Batia Suter's work intuitively situates found images in new contexts to provoke surprising reactions and significative possibilities. This volume follows on from the first Parallel Encyclopedia, published in 2007. Underlying themes of Suter's practice are the "iconification" and "immunogenicity" of old images, and the circumstances by which they become charged with new associative values. "In my work, I collect groups of images based on various themes and characteristics, and I investigate how they can manipulate each other, depending on where

FAGS is a photographic book by Jacopo Benassi. It collects images in which the artist portrays and documents his intimacy over a period of 25 years, starting from the day he announced his homosexuality: a human journey made of encounters that left an indelible mark on his personal and artistic history. Published on the occasion of the exhibition Jacopo Benassi: Vuoto at the Centro Pecci in Prato, FAGS is a unique and intimate artistic project tha

"The tension implicit in any photograph is the tension between an inert, black-and-white, two-dimensional object, and an event that actually existed in the phenomenal world. A successful photograph mediates, though never completely resolves that tension.” In 1972, as his career was beginning to take off, Lewis Baltz conducted a revealing interview, his first considered statement about photography. Never published, the interview has recently resurfaced, and is printed here for the first time. In an increasing

Batia Suter’s work intuitively situates found images in new contexts to provoke surprising reactions and significative possibilities. ‘Parallel Encyclopedia’, which she conceived between 2004 and 2007, contains a precise composition of numerous images taken solely from other books. Significant underlying themes expressed in the Amsterdam-based, Swiss artist’s practice are the “iconification” and “immunogenicity” of old images, and the circumstances by which they assume or become charged with new associative values. This is a reprint of

From the seminal moment in 1908 when the young Picasso took a piece of brown card pasted with a "Magasins du Louvre" label and converted it into a new kind of picture, collage has been at the heart of modern art. Indeed, in seeking to transform the discarded scraps and residues of everyday life, the technique found extraordinary new opportunities for subversive rupture, playful artifice, and surreal juxtaposition, together with a completely new conception of the work of art