The ultimate ambition of this book-tool is to “disappear on the street”. Its pages collect words and stories of people whose right to exist and be visible in public spaces was forced to confront the concepts of “legality” and “justice”. Considering the assumption that the law is a fluid parameter, which changes depending on where we are in the world, the historical period in which we live and the sort of privileges we enjoy, the

Lucid protagonist of the American “new topography” of the 70s, an artist constantly committed to deconstructing the politics of places and representations, since his beginnings Lewis Baltz has accompanied his visual research with a meditated critical and self-critical writing activity. The reflections collected in this volume illuminate from different perspectives his over 40-year work and the transatlantic context in which it has developed: interventions that have accompanied the topographical works of the first period, nar

Published on the occasion of the collaboration between 3 137 and Ilaria Conti, within the framework of the sync Curatorial Fellowship (January – March 2020), Around Labor, Art, and the Auratic Condition (This is Not a Love Song), this non-linear and non-discursive edition features statements by curators and scholars who have been active in Athens, Greece, on issues of labor in art, including iLiana Fokianaki, Elpida Karaba, Evita Tsokanta, and Despina Zefkili; a newly commissioned image by Erica Sco

Presenting a diverse geographic and ethnic selection, the What They Saw anthology interprets historical photobooks by women in the broadest sense possible: classic bound books, portfolios, personal albums, unpublished books, zines and scrapbooks. Some of the books documented are well-known publications such as Anna Atkins’ Photographs of British Algae: Cyanotype Impressions (1843-1853), Germaine Krull’s Métal (1928) and Diane Arbus: An Aperture Monograph (1972), while other books may be relatively unknown, such as Alice Seeley Har

The work “Vietnik” addresses the intrinsic duality of the photographic medium and its tie to the performative construction of identities. “Photography is the advent of myself as other: a cunning dissociation of the awareness of identity”. Vietnik is a musical pseudonym, a proxy, a cyborg, a “self-portrait as a building and bildung”. The double (spatial and temporal, photographic and musical, of images and words) is a recurring motif, like a refrain - in the publicati