Despite the state of the world, the sunrise, the smells, nature, and youth.
Everything was beautiful at the moment.
These photographs were taken for an advertisement for the artist’s brand ATELIER FLATMOON (https://www.atelierflatmoon.com/).
Photography by Hideaki Ota
@hid_ota
Edition of 30, numbered
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Printed in the edition of 200, Atom is an exploration of desire, beauty, loneliness, and introspection. It is also a reflection of our shifting understanding of the body and spaces we’ve inhabited in the last two turbulent years, and a project firmly rooted in the transformative power of the female gaze.
Atom captures a range of leather pieces by Fleet Ilya as tools of self-discovery, intimate connection, and collaborative creativity. The book, edited by Fleet Ilya co-founder Resha Sharma, comprises portraits of five heroines within their private spaces, still lives, immersive nature shots by Bazhenova-Yamasaki, and poetic text by Beata Duvaker.
The book is a result of almost a decade-long collaboration between Bazhenova-Yamasaki and Fleet Ilya. It combines the plurality of female perspectives and voices from the collaborators and the heroines depicted in its pages – a testament to that underrepresented point of view when it comes to photography, sexuality, and leatherwork.
Atom is a book of erotic photography that reinvents erotic photography, strips it to viscerally honest corporeality, deep-rooted intimacy, and irresistible beauty of the small details, be it a flower or a leather strap. It offers a sensory journey through photography and writing – alongside the pleasure of an exquisite object to hold or have at home.
Edition of 200, numbered.
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‘Panorama’ is a collection of photographs of different landscapes in Tokyo captured between 2019-2020 using a slit camera that Haruyuki Shirai made himself.
‘Panorama’ is a combination of ‘pan’, meaning ‘all’, and ‘horama’, from the Greek word for ‘view’, hence the meaning ‘full view’. Haruyuki Shirai chose this word as the title of his book – a collection of photographs which capture ‘views of everything’.
The dimension of time is introduced, and the flow of time is projected horizontally, becoming a landscape-like scene. Upon a timeline, these photographs are the ‘views of everything’.
Text: Kinichi Obinata
Art Direction: Taro Kambe
Design: Noa Watanabe
Translation: Catherine Lealand
Edition of 500, numbered
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J. Carreyn
journal de Bertille
J. Adam, R. Bacourt, M. Bernard, B. Boros-Turquin, A. Bournazeau, M. Bremer, M. Dorchies, C. Farina, S. Fiorucci, V. Foucher, A. Gayet, J. Jennifer, O. Jones, C. Leconte, J. Lempert, G. Morandi, M. Ogier, B. Porcher, A.Pyvka, C. Raimondi, E. Spalletti, N. Sutter-Shudo, S. Toulouse, S. Verastegui, V. Villard
Printed with Risograph.
Handmade numbered edition of 16.
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Printed on 115gsm grey recycling
paper (Blue Angel), Cover: 300gsm
grey recycling paper (Blue Angel)
1. Edition of 30 (signed, numbered)
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August 26th, 5pm somewhere in Place des fêtes, Paris
Température ressentie 32°.
Edition of 50.
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Edition Schwimmer’s booklets, Hofter Monthly and TheSchwimmer by Sibylle Hofter are available in Motto.
Hofter Monthly and TheSchwimmer are monthly photography publications drawing from Sibylle Hofter’s work and archive.
With contributions by Wolfgang Hofter, Sophie Holz, Mania Lohrengel, Patricia Nya Njaounga, Sheney Okan, Christian Seidel, Daniel Sellek and Anna Tietz.
Sibylle Hofter is a Berlin based visual artist exploring film, text, site-specific sculpture, installation in public space, and photography, participatory and individual. She is also a curator of various projects, and co-founder with Sven Eggers, of the on-going political, media-critical semi-participatory photo project Agentur Schwimmer (Swimmer Agency), that she currently runs with Daniel Sellek. Hofter process usually includes extensive research on extra-cultural fields. Since 2011 she edits Hofter Monthly booklets and TheSchwimmer booklets on paper. She focuses on emancipatory, post-colonial, collaborative work.
The booklets are sold individually or in a special edition box set.
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In Alex Anyaegbunam’s work, photographs don’t just document moments, they manifest memory. In “Ugly Duckling,” Anyaegbunam’s show with Otto Resource c/o Adam Barnard, Polaroid portraits of the artist from childhood to young adulthood explore the formation of his identity at the same time that they convey how these captured moments made him feel.
Instances of double-exposure and visual distortion combined with illustrations in paint and Sharpie imbue each photo with an emotional realism, which gives insight into the subjective experience, sometimes of the photographed subject, sometimes of reflective artist, sometimes of both.
The recurring motif of a red, flaming, shonen-anime wig becomes a symbol of sorts for, among other things, creativity and boyhood. Polaroid portraits of intimate others — at times alongside the artist, at times alone — also demonstrate the relationship that experiences with and memories of others can inform notions of selfhood.
The fanzine comes with a set of stickers.
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“When childhood ends, only sights, sounds and smells remain. I will never again reach that brilliance and pure fear. I am stuck in an uncertain and dark time. Now there is only a “Hezeyan” filled with images.”
–Rasul Guliyev
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When starting to work on the 25th issue of our magazine, we were discussing whether there should be some sort of content to celebrate this milestone and the past ten years leading up to it. But, as further reading will indicate, there are no texts praising past issues or reflections on the musical developments we documented over the years. However, the anniversary helps in presenting the underlying theme of this issue. As loyal readers might know, zweikommasieben started out as a fanzine and aspired to keep this character somewhat alive. Therefore, in zweikommasieben #25, we would like to reflect on various aspects of what fandom entails.
As fans, the authors, editors, and photographers of this magazine are dependent on artists — niche or mainstream — to be willing to have their practice documented. To put it bluntly: if they don’t want to speak to us, there is not much we can do. Likewise, and without overestimating the impact of our small publication, it might have positive consequences for artists to be featured in zweikommasieben, which is not simply a unidirectional channel between fans and artists: over the years some artists highlighted their own fandom, interviewing other artists they admire for this very magazine, while some contributors developed artistic practices which led them to having fans on their own.
Such an ever-changing web of dependencies is highlighted on the following pages. This edition features a text by media theorist and artist DeForrest Brown Jr. dedicated to the multiple talents of singer-songwriter Dawn Richard: an exploration of why fans could be drawn to her practice over the past 15 years. Jasmin Hoek visits a new museum in Amsterdam that is dedicated to techno and club culture to investigate whether such an institution can be true to something we all have been fans of. In Anna Froelicher’s interview with Price, the artist elaborates on how he plays with both institutions’ and fans’ conceptualization of his music. The complexities of being a fan not only relate to other people and institutions but also to oneself and one’s personal development. In a new essay, Friedemann Dupelius uses his ever-evolving fascination with trance to reflect on the genre’s current status quo.
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