Holy Bible
Adam Broomberg, Oliver Chanarin
2013
Holy Bible
Holy Bible
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One 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 ...
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Holy Bible
Adam Broomberg, Oliver Chanarin
2013
London: MACK and Archive of Modern Conflict
728 pages
22 × 16.5 cm

One 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.


 


By 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.


 


Through their iconographic study of contemporary violence, Brommberg and Chanarin literally wrote a new (and perhaps final) testament.

London: MACK and Archive of Modern Conflict
728 pages
22 × 16.5 cm

One 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.

 

By 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.

 

Through their iconographic study of contemporary violence, Brommberg and Chanarin literally wrote a new (and perhaps final) testament.

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One 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.

 

By 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.

 

Through their iconographic study of contemporary violence, Brommberg and Chanarin literally wrote a new (and perhaps final) testament.

London: MACK and Archive of Modern Conflict
728 pages
22 × 16.5 cm

One 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.

 

By 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.

 

Through their iconographic study of contemporary violence, Brommberg and Chanarin literally wrote a new (and perhaps final) testament.

MORE BOOKS

One 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.

 

By 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.

 

Through their iconographic study of contemporary violence, Brommberg and Chanarin literally wrote a new (and perhaps final) testament.

MORE BOOKS