm, Ugo La Pietra, G. Chiari, Portola Institute, G. Pettena, UFO, and others, the publication served as the general catalogue for \u003c\/span\u003e\u003cspan\u003eCatalog Festival n.1\u003c\/span\u003e\u003cspan\u003e, issued on the occasion of the design event \u003c\/span\u003e\u003cspan\u003eS-Space Mondial Festival N.1\u003c\/span\u003e\u003cspan\u003e, held at Space Electronic in Florence from 9 to 11 November 1971.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe publication’s pages unfold as a visual manifesto, bringing together alternative modes of representation. This dynamic and technologically charged imagery is set against the unexpected serenity of its bucolic cover, designed by Gruppo 9999, whose title (\u003c\/span\u003e\u003cspan\u003eVita, morte e miracoli dell’architettura\u003c\/span\u003e\u003cspan\u003e) suggests the cyclical, transformative vision of architecture that animated the group’s practice.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027774656851,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/999smaller600.png?v=1781881510"},{"product_id":"111","title":"111","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRather than using the photocopy as a way to create identical copies, Alighiero Boetti saw it as a tool for exploring the relationship between human ideas and technology. Artist’s books such as this one, as well as the expanded version \"\u003c\/span\u003e\u003cspan\u003eI quindici libri rossi – 111\"\u003c\/span\u003e\u003cspan\u003e, reflect his ongoing interest in systems and the balance between order and chance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Already in ’69, in Turin, when I used to go to the Rank Xerox showroom with my little coins in my pocket, I had so many ideas”, Boetti stated in 1991. “I would say: the photocopier is not just an office machine; by the year 2000 we’ll all have one in our living rooms! Give me one, and I’ll document some of its creative applications. I didn’t mean manipulating the mechanism or the ink, as some people had done, from Munari onward. No, what interested me was the standard application. But, for instance, I would have put it out on the balcony when it starts to rain: one drop, ten drops, a thousand drops…”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBoetti was fascinated that a photocopier could transform a simple, mechanical action into a process open to variation and surprise. In \"\u003c\/span\u003e\u003cspan\u003e111\"\u003c\/span\u003e\u003cspan\u003e, each of the 111 photocopies reproduces a different newspaper clipping, turning fragments of everyday information into a serial composition. The title \"\u003c\/span\u003e\u003cspan\u003e111\"\u003c\/span\u003e\u003cspan\u003e is both a palindrome and the principle behind the work’s method of production: through repetition, a simple structure can generate countless possibilities. It suggests a kind of “contained infinity”, where endless variations unfold within a fixed system.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAs in other works made with photocopying technologies such as \"\u003c\/span\u003e\u003cspan\u003eNove Xerox Anne Marie\"\u003c\/span\u003e\u003cspan\u003e (1969), \"\u003c\/span\u003e\u003cspan\u003eDossier Postale\" \u003c\/span\u003e\u003cspan\u003e(1969–1971), and \"\u003c\/span\u003e\u003cspan\u003eAutoritratto\"\u003c\/span\u003e\u003cspan\u003e (1971), Boetti questioned the traditional role of the artist as the sole creator. Instead, he allowed the machine, the process, and chance to become active participants in the making of the work.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54027795366227,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/111_4d34f598-e891-4950-8206-01fa3b1290a2.png?v=1789195806"},{"product_id":"spare-parts","title":"Spare Parts","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCharles Henri Ford was a Surrealist writer, editor, filmmaker, photographer, and collage artist. A central figure of the twentieth-century avant-garde, he belonged to Gertrude Stein's Paris circle in the 1930s and later became an important influence on Andy Warhol in the 1960s. He is best known as the co-founder, editor, and publisher of \u003c\/span\u003e\u003cspan\u003eView\u003c\/span\u003e\u003cspan\u003e, the influential Surrealist art magazine. A true \u003c\/span\u003e\u003cspan\u003eflâneur\u003c\/span\u003e\u003cspan\u003e in the richest sense of the term, Ford lived and worked in places including Paris, Morocco, Kathmandu, Crete, and New York.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIt was in Athens, in the workshop of the master printer Vassily Papachrysanthou, that Ford produced one of the most original bodies of work of his career. Between 1964 and 1965, he created the series \u003c\/span\u003e\u003cspan\u003ePoem Posters\u003c\/span\u003e\u003cspan\u003e, followed in 1966 by his landmark artist's book \u003c\/span\u003e\u003cspan\u003eSpare Parts\u003c\/span\u003e\u003cspan\u003e, published in a limited edition on richly textured paper, with each copy distinguished by a unique dust jacket. Conceived as visual poems (or, in Ford's words, \"poem posters\"), these works move fluidly between collage, concrete poetry, and printmaking techniques. Fragments of language clipped from magazines intermingle with photographs, graphic forms, and Ford's own paste-up poems to create layered compositions that draw equally on the visual language of Pop and the oneiric logic of Surrealism, all infused with his characteristic wit and queer sensibility.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eProduced through an experimental industrial photo-offset lithographic process, many of the posters are effectively monotypes. Working in close collaboration with Papachrysanthou, Ford’s book embodies his notion of “ideas in the air\": spontaneous constellations of words and images that are at once psychedelic and materially resonant.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54029695844691,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/SpareParts.png?v=1781781005"},{"product_id":"guevara-shashin-shu-che","title":"Guevara Shashin Shu Che","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis seminal publication from 1969 was assembled by two founding members of \u003c\/span\u003e\u003cspan\u003eProvoke\u003c\/span\u003e\u003cspan\u003e, the underground Japanese photography magazine that, despite its brief existence, transformed the visual landscape of the late 1960s through its radical photographic language and critical writings, guided by the motto: \u003c\/span\u003e\u003cspan\u003e“Provocative documents for the sake of thought.”\u003c\/span\u003e\u003cspan\u003e Published by Kōji Taki and Takuma Nakahira (both Spanish speakers) under the pseudonym \u003c\/span\u003e\u003cspan\u003eBuenos no Hi \u003c\/span\u003e\u003cspan\u003e(\u003c\/span\u003e\u003cspan\u003eThe Light of Buenos\u003c\/span\u003e\u003cspan\u003e), the volume gathers newspaper articles from Latin America and Spain to trace the Cuban Revolution through the life, actions, and death of Che Guevara. Fragments of text and image are brought together across different papers and graphic styles, creating a layered visual narrative suspended between political reflection and an act of remembrance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA book-homage, the project documents the turbulent political atmosphere of the late 1960s, when many Japanese artists and intellectuals were drawn to anti-imperialist and revolutionary ideals. The interplay of photographic reproduction, journalism, and visual experimentation transforms the publication into more than a historical account. Today, it stands as one of the most relevant examples of politically engaged Japanese photobook design.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54029962182995,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Che_b13d3746-45be-4cec-b87b-aacae2aefb42.png?v=1789196345"},{"product_id":"watch","title":"Watch","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"WATCH\"\u003c\/span\u003e\u003cspan\u003e stands in striking opposition to the chaotic visual language of Caragh Thuring’s painting. Systematic, precise, and meticulously arranged, this volume brings together a selection of watch advertisements that the artist collected from the pages of the \u003c\/span\u003e\u003cspan\u003eFinancial Times\u003c\/span\u003e\u003cspan\u003e over nearly a decade. Produced for her 2015 exhibition at Chisenhale Gallery in London, the book reveals the recurring narratives through which this particular commodity is presented: family, heritage, ambition, success, and wealth. What first appears as a dry archive of watches gradually becomes a portrait of the values and desires embedded within their marketing. The watch emerges not only as a symbol of status and aspiration, but also as a marker of the social and economic conditions of its own moment “in time”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSophisticated in form and concept, \"\u003c\/span\u003e\u003cspan\u003eWATCH\"\u003c\/span\u003e\u003cspan\u003e is hand-bound and produced in an edition of ten copies. Thuring sourced the paper stock from the printers of the \u003c\/span\u003e\u003cspan\u003eFinancial Times\u003c\/span\u003e\u003cspan\u003e, giving the book’s thin, pale pages an immediately recognisable quality for UK readers. A timepiece and a time-based artwork in its own right, \"\u003c\/span\u003e\u003cspan\u003eWATCH\"\u003c\/span\u003e\u003cspan\u003e forms an unexpected dialogue with Christian Marclay’s \"\u003c\/span\u003e\u003cspan\u003eThe Clock\"\u003c\/span\u003e\u003cspan\u003e (2010), another work in which time is transformed from a measure of experience into a cultural and aesthetic object.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54040441389395,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Watch.png?v=1781855650"},{"product_id":"the-life-and-opinions-of-tristram-shandy-gentleman","title":"The Life and Opinions of Tristram Shandy, Gentleman","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFew conceptual artists possess the wit and playful edge to respond with such irony to Laurence Sterne's celebrated novel, whose episodic structure and playful reflexivity remain among the most distinctive achievements of eighteenth-century literature. \u003c\/span\u003e\u003cspan\u003eThe Life and Opinions of Tristram Shandy, Gentleman\u003c\/span\u003e\u003cspan\u003e was originally published between 1759 and 1767 in nine volumes. In 1988, John Baldessari was invited by Andrew Hoyem of the Arion Press, San Francisco, to contribute to a new deluxe edition of Sterne's masterpiece. Baldessari responded with a contemporary visual intervention: a sequence of deliberately disjointed photocollages that mirrors Sterne's playful disregard for linear narrative, conventional punctuation, and literary decorum.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe three-volume set comprises a facsimile of Sterne's original text sophisticatedly bound; a smaller tome consisting of a critical essay by the Sterne scholar Melvyn New; and an accordion-fold artist's book of Baldessari's photocollages, interspersed with Shandean aphorisms. Among the most memorable are his iconic dot portraits, placed in dialogue with a celebrated passage from Book III, Chapter XII (p. 173):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"—And did you step in, to take a look at the grand picture, in your way back?——'Tis a melancholy daub! my Lord; not one principle of the pyramid in any one group!——and what a price!——for there is nothing of the colouring of Titian,——the expression of Rubens,—the grace of Raphael,——the purity of Dominichino,—the corregiescity of Corregio,—the learning of Poussin,—the airs of Guido,—the taste of the Carrachi's,—or the grand contour of Angelo.——Grant me patience, just heaven!——Of all the cants which are canted in this canting world,——though the cant of hypocrites may be the worst,—the cant of criticism is the most tormenting!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA witty visual rediscovery of Laurence Sterne's caustic satire, Baldessari's contribution demonstrates how the novel's experimental spirit continues to resonate more than two centuries after its first publication.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54055610319187,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Tristram.png?v=1782029534"},{"product_id":"oracles-artists-calling-cards","title":"Oracles: Artists' Calling Cards","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“The soul is such an intangible thing, so often useless and sometimes so embarrassing, that its loss occasioned me slightly less emotion than if, while out for a walk, I had left behind my visiting card.” (Charles Baudelaire, The Generous Gambler)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAnimated by 123 artists' business cards from painters, sculptors, photographers, architects, graphic designers, and art historians spanning the eighteenth century to the present day, this materially abundant book is the culmination of a monumental research project. Accompanied by an interactive platform on Patrick Frey's website\u003c\/span\u003e\u003cspan\u003e, it invites readers to explore the rich history and visual language of these ephemeral objects in greater depth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMore than mere professional identifiers, these calling cards reveal how artists chose to present themselves to the world, offering insights into both their public personas and their distinctive modes of simply “being-in-the-world.” Several facsimile cards are loosely inserted throughout the volume, transforming it into a copious \"oracle\" that traces not only the graphic evolution of artists' calling cards but also, more broadly, the history of art itself, from Francesco Goya to Richard Prince.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057206415699,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Oracles.png?v=1782055024"},{"product_id":"looking-for-looking-for-love","title":"Looking for Looking for Love","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA tribute to one of the seminal photobooks of the 1980s, \u003c\/span\u003e\u003cspan\u003eLooking for Looking for Love\u003c\/span\u003e\u003cspan\u003e reworks Tom Wood’s \u003c\/span\u003e\u003cspan\u003eLooking for Love\u003c\/span\u003e\u003cspan\u003e (1989), which documented the clientele of the Chelsea Reach Nightclub in New Brighton, Merseyside, between 1984 and 1987. Wood’s original publication could only include a fraction of the thousands of photographs he made at the club; to honour his subjects and convey the scale of the project, he created a large collage from the images, later reproduced as a double-page spread. McConnell’s book takes this lost collage as its point of departure, faithfully recreating its forms while transforming their scale and sequence. Scanned from McConnell’s own copy of Wood’s book and printed in vibrant risograph, the fragmented, enlarged images escape the confines of the photographic frame, generating a dynamic flow of exuberance, nostalgia, desire, and nightlife energy.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057232073043,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Looking.png?v=1782055440"},{"product_id":"cafe-du-reve","title":"Café du rêve","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eChaimowicz’s oniric artist’s book is conceived as an imaginary journey: a personal psychogeography consisting of journal entries, personal photographs, letters, postcards from Milan, Tunis, and Algiers, quotations from André Gide and Marcel Proust, and lyrics by Lou Reed. The narrative is fragmentary, yet a certain story emerges from these shifting landscapes. Reflecting on this “\u003c\/span\u003e\u003cspan\u003evoyage épistolaire”\u003c\/span\u003e\u003cspan\u003e, Lise Lerichomme remarks:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“It seems that the artist is drawn to travel for the wandering it enables, for drifting through streets without any real purpose. Yet, paradoxically, Marc-Camille Chaimowicz also enjoys making use of his interior spaces, whether they are truly his own (as in “\u003c\/span\u003e\u003cspan\u003eApproach Road”\u003c\/span\u003e\u003cspan\u003e) or borrowed (as can be the case with the hotel rooms he is so fond of). Here, travel is conceived as the passage from one place to another rather than as a journey or even an end in itself. Nothing compares to the imagined, dreamed, fantasised journey, in which one moves freely through places still unknown, while imagining a return to places that are dear to us. For the artist, it is a matter of preserving the thrill inherent to travel and remaining in a state of constant transit.” (\u003c\/span\u003e\u003cspan\u003eCorrespondances d’artistes : du brouillon à la lettre ouverte\u003c\/span\u003e\u003cspan\u003e, 2012)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eExtending the reverie and montage themes in “Dream: An Anecdote” (1977), this artist’s book concludes with a selected biography and bibliography.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057283977555,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Cafe.png?v=1782056567"},{"product_id":"albert-vs-history","title":"albert vs. history","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConceived on the occasion of Albert Oehlen’s solo exhibition at Kunsthalle Basel in 1997, this publication enacts Oehlen’s anachronistic dialogue with art history. His work is brought into dialogue with an expansive range of references, spanning Old Masters such as Johannes Vermeer and Pieter Bruegel the Elder to contemporaries including Gerhard Richter and Julian Schnabel. This index of names appears at the end of the publication as well as on the covers, where it is juxtaposed with an illustration of a medieval knight in full armour bearing a lance emblazoned with the initial \"O\". The armour closely resembles those depicted in the 16th-century \u003c\/span\u003e\u003cspan\u003eFreydal\u003c\/span\u003e\u003cspan\u003e tournament book, perhaps suggesting Oehlen’s characteristically understated challenge to the authority of art history. As with many of his artistic projects, Oehlen dedicated this publication to his friend Martin Kippenberger.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54061189398867,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Oehlen.png?v=1782112990"},{"product_id":"observations","title":"Observations","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54061211746643,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Observations.png?v=1782113360"},{"product_id":"evidence","title":"Evidence","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA brilliantly orchestrated sequence of fifty-nine uncaptioned photographs, sourced from American government agencies, educational institutions, and corporations, forms the core of this seminal photobook by Larry Sultan and Mike Mandel. Preceded by a complete list of the contributing institutions and followed by an essay by Robert F. Forth, Dean of the California College of Arts and Crafts, reflecting on the relationship between the circumstantial and the evident, the volume stands as a landmark of paraphotographic and self-reflexive practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConstructed entirely from anonymous documentary images, \u003c\/span\u003e\u003cspan\u003eEvidence\u003c\/span\u003e\u003cspan\u003e generates a non-linear narrative that questions photography's capacity to record and authenticate truth. Each image carries an enigmatic charge, suggesting a \u003c\/span\u003e\u003cspan\u003epunctum \u003c\/span\u003e\u003cspan\u003ethat exists beyond the frame and opening onto a liminal zone between the real, the symbolic, and the imaginary. 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Throughout his career, he explored the aesthetics of the grotesque, the abject, and the undesirable, producing works that confront the viewer with unsettling imagery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis uncommon artist's book is illustrated with photocopied drawings by the artist, occasionally supplemented with handwritten annotations. It presents Gerritsen's idiosyncratic examination of a select group of historical criminals whose deeds marked the collective imagination during the first half of the twentieth century. Rather than offering a documentary account, the publication reflects on the place of violence in cultural memory.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54137274204499,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Criminals.png?v=1782736605"},{"product_id":"eterografia","title":"Eterografia","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis artist's book was published by the same publisher as Fabio Mauri's editions, La Nuova Foglio Editrice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe title in Italian,\u003c\/span\u003e\u003cspan\u003e eterografia\u003c\/span\u003e\u003cspan\u003e derives from the Greek roots \u003c\/span\u003e\u003cspan\u003eheteros\u003c\/span\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cspan\u003eother, different\u003c\/span\u003e\u003cspan\u003e) and \u003c\/span\u003e\u003cspan\u003egraphia\u003c\/span\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cspan\u003ewriting, inscription\u003c\/span\u003e\u003cspan\u003e), literally meaning \"other writing\" or \"different writing.\" In the context of Italian experimental visual poetry, the term refers to forms of writing that move beyond conventional linguistic communication.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePrefaced by three brief quotations on the relationship between signifier and signified by Umberto Eco, Angus Fletcher, and Michel Foucault, the book investigates the semantic interplay between text and image. A discerning collector of printed matter and ephemera, Pignotti juxtaposes newspaper and postcard imagery with handwritten interventions that disrupt any immediate correspondence between text and image, transforming their relationship into a semantic inquiry with profound philosophical and political implications.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAn incisive critique on media manipulation and the instability of meaning, the book reconnects with the “\u003c\/span\u003e\u003cspan\u003eeterografia”\u003c\/span\u003e\u003cspan\u003e explored by other Italian experimental artists, including Eugenio Miccini, Lucia Marcucci, and Mirella Bentivoglio.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54141177004371,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Eterografia.png?v=1782808101"},{"product_id":"lets-take-back-our-space-female-and-male-body-language-as-a-result-of-patriarchal-structures","title":"‘Let's Take Back our Space’: “Female” and “Male” Body Language as a Result of Patriarchal  Structures","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis seminal artist's book was conceived during the second wave of feminism in the 1970s, a period in which the concept of “\u003c\/span\u003e\u003cspan\u003ebody politics”\u003c\/span\u003e\u003cspan\u003e gained prominence through campaigns against domestic violence and the objectification of women, as well as movements advocating for abortion rights. Marianne Wex's thoughtful visual and textual survey of gendered body language is based on a corpus of more than 5,000 photographs of human gestures, either taken by the artist in Hamburg or collected from a wide range of media between 1974 and 1977, including advertisements, films, news reports, and historical publications. From this initial corpus, Wex selected 2,037 images for publication.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis ambitious project originated from a personal enquiry into the ways in which patriarchy shapes the behaviour of bodies and their representation in the world. How, and why, are femininity and masculinity embodied differently across social, political, and artistic contexts? The book is carefully structured around themes that continue to resonate in contemporary discussions of gender (and beyond) in both art history and broader social discourse: \u003c\/span\u003e\u003cspan\u003eMan's Struggle Against Womanpower and the Effects Upon Body Language Throughout the Course of History\u003c\/span\u003e\u003cspan\u003e; \u003c\/span\u003e\u003cspan\u003eHow the Men of Christianity Took Over an Old Goddess Gesture\u003c\/span\u003e\u003cspan\u003e; and \u003c\/span\u003e\u003cspan\u003eFeminine and Masculine Body Forms in Today's Patriarchy\u003c\/span\u003e\u003cspan\u003e. 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Organized by Sonsbeek 93 at the Gemeentemuseum Arnhem, Netherlands, in 1993, the curatorial project and its accompanying artist’s book represent the culmination of Kelley's long-term engagement with the Freudian concept of \u003c\/span\u003e\u003cspan\u003eDas Unheimliche\u003c\/span\u003e\u003cspan\u003e (1919), which describes the unsettling convergence of the familiar and the strange: \"The uncanny is in reality nothing new or alien, but something which is familiar and old-established in the mind and which has become alienated from it only through the process of repression.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eExpanding on this notion, Kelley conceived an exhibition centred on memory, repression, anxiety, death, sexuality, and the grotesque. Prefaced by an original psychoanalytic and iconographic essay written by the artist, the exhibition brings together works by Robert Gober, Edward Kienholz, Martin Kippenberger, Sandy Skoglund, Cindy Sherman, and others, each exploring, in distinct ways, the disquieting nature of the ordinary. Through a carefully orchestrated juxtaposition of artworks and vernacular artefacts (including inflatable dolls, anatomical models, educational objects, and curiosities), Kelley stages an excavation of his own fears and obsessions, transforming the act of curating into one of psychological inquiry and liberation.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54144516489555,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/TheUncanny.png?v=1782829088"},{"product_id":"voda","title":"Voda","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54144538476883,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Voda.png?v=1782829761"},{"product_id":"sjalvbiografi","title":"Självbiografi","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eÅke Hodell (1919–2000) was a Swedish poet, visual artist, composer, and former fighter pilot. His aviation career came to an abrupt end in 1941 when he crashed during a training exercise at an airfield in Skåne. Following a lengthy hospitalization, he turned his attention to the arts, merging writing and collage with music, theatre, and performance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConceived in 1967, this autobiographical work comprises 37 collages assembled from photographs, cartoons, found images, handwritten and typewritten texts, and printed fragments from a wide range of sources, punctuated throughout by black dots evoking bullet holes. The iconography of this self-portrait ranges from the personal and photographic (most notably a portrait of Hodell as a pilot) to the mythological (the fall of Icarus), anatomical (military medical illustrations), spiritual (a sculpture of the fasting Buddha), graphic (aviation comics), cartographic (historical maps), and graphological (journal entries).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA major retrospective devoted to Hodell's exploration of resistance through art was presented at Malmö Konsthall in 2022.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54144968950099,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Ake.png?v=1782832518"},{"product_id":"my-life-as-a-man","title":"My Life as a Man","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBlurring the boundaries between collage, montage, and archival practice, “My Life as a Man” reflects Carmen Winant's ongoing feminist investigation into the construction of identity through image and text. Borrowing its title from Philip Roth’s seminal novel “My Life as a Man” (1974), the artist's book appears, at first, to bear little relation to its literary source. Yet, on closer inspection, the cover of Roth’s first edition surfaces multiple times throughout the publication, within dense fields of stereotypical representations of femininity: hands, pin-ups, cosmetics, bikinis, body fragments, women posing for the camera, ponytails, and other familiar tropes of popular culture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis patriarchal visual vocabulary is continuously reconfigured and interwoven with excerpts from texts by thirteen contemporary artists and writers: Matthew Brannon, Moyra Davey, Courtney Fiske, Jim Fletcher, Kenneth Goldsmith, Jonathan Griffin, Geoffrey Hilsabeck, Michael Ned Holte, Sarah McMenimen, Anna Livia, Alexander Provan, Ross Simonini, and John Yau. 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Mothers, models, actresses, and anonymous figures emerge as protagonists in a visual mythology that is never fixed, but continually rewritten.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54206672470355,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/CarmenW.png?v=1783245311"},{"product_id":"man-machine-motion","title":"Man, Machine \u0026 Motion","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis extremely rare publication accompanied Richard Hamilton’s solo exhibition, organized by the Department of Fine Art at King’s College, University of Durham, Newcastle upon Tyne, in 1955. First presented at the Hatton Gallery in Newcastle and subsequently at the ICA (Institute of Contemporary Arts) in London, the exhibition and publication explored the mythopoetic relationship between man and the moving machine. Originally titled “Human Motion in Relation to Adaptive Appliances”, the project offers an iconographic study of humanity’s fascination with movement, from Leonardo da Vinci’s drawings of mechanical inventions to photographs of racing cars. In the preface co-authored with Lawrence Gowing, the artist writes:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“The relation between man \u0026amp; machine is a kind of union. The two act together like a single creature. The ancient union of horse \u0026amp; rider, fused into a composite creature with an unruly character of its own, always potentially anarchic \u0026amp; fearsome, never entirely predictable, was symbolised in the myth of the centaur. The new union of man \u0026amp; machine possesses as positive a composite character and liberates a deeper, more fearsome human impulse. This new affiliation, evoking much that is heroic and much that is terrible, is with us, not only in the sky, but in every street where a boy joins magically with his motor-bicycle, his face whipped by the wind and stiffened by a passion for which we have no name.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDrawing primarily on images sourced from the King's College Library, Hamilton assembled a thematic study in which text and image trace not only the technological evolution of motion but also the fetishistic fascination it has inspired. \u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54207808176467,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Hamilton.png?v=1783258507"},{"product_id":"holy-bible","title":"Holy Bible","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne of the most remarkable acts of appropriation of the 2010s, this publication finds an uncanny resonance in the troubled times in which we live. Adam Broomberg and Oliver Chanarin’s “Holy Bible” is at once historical and prophetic, narrative and absurd, iconophilic and iconoclastic.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBy pairing the “Book of Books” with images drawn from the Archive of Modern Conflict (a major London-based photographic collection documenting war and disaster), the artists expose the mechanisms of violence in the age of mechanical and digital reproduction. The selected photographs pierce the veil of the sacred text, infusing it with an unsettling contemporary afterlife. Faithfully mirroring the format of the King James Version, the publication interweaves biblical passages with carefully selected images to interrogate authorship, the evidentiary status of photographs, and the persistence of visual clichés. Inspired by Bertolt Brecht’s annotated Bible, it also reproduces, at intervals, underlined passages, extending the dialogue between religion, history, and the politics of representation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough their iconographic study of contemporary violence, Brommberg and Chanarin literally wrote a new (and perhaps final) testament.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54207927943507,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/HolyBibleAdam.png?v=1783259687"},{"product_id":"linguaggio-e-guerra","title":"Linguaggio è guerra","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Linguaggio è guerra” (Language is War) is an artist’s book comprising a selection of photographs sourced by Fabio Mauri from English and German war magazines. Each photograph is stamped with the words “Language is war” and arranged in compositions that deliberately attenuate its emotional charge. Through this process of appropriation and recontextualization, Mauri investigates the ideological uses of language, revealing its capacity to function as a weapon. The artist explains the logic behind his visual semantics in an unpublished typescript, preserved by Studio Fabio Mauri in Rome:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“These are details from war magazines. Stamped, they acquire an added meaning. An act of appropriation takes place. First taken by photographers present at the events, reproduced in contexts of propaganda as partisan communications, then collected in the more neutral form of history, once again removed from their archaeological contexts, cut – that is, edited according to a new thesis – equally divided between the signs of language and the person who bears those signs, and presented anew in sequences that express an interpretive idea in a linguistic mode, the use of photographs only apparently peaceful. 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He regarded both art photography and vernacular images as part of a shared, democratic visual culture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBeginning in the late 1960s, Feldmann became an avid collector of images and stories, assembling them into a series of artist’s books titled “Bilder”\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e(Pictures)\u003c\/span\u003e\u003cspan\u003e,\u003c\/span\u003e\u003cspan\u003e which would become a central component of his practice. Today, these works are regarded as “one of the most important bodies of bookworks in the twentieth century” (Martin Parr and Gerry Badger).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBetween 1968 and 1974, Feldmann organized this vast photographic corpus into small booklets, which were eventually gathered into archival folders. 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Conceived at the peak of the Second World War, it anticipates by more than two decades many of the conceptual strategies, aesthetic concerns, and modes of appropriation that would later become associated with the postmodern artist’s book.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAlthough it makes no political statement, the work explores the drama of competition. Through twenty-nine photographic press clippings of Tour de France cyclists, meticulously collected by Manuel Gasser over the course of a decade and arranged in a striking graphic sequence by Hans Falk, the portfolio captures both the poetry and the brutality of professional cycling. Newspaper fragments are transformed into a cohesive visual narrative through an elegant gravure presentation and a masterful sense of rhythm and composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eManuel Gasser (1909–1979), who grew up in Lucerne, was one of the most influential Swiss journalists and cultural figures of his generation. Between 1929 and 1930, he worked in Arles for the Bern newspaper \u003cem\u003eDer Bund\u003c\/em\u003e, reporting on the newly established Camargue nature reserve. He later served as the Paris cultural correspondent for the \u003cem\u003eNeue Zürcher Zeitung \u003c\/em\u003e(1930–1933) before becoming a founding editor of both \u003cem\u003eAnnabelle\u003c\/em\u003e and \u003cem\u003eDie Weltwoche\u003c\/em\u003e. He contributed to \u003cem\u003eDie Weltwoche\u003c\/em\u003e from 1933 to 1946 and again between 1951 and 1957, while also serving as a correspondent in Berlin (1946–1949) and London (1949–1951). In 1958, he became editor-in-chief of the influential cultural magazine \u003cem\u003eDu\u003c\/em\u003e, a position he held until 1974.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHans Falk (1918–2002), a Zurich-based graphic designer and painter, was one of Switzerland’s leading poster artists. A committed leftist and an outstanding typographer, Falk brought a sophisticated \u003cem\u003emise-en-scène\u003c\/em\u003e to the portfolio’s design. The collaboration between Gasser and Falk resulted in a work of extraordinary originality, issued in an edition of only one hundred copies.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe historical significance of \u003cem\u003eSzenen aus dem Leben der Rennfahre\u003c\/em\u003er has been recognized by Martin Parr and Gerry Badger, who devote a full discussion to the work in \u003cem\u003eThe Photobook: A History\u003c\/em\u003e, Volume III (Phaidon, p. 284). They describe it as:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“An astonishing production [...] The book’s interest lies not just in the fact that it was done at all, but in its conception and execution. It is a superb demonstration of the art of combining the ephemeral and the throwaway – newspaper cuttings of cycling photographs from France and Switzerland, collected over ten years before the war – with a jewel of a setting.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMore than an exceptional photobook, \u003cem\u003eSzenen aus dem Leben der Rennfahrer \u003c\/em\u003estands as a prophetic work. 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