Mizna: The Black SWANA Issue, guest-edited by Safia Elhillo and produced by an all-Black takeover team, explores the infinitely varied and kaleidoscopic nature of the Black SWANA experience.
Mizna: The Black SWANA Issue features contributions by Fahad Al-Amoudi, Salma Ali, Shams Alkamil, Ladin Awad, Lameese Badr, Romaissaa Benzizoune, Dina El Dessouky, Atheel Elmalik, k. eltinaé, Samah Fadil, Shawn Frazier, Myronn Hardy, Fatma Hassan, Asmaa Jama, Marlin M. Jenkins, Abigail Mengesha, Suzannah Mirghani, Nihal Mubarak, Umniya Najaer, Sihle Ntuli, Abu Bakr Sadiq, Sagirah Shaheed, Charif Shanahan, Najma Sharif, Faatimah Solomon, Vanessa Taylor, Qutouf Yahia, Thawrah Yousif. Interview with Charif Shanahan. Visual art by Kamala Ibrahim Ishag.
A diary of liberated gestures in clay. Throwing Mud is a collection of photographs that document Luca and Lily reconnecting with play in their creative process through freedom of form and gesture.
“Lily Pearmain and Luca Anzalone spent a week playing with their respective materials in each other’s company. Lily with clay, and Luca with film. The whole project was an experiment in playing naively with materials that both authors had become accustomed to using. The resulting photographs have been collated here in a book, which the authors hope will act as a guide to play and childlike exploration of common materials.”
Limited edition of 300. Cover screen printed in terracotta clay
Chasing the ghost, the traces of oblivion, and the echoes of what was and no longer is, the book “Omen” is a revision and reframing of the fraction of the photographic archive of the Farm Security Administration (1935-1944) hosted at the New York Public Library. That program—perhaps there is no need to add—was one of the milestones of modern documentary photography, instrumental on the constructing an hegemonic narrative; one mainly about triumph against adversity, division, and catastrophe in the recent history of the United States.
But by stressing the gaze over that monumental set of images, and scrutinizing at the corners of the pictures, at the backgrounds and details—in the secondary characters, in what should not be there, that which appears by chance, accident or error— it is possible to discover a different narrative, one that is thicker, murkier, more troubled, complex, contemporary and contradictory. Both a shatter and an apex: a premonition of the genealogical continuity of the many (tumultuous, visible and invisible, thunderous and silent) systemic violence that make up the face of American society.
A book that serves as a mirror of the distressing reality of the United States in our days, and, a the same time, as a device for reflection on the way historical and documentary photography is read and understood, taking the editorial eye to its ultimate consequences.
Photographs by Russell Lee, Dorothea Lange, Ben Shahn, Walker Evans, Carl Mydans, Arthur Rothstein, Gordon Parks, Jack Delano
Excavations at the Miriam and Ira D. Wallach Division of Art, Prints and Photographs of the New York Public Library
Concept and selection by León Muñoz Santini, Jorge Panchoaga Edition by Pablo Ortiz Monasterio
A journey into Miami’s ghetto. A gang, writing classes, a bicycle, rap songs, turquoise houses, dollars, a strip club and North Beach ocean. A love story forbidden by the silent rules of the streets of Liberty City. A solar depiction of a place where fates are sealed. She is Ella. His name is June. Burnt by the sun, they are watching the white shapes of water, “White Water”.
“White Water” takes the reader on a journey through Liberty City, a poor neighborhood in Miami. It draws the story of two characters divided by everything: Ella & June. A hybrid project, this story is related by both a book and a movie. Analog photographs, raps, poems & interviews will immerse you into the hood alongside the fiction. The short movie acts as a symbolic and poetic depiction of the story. Both are connected, independent & intrinsic.
“White Water” offers a reading as an artistic experience. It is an adventure, an exploration, and a questioning of the self and the others. Halfway between a novel and an art book, “White Water” offers an adventure, an exploration and a questioning of oneself and of others.
Limited edition of 150 copies
Un voyage dans le ghetto de Miami. Un gang, des cours d’écriture, un vélo, du rap, des maisons turquoise, des dollars, un strip club et l’océan de North Beach. Une intrigue amoureuse interdite par les lois silencieuses des rues de Liberty City. Le portrait solaire d’un lieu où les destinées sont déjà écrites. Elle s’appelle Ella, il s’appelle June. Brûlés par le soleil, ils regardent les formes blanches de l’eau, “White Water”.
“White Water” offre au lecteur un voyage dans un quartier pauvre de Miami appelé Liberty City et tisse un portrait de ce lieu à travers le regard de deux personnages que tout sépare : Ella & June. Projet hybride, il se décline sous la forme d’un livre et d’un court-métrage. Le livre est un roman de fiction accompagné de photographies, de raps, de poèmes et d’interviews. Le court-métrage agit comme un portrait poétique et symbolique de la fiction. Ils sont connectés, intrinsèques et à la fois indépendants.
À mi-chemin entre le roman et le livre d’art,“White Water” se veut une aventure, une exploration et un questionnement sur soi et sur les autres.
“Amaneceres Domésticos. Temas de vivienda colectiva en la Europa del siglo XXI” presenta, a partir de obras construidas, los temas principales que van modelando la vivienda colectiva europea en el siglo XXI. A través de una serie de conceptos, ejemplificados con proyectos construidos, sus editores, Carmen Espegel, Andrés Cánovas y José María de Lapuerta, proponen un lugar de reflexión y debate sobre el presente y el futuro de los espacios que habitamos. A través de 28 ejemplos paradigmáticos de vivienda construida organizados en torno a siete categorías: Conciencia climática, Recargas activas, Cuidados domésticos, Nueva gestión, Contextos urbanos, Vivir y compartir e Identidades icónicas, más un epílogo COVID se muestran los conceptos fundamentales de la nueva habitabilidad que se están desarrollando en la vivienda colectiva de la Europa de principios del siglo XXI, propiciando de este modo un debate que permita continuar avanzando en este sentido.
Textos de Carmen Espegel, Andrés Cánovas, José María de Lapuerta, Eduardo Prieto, Almudena Ribot, Hilde Heynen, Marina Otero Verzier, Elli Mosayebi, Amparo Lasén, Uriel Fogué y Javier Echeverría Diseño: gráfica futura Traducción: Noemí Gª Millán y Mike Lumber Edición: Fundación ICO, Ministerio de Transportes, Movilidad y Agenda Urbana (MITMA) y Ediciones Asimétricas
Inside this box is a book that holds thirteen letters written between 2019 and 2022 by the artist Yamine Elmelegy to the sculptor and industrialist Fathy Mahmoud (1918-1982). Yasmine never met Fathy Mahmoud but started writing these letters shortly after she discovered that a cup she has at home is signed by him. This happened only days after she learnt that Fathy Mahmoud was responsible for a series of iconic public statues in Cairo and Alexandria. The letters show Yasmine’s search for what is left from Fathy Mahmoud’s artworks, the porcelain plates and cups he produced, the factories he founded and the history he left behind about the relationship between art and industry.
The publication of The Against, the book that documents the process, development and results of the homonymous exhibitions that simultaneously took place last Spring at multiple sites in New York. The book not only displays the uncontrollable compulsion of graffiti bombing by 21 artists from different parts of the US, Canada and Mexico. This remarkable book focuses on those who are the exceptional graffiti bombers in the last decade. The objective was to take all of these artists, bring them together in one place, and see how they collaborate as a shared experience in New York, being the mecca of graffiti bombing. The main theme, the subject of the book, is the very work of these masters working together. In the realm of graffiti, it’s very hard to get the very top artists all the time, because some of them are either incarcerated, or they won’t relate to galleries’ projects. But the ones selected are the top bombers we could get now. Rooming together and sharing styles and techniques was a unique, collaborative experience for those involved; a graffiti bombing League; a gathering of talents; the dream team of graffiti. The book shows their singularities and differences in a remarkable display of strength and imagination, shapes, and colors. The Martinez Gallery Books has published several books on graffiti, focusing on different themes, social and health issues, and a variety of topics related to our daily life. As the evolution of graffiti from the 90s to now has shown, you have to be more well-versed in art now, even as a bomber. We can say that the world of graffiti is ever-growing, and that, in this changing context, would be an ideal opportunity to discuss and assess what bombing is today in comparison. This book offers that opportunity and opens up the field to different alternatives and trends within graffiti culture.
