PUD III is the last book in a trilogy conceived and photographed by Jason Nocito, designed by Camilla Venturini of Ordinary Books and published by Dashwood.   Originally released at the LAABF in January 2014 PUD(I) consisted of a series of sixteen photographs of New York City street debris and puddles interspersed with images from a road trip across the US all shot on an 8×10 view camera recording extremely high detail.    The final book produced in an identical trim size and cover design, in alternate colors, uses the debris and puddles as its’ main subject once again but this time juxtaposed with studio and darkroom images. Asking more questions than are being resolved; the PUD series has evolved as an exercise in conceptualizing, editing and design – the practice of bookmaking itself. – See more at: http://www.dashwoodbooks.com/pages/books/15498/jason-nocito/pud-iii#sthash.SRogeVRp.dpuf

€45.00

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with contributions by:

Anne De Vries
Luis Miguel Bendaña+Sam Lipp
Cedric Fargues
Pablo Larios
Harry Burke
Billy Rennekamp
Josh Bitelli
Alex Mackin Dolan
Caspar Jade Heinmann
Dora Budor
Eric Veit
Alexander May
Albin Werle
Jacopo Mazzetti
Palace
Juliette Bonneviot
Katja Novitskova
Samia Mirza
Aaron McLaughlin
Anna Mikkola
Rosa Aiello
Octave Perrault
Greg Ponchak
Jack Self
Oskar Kahn
Alessandro Bava
Sydney Shen
Rasmus Myrup

E-C-O-C-O-R-E is a bi-annual ecology xine.

ECOCORE aims to explore the camouflaged souls of ecology.

ECOCORE addresses the improper valuation given by hyper consumption to shared, finite, natural resources. Negative externalities born by public and subsidised lives are calling for a re-examination of the “good cause”.

ECOCORE recognises that ecology’s identity has been repressed or relegated to area’s where it ought not to be. Relying on prettiness as a tool to convey its’ ideas, ECOCORE strives to furtively edit ecology’s muddled identity and environmental awareness.

There are many new leading actors, decision makers, and partnerships that play increasingly important roles in what happens to the natural world. The proliferating complexity, immediacy, and ubiquity of environmental crises therefore demand novel and unusual human responses towards this new eco-governance.

ECOCORE is made by Alessandro Bava

€10.00

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LAW stands for Lives and Works. Established in 2011, LAW is a bi-annual magazine that documents the beautiful undercurrent of Britain.

We provide a window into an often overlooked and rarely documented world, because we feel that it is vital to describe and record the time we live in, whilst always pushing things forward.

Contributors: Laura Coulson, Elliot Kennedy, Nina Manandhar, Joshua Gordon, Bafic, Joe Wilson, Dave Imms, Brendan Baker, Daniel Evans, James Pearson Howes, Cieron Magat, Kara Messina, Joe Bond, Tommy Sissons, Callum Gordon, Corey Bartle Sanderson, Bryony Stone

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London, Paris, New York, Milan, Los Angeles, Sao Paulo, Palo Alto – art is moving faster than capital like a god wind that no-one can stop let alone control. Meanwhile a lot of art writing and ‘critical theory’ is stuck in the comfort zone of the 70-90s when there actually was an avant garde or subculture. For art writing to get back on track it needs to shake out of this nostalgia and start engaging with the nuances of what is going on by covering the new breeds of involvement that have emerged since 2009 – the new sincerities and ironies, the more subtle art practices and social variations of market participation that have developed to deal with the institutional grip. For some time an aesthetic suspension of disbelief helped to provide an alibi that allowed us to participate as if we did believe the market was the key to “validation”, but then quickly vanished into feelings of depression after any agency seemed like an impossibility. As the contradictions got wider, different problems have emerged such as whether art is concurrent with the transitional moments of our present culture or technology, or whether art altogether has reached its informational limit. The art world has slowly transitioned from modernist pretensions that seem like delusional excuses to the public, to developing a new sensibility – one of silent, shared communion, retributions and confessions. It has taken the step into a reality that is more in keeping with the real world of business, design and branding than creating stark ‘alternatives’. Beyond short-term pragmatism and adaptability, how can artists aesthetically work alongside their authentic desire to participate in a logic of the market that by necessity must scale? How can we realistically judge the work of art institutions if they are frozen into following instrumental logics rather than relevance? With the availability of information online, there is no way these logics are not transparent to a committed internet user. Narratives like these happened in Pop Music years ago. Just as the Music Industry had to face up to its own protocols, the Art Industry needs to be judged on its changing developments; the ways art is being used as a financial instrument, art’s new marketing techniques, art as representation of different sociological interests, art as access to power, status, fame, participation and the rest of it. Until art writing gets really into these driving forces, it won’t be able to say anything interesting about art. It also won’t be able to grow or be writing that anyone really wants to read. Art Against Art marks a turning point – the one that says by breaking from the overbearing logic of what seems like an inevitability, we can get closer to the conceptualizations we would like society to experience but don’t. The Editors

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Self-published by Todd DosSantos, edition of 300.
Cover design by Douglas Richard

€35.00

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“For three years (2011-13), we have collected press clippings. The ‘Arab Spring’ at its peak; the arrival of the Troika (IMF, ECB, EU) in Greece, Portugal and Ireland; the earthquake and nuclear disaster in Japan; and a bit everywhere in Europe and the USA, citizen movements against austerity policies in favour of the bailout of the financial system. Far from these world events, yet affected by them, a family, ours, a photo album.
Gustavo is 5, 6, 7 years old. He learns to read and write. His friend Gaspar is 9, 10, 11. His body changes from child to small adult. The disease comes back, goes away and comes back anew, always in the summer, but surrounded by friends. ‘Banks are like cancer’ says a placard brandished during an “Occupy” protest movement in New York. A brutal metaphor spreading in someone’s body. We hesitate between staying in Portugal and trying our luck in France. As long as one of us still has a job, we stay.
This book is a facsimile of a photo album dedicated to our son and his friend, meant to be opened in 2030. It offers a journey across time, from an uncertain future to a past (our present) where our family pictures collide with those we get from newspapers. It’s a book to read, more than leaf through.” Patrícia Almeida and David-Alexandre Guéniot

A book by Patrícia Almeida and David-Alexandre Guéniot
98 Pages, 198 black and white pictures
Size: 27,5 x 40 cm
Hard cover
Print run: 200 copies

€43.00

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Bramante is the most important architect in the history of Western architecture.
This fact alone would be a sufficient reason for this issue, but the additional fact that Bramante died 500 years ago merits its own celebration.

Most of all, now that globalization has come full circle and we live in an entirely unified market, we must address Bramante’s work as the foundation of universalism in Western architecture.

€18.00

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Samopal’s first issue.

with works by:

Andrey Isakin
Eva Sterlyagova
Ivan Orlov
Kira Pievskaya
Lisa-Marie Manthey
Marta Pfeiffer
Misha Piterskiy
Nadya Zakharova
Oleg Borodin
Olga Timofeeva
Pavlik Kuznetsov
Petz Alyaev
Sasha Marshani
Svetlana Selezneva

€15.00
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