VOL. 31 INVENTARIOOscar Muñoz photographs
In an interview with Maria Wills from 2013, Oscar Muñoz declared, “I take photos the way everyone does, but that’s not what interests me… I’m much more interested in photos taken by other people.” And further along in the interview, he talks about his taste for the “anachronistic confrontations” contained in that combination or crossing between historical photos and different registers: “The images that come to us through time are not static; they are in a changing relationship constructed with the images we consume from day to day. New ones appear while others are cast aside… Many of our memories are constructed from images that do not reflect what we have lived ourselves. » The process the artist engages here of charcoal dust prints translates his interest in images that are “halfway between materialisation and dematerialisation,” evoking memory and forgetting…Description:10 charcoal dust prints set in plastic sheetsCase made of cardboard and brass30 x 20 x 3 cm Limited edition of 13 copies + 4 H.C November 2014Graphic design:Olivier Andreotti
VOL. 30 ESTAMPAS DE BUENOS AIRESFacundo de Zuviría photographs
These photographs of neighbourhoods, shop windows and architectural elements, as well as so many other things Buenos Aires modestly recognises itself as, were taken from the mid-1980’s to roughly 1996, with no other intention but to capture what was prompted by my own obsessions, my tastes, almost without even realising it. If my ambition was to make black and white photographs of the port city’s soul, photographing with colour liberated me from my mission and let me take photos with no pretension of making works of art and to gather together subjects which, for one reason or another, I appropriated. And this is how, without meaning to, I ended up putting together a collection—pieces cropped from reality—peopled with idols, mannequins, graffiti, hair salons and façades from the city I grew up in. I see them now as images of a long time ago, a romantic period, when I was discovering the surfaces of everyday life, the elements that would make up my own way of seeing. Facundo de Zuviría Buenos Aires, October 23, 2014Description:8 Cibachrome printsCase made of cardboard30 x 40 x 3 cm Limited edition of 10 copies + 4 H.C November 2014Graphic design:Olivier Andreotti
VOL. 29 TWO WOMENThomas Ruff photographs - Ingo Schulze text - Atelier Bow Wow traycase
Here Ingo Schulze makes use of a first-person narrative to blend reality and fiction. Again the German writer reveals his talent for making the apparent banality of everyday life speak of the great ruptures of contemporary history. East Germany’s oppressive regime is evoked, for example, by means of a mere anecdote—a few words exchanged between a Parisian restaurant owner and a poet from East Germany.
Thomas Ruff opts for a similar process, invoking politics but from the sidelines. In an exchange with Philip Pocock dating from 1993, Thomas Ruff declares that his portraits make explicit reference to police surveillance in West Germany during the violent decades of the sixties and seventies.
The Japanese architecture agency Atelier Bow Wow has chosen to assign a separate casing for each of the three series of portraits by Thomas Ruff, with each volume forming the archetypal shape of a house with a saddle roof. An Urushi black lacquer has been applied to the surfaces of the three modules.Description:39 original signed photographs (chromogenic prints), set in photo-corners3 Urushi lacquered cases1. 25 x 32 x 5 cm / 2. 29 x 20,5 x 5 cm / 3. 26 x 26,5 x 5 cm Text in French and English Limited edition of 40 copies + 8 H.C April 2013Graphic design:Olivier Andreotti