Flashing Lane documents the stretch of road in Appleby where every year, Irish travellers race and show their horses during the Horse Fair.

This historical event, that takes place in June since 1685, is one of Europe’s biggest and crucial gathering points for the Romani and Traveller communities from all over Europe, the UK. For the photographers Kira Bunse and Eleonora Gustapane, the series becomes a terrain of identity-based anthropological exploration, a way to investigate the culture, the coming of age and the value system within a traditionally nomadic society.

Publié par Strzelecki Books, 2024
28,3 x 19,2 cm

What do we start with when telling a story — What tensions activate it — What does it promise — What do we want from it — How do we deliver it — Must it have an end — What about a story which never began — Stories we wish were told — Stories which have always been there — Stories we don’t know how to start.

Beginnings is a collective attempt at questioning protocols and forms of narration initiated by Manon Michèle. The publication gathers textual and visual works from twenty-nine artists, writers and collectives. With two covers, ninety-six pages, and no end, the publication remains in flux, with no definitive conclusions but the shape of an ongoing question: Where do we start and where might the act of arriving lead.

There’s bodies thrusted through motion, accelerations, collapses, into the folly of life, death, borders and language. There’s following intuition, rabbits, leaders, and the shape of clouds, switching from script to script to escape latched circles and compliance. There’s braiding together clashing dimensions and vital landmarks, processing ghosts to reclaim space, feeding them to trusted spirits. There’s foreseeing new shapes, and believing in what grows. There’s the poetry of saving what can be saved and the pull of letting go. There’s so much to begin with…

Le Royaume is the portrait of an imaginary community. The blue, grey or black mud anonymises the bodies and faces, presenting themselves as a second skin, ancestral sediments that protect them but also freeze them in a role. This blue mud is a mask for everyone, releasing postures and grins that are as violent as they are tender. The mysterious gestures of these bodies tell the story of a life on the fringes of a Kingdom without images, out of focus, to be invented by each individual. Their consistency is reminiscent of the stunned and enveloped body, and speaks to us of the incessant struggle to inhabit the world.

Year: 1994

Taking the form of an affordable mass market paperback, Voyeur is a compact representation of society as image spectacle. A sprawling taxonomy vernacular photography, images from every possible genre are here--crime, fashion, sports, advertising, and on and on. The variety of sources, mostly twentieth century, is equally sprawling. They are presented scrapbook style in miniaturized black and white half-tone reproductions. 
"Voyeur trawls the image wreckage of our consumer-driven culture, making eccentric or sinister juxtapositions (shots of nude women next to aircraft crashes) and cataloging the blandness of media bombardment to render its toxic assault visible to us, its near-helpless voyeurs."

Each and every page of Voyeur by Hans-Peter Feldmann is packed full of pictures. Completely unexpectedly, photos of naked women are arranged next to snapshots of airplane crashes. Are we voyeurs like the artist himself, or has he caught us out?

Nikki Giovanni's poetry has dazzled and inspired readers for more than sixty years. When she first emerged from the Black Arts Movement in the late 1960s, she immediately became one of the most celebrated and controversial poets of the era. Now considered a literary legend, this is the first new selection since the late 1990s and offers readers a chance to be introduced to and to celebrate her incredible lifetime's work.