Fax from the Library ; Japanese Lesson ; You and Me: three projects, consisting of several parts incl. books, videos, exhibitions, websites, glossaries etc. Fax from the Library (since 2013) Fax from the Library, two one-channel-videos, 2015 each 6:37 min; 16:9; full HDFrax from the Library, Projektraum Fotografie Dortmund, 2015 https://faxfromthelibrary.tumblr.com/ Time and Sequence is something we are very interested in when thinking about photography and images. Moving images frequently appear

Alessandro Calandra As a photobbok addicted, web surfer and collector of beautiful spreads on his facebook account, Alessandro decided to answer just to our last question and to consider his facebook account as a project. As it is a link, we'll share also the books he suggested as links from different sources. Thinking about Warburg's 'good neighborhood rule', what are the books that underpin your project? Line–Gry Hørup, Results &am

Works for a cosmic feeling Works for a cosmic feeling is a collection of photographic works shot with a film large format camera that employing the tools of science and philosophy explores what Romain Rolland (in a 1927 letter to Sigmund Freud) called “an oceanic feeling” - referring to the sensation of being at one with the universe. Whether observing the way in which the branches and leaves of a forest organize themselves, how a bi-dim

Collateral Histories, with Giovanna Petrocchi Giulia Parlato’s practice focuses on staged photography, and revolves around history, myths, and objecthood. She studies the historical use of photography as a document of truth, specifically in its scientific and forensic uses, and attempts to challenge this language, by creating a new space in which fake histories take place. Looking at the fragility of historiography and at the idea of failed encounters, her practice undertake

The Incurable – image. Curating Post Mexican Film and Media Arts, published by Edinburgh University Press 2016 From the 1990s onwards the ‘ethnographic turn in contemporary art’ has generated intense dialogues between anthropologists, artists and curators. While ethnography has been both generously and problematically re-appropriated by the art world, curation has seldom caught the conceptual attention of anthropologists. Based on two years of participant-observation in Mexico City, I address this lacuna by examining a&nb