The book was published in 2012 by Lars Müller Publishers and is originated as a cooperation project between Adriano A. Biondo, Lars Müller and Kazuko Shimada in response to the events of March 2011 in Japan. The most essential part of this unusual book are the photographs of the Japanese photojournalist Kazuma Ohara, who documented the visible changes as a direct result of the events on the ground over a longer time period. The book lives mainly through the compilation of these documents, interview-based portraits of eyewitnesses and graphically incorporated quotations from newspapers on red inked paper. The book is designed completely bilingual in English and Japanese. On uncoated paper with generous double-sided images of the tsunami disaster, the book provides an impressive and lasting insight into the incredible chain of events as they are no longer to afford daily media in this form capable.
When a photographer did publish already nearly 500 books, it is probably not only a world championship performance, but then the book form is also an essential independent medium in his oeuvre, and can not be ignored in such a research project. Araki’s books don’t differ a lot within 40 years by their format, the underlying photographic strategy, their subjects or only insignificantly by their conceptual compilations, but mainly by the individual photographs. First started, in traditional black and white, and later with color photography, Araki confronts us with snapshots of his everyday perception. Portraits in general, of his wife, his cat, transience of plants or animals and everyday street scenes are matching professional photographs taken of bondage models and images that suggest an observation of his own sexual practices. He plays with a latent voyeurism and associations throughout the compilations, without allowing any additional information from text or captions. In the small-format book Syakyojin per nikki Araki chooses the form of a diary with the imprinted date in every image as a conceptual framework for the book project, the images have postcard size, every day a picture in 1992.
The book represents a meticulously executed reproduction of a ring binder Marcel Duchamp*S, which was originally created as instruction manual for the assembly of the installation “Étant Donnés”. Sketches and photographs, underlain by pink or green paper in clear plastic files, supplemented by hand-written notes and texts on tracing paper with glued wings, a crocodile imitation leather embossed plastic cover, with an advertisement on the last page for the file manufacturer. Consequently, one can not translate a piece of installation work of Duchamp into a (artist) book . great compliment to the Philadelphia Museum of Art, where this publication came out in 1987 on the occasion of the reinstallation of the original work.
The 2010 first published book from artist Roman Signer together with Tumb Magnússon describes traveling in Iceland through photographs and witty conversations lead both of them. Anecdotes, memories and everyday things fit as words and images into the small linen cloth bound book partially light-footed, sometimes moody together. Restrained designed, the book always keeps his attention to the vivid descriptions and lively discussions.