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Featuring the work of the collective photographers Lara Kantardjian and Paulo Abrantes

Prefácio / Foreword: ‘Images haunt language like a shadow’ by António Barrocas
Posfácio / Afterword: Essay by Miguel Soares de Albergaria

English Translation by Ana Paula Borralho de Gouveia

Print Edition | Spring 2021
500 pages

Softcover, Perfect bound  
Dimensions 210 x 260 mm, portrait
Laminated Gloss cover 250 gr
b/w digital printing on matte 115 gr
Language: Portuguese / English  

Co-Published by K. Editions / Sublime Void (London) and The Rolling Square Editions (Portugal)

SOFTCOVER BOOK


ORDER PRINT EDITION (NYP)  | UK & International  .  Europe

Sample Pages and Excerpts

From the Foreword by António Barrocas

“Street photography will always be closely linked to the stroll, to the meandering, to Baudelaire’s flânerie and to the charm before the city atmosphere. The descriptions of the cities’ ‘frames’ – which traditionally are the sphere of the word and of the writers – will soon be stored in the memory of the sensitive plate and of the film. The street becomes a theme and the camera, which becomes an instrument of scopophilia par excellence, is dedicated to it.

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Lara Kantardjian and Paulo Abrantes who bring together a significant set of images and, in the tradition of the Provoke and Daido Moryama line, choose to have them published in a book. The images are distributed in thirteen chapters: Nameless Streets; Birdless Skies; Open Passageways; Moonshine; Some Kind Of Ghosts; City Of Gray; There’s A Crack In Everything; Black Comeback; Strange News From Another Star; Lonely Street Lonely Town; Beginning To Blue; Empty Space Odyssey; Arriving Somewhere But Not Here.

One of the subtitles drew our attention in a particular way – ‘there’s a crack in everything’ – it reminded us of the words of Nakahira Takuma when he mentions the existence of an official city landscape in which he looks for ‘failure’ And, it is this crack – that other world or worlds – that is either sought by the authors or found and intentionally revealed in their images, that starts from the use of the camera, from the film to the final result. Photography refuses the simple mimesis the – imitare – (field of the indexical) and launches a text production process – ritrarre – (field of metaphor and symbolic) which reveals a world beyond appearances. We are in the sphere of transfiguration.”

Lisboa, January 2021©

From the Afterword by Miguel Soares de Albergaria

“…Each of these photographs is a different open passageway that I choose to allow myself to cross or not, and in which directions.

Each of these photographs thus constitute what, I think, can be called a “work of art”: something that is an artifact; and that, regardless of any possible use it may have for such operational transit in which, through streets, stairs, or beaches, we find ourselves immediately and intersubjectively, it provides some emotional, perceptual, or intellectual unfolding of that immediate world. More specifically, with Bazin we will recognize, in the art of photography – by its technological mediation between the human being who triggers it, the world, and the human beings who observe that same world through the images obtained – an optimum point of continuity between the “fine arts” and the “practical or industrial arts” (a continuity pointed out by John Dewey, in the wake of Peirce’s theoretical positions). In other words, in the exercise (including critical observation) of photographic art, we return to the ancient artistic dimension of Greek techné, and the subsequent technical dimension of Latin ars , which Modern mechanism and the consequent contemporary dystopias have ignored or even denied. Anyway, we are dealing with our civilization when we accept to enter the undulating dark street and the steep alley of some old city that open this book.”

Ponta Delgada (São Miguel, Azores), January  2021©

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