On February 9, 2020 in Mexico City, a 25-year-old woman named Ingrid E.V was murdered by her companion. Grisly photographs of this femicide committed by Erik Francisco Robledo Rosas, taken at the scene of the crime by the authorities, were avidly circulated by Mexican tabloids, which had no qualms in plastering the young woman’s dismembered body across their front pages. This opportunistic move by the gutter press, and the complicity of the police in making it possible, sparked a wave of protests. Spurred by a tweet to do their part in ridding the internet of these gruesome images, social media users around the world posted numerous photos of peaceful lakes, sunsets, fields of flowers and other scenes of natural beauty under the hashtag #IngridEscamillaVargas. Moved by this collaborative effort, Zoé Aubry, who has been working on the systemic and structural phenomenon of femicides and the issues raised by their media coverage since 2017, has produced a book that pays homage to the memory of Ingrid Escamilla Vargas, denounces violence against women, and assails the voyeurism of a certain segment of the press.

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The book presents three work groups by Katja Eydel all derived from online research on commercial or promotional photography. Appointed is based on announcements for contemporary art exhibitions and projects, Habitus investigates liturgical clothing and props for Christian priests and monks and Set consists of rephotographed portraits of children that were used in packaging.

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With an afterword by Rosi Braidotti, an introduction by Cristiana Perrella and Elena Magini and selected words by the photographers.

The book has been published in collaboration with Centro per l’arte contemporanea Luigi Pecci which hosted the eponymous show.

Soggetto nomade (Nomadic Subject) gathers, for the first time in one volume, shots taken by five Italian photographers between the mid 60s to the 80s. The photographs are giving glimpses on the way female subjectivity was lived, represented and interpreted back in the days, in a time of great social change in Italy. Years of transition from political radicalism to hedonism, the lead years were also years of great participation and civil conquests, mostly due to the feminist struggle. This book is a visual reflection on identity and representation departing from the extraordinary portraits of the trans community in Genoa by Lisetta Carmi (Genoa, 1924), followed by the portraits of actress, writers and artists by Elisabetta Catalano (Rome, 1941-2015); the feminist movements’ shots by Paola Agosti (Turin, 1947); women and young women captured by Letizia Battaglia (Palermo, 1935) in a Sicily disfigured by the mafia; to end with the photos of men who used to turn into women for a day, during carnival, in the small towns of Campania captured by Marialba Russo (Naples, 1947).

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In October, 2021. Tomite temporarily returned to Tokyo from Berlin and wrote his thoughts and feelings during his three-month staying in Tokyo in his diary and photographs, and Tokyo-based photographer Aizawa took photographs of Tokyo after his return from Berlin. He also spent a full month in Sapporo from before Christmas in December to January, just before the outbreak of Corona. This book is a compiled edition of writings and photographs during that period.

The titles “Vacance” and “VACANCY” are derived from the same etymology, and are ironically translated into positive words for the era of the corona pandemic.

Edition of 200, numbered

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How do we see the cityscape and its periphery? Can we read these as a composition of volumes pasted over with brand labels and messages? The appearance of our cities is a mirror image of the state of our culture. People read and interpret the city based on a form of text written by the private sector and the state. What does our urban public space tell us? The present artist book responds to visual strategies deployed in public space with the intention to consolidate and entrench a repressive system of control, turning citizens into consumers.

Markéta Kinterová (*1981) focuses on conceptual photography, oftentimes overlapping into public space. She studied photography at the Faculty of Art and Design at the Jan Evangelista Purkyně University in Ústí nad Labem, Czech Republic. The author’s book is published as the artistic part of the doctoral thesis Oppositional Reading of Public Space, which she defended last year at the Academy of Arts, Architecture and Design in Prague. She has been the head of the Documentary Photography Studio at the Film and TV School of the Academy of Performing Arts in Prague (FAMU) since 2016. She has taken part in several independent and group exhibitions. She is the editor-in-chief of the Fotograf magazine and the executive director of the Fotograf Festival in Prague.

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Photos avec Adèle Bournazeau et Julien Carreyn.

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Numbered edition of 35

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Numbered edition of 50

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Numbered edition of 50

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Autobiography is a series by Tonini Editore, published monthly. Each volume will be dedicated to an artist, who will be free to carry out the topic of the autobiography by means of text or visual supports.

The selection of the artists participating to the series is coordinated by a scientific committee made up of six renown personalities in the world of the art research and collection: Pedro Barbosa (collector and founder of the Coleção Moraes – Barbosa), Alex Bacon (art historian), Claudio Guenzani (gallery owner in Milan, owner of the Studio Guenzani), Michele Lombardelli (artist, composer, typographer and consultant for several publishing houses), Shwetal Ashvin Patel (writer and researcher, founding member of the Kochi-Muziris Biennale), Christoph Schifferli (collector and scholar), Valentino Tonini (director of the homonymous publishing house).

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