{"title":"Home page","description":null,"products":[{"product_id":"sam-kunkel-know-me-to-be-your-superior-in-everything-erik-satie-the-metropolitan-church-of-art-of-jesus-the-conductor-copy","title":"Erik Steinbrecher, Möhren in Athen","description":"\u003cdiv dir=\"auto\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cp\u003eCondition: \u003cem\u003eexcellent- like new\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eIn artist Erik Steinbrecher's intervention of the National Archaeological Museum in Athens for the show Wind in Athens\/Möhren, he littered whole, mushed and mutated carrots around images of what are considered some of the most important sculptures and artifacts from Greek antiquity. The result is documented in this humorous artist's zine. Thanks to Nieves (Zurich).  \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Nieves","offers":[{"title":"Default Title","offer_id":52059516961105,"sku":"LY021","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/9429\/9217\/files\/PKB_1681_25bc2085-3948-434b-a7ce-48296870c534.jpg?v=1759842739"},{"product_id":"erik-steinbrecher-mohren-in-athen-copy","title":"Alasdair McLellan, Blondey 15-21","description":"\u003cp\u003eCondition:\u003cem\u003e excellent- sealed\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eBlondey 15-21 is the fifth book by the photographer Alasdair McLellan and it his first to focus on a single subject: Blondey McCoy.\u003c\/p\u003e\n\u003cp\u003eMeeting and photographing the skater when he was fifteen years old, McLellan has since gone on to photograph Blondey many times, covering each year since that initial meeting. Their close working relationship has gone on to define a distinct period of time in Blondey’s life, one that is a seven-year rites-of-passage story.\u003c\/p\u003e","brand":"Self Published","offers":[{"title":"Default Title","offer_id":52059636007249,"sku":"LY021","price":80.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/9429\/9217\/files\/PKB_16711_39db1195-a24f-43dc-bf75-e335d84b04a7.jpg?v=1763852124"},{"product_id":"alasdair-mclellan-blondey-15-21-copy","title":"Yasmin Afschar, Emma Kunz Cosmos","description":"\u003cp\u003eCondition: \u003cem\u003egood- creases to dust jacket\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe book features the art of Emma Kunz in dialogue with work by contemporary artists through colour plates and interviews.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe art of Swiss-born healer and researcher Emma Kunz (1892-1963) has gained international recognition and has been on display at the Venice Biennale. There have been recent exhibitions at Munich's Städtische Galerie im Lenbachhaus and the Serpentine Gallery in London.\u003cbr\u003e\u003cbr\u003eEmma Kunz (1892-1963) was a Swiss healer and artist. Born to a family of weavers, she showed abilities of telepathy, prophecy, and as a healer early in her life and began to exercise her divining pendulum as a young adult. Never formally trained in art, she also began in 1938 to produce large-scale, delicate geometric drawings using her divining pendulum and based on questions she encountered and visions she had, proving to be an accomplished and even visionary artist nonetheless.\u003c\/p\u003e\n\u003cp\u003eThe fascination of Kunz's art has never been greater than it is today. Created under a secluded way of life far removed from any art scene, her works exemplified already 80 years ago what today we take for granted: an expanded concept of creativity that rejects the question of art or non-art and incorporates a wide range of activities: research, medicine, nature, as well as the supernatural, magical, animistic and visionary.\u003c\/p\u003e\n\u003cp\u003ePublished to coincide with a major exhibition at Aargauer Kunsthaus in Switzerland, which has already staged the first-ever public display of Emma Kunz's drawings in 1973, this book puts her drawings and activities as a healer in dialogue with the work and positions of contemporary artists such as Agnieszka Brzezanska, Joachim Koester, Goshka Macuga, Shana Moulton, Rivane Neuenschwander, and Mai-Thu Perret. Alongside some 120 illustrations, mostly in colour, the book features essays on spirituality and esoterism in contemporary art as well as interviews with these artists.\u003c\/p\u003e\n\u003cp\u003eText in English and German.\u003c\/p\u003e","brand":"Scheidegger \u0026 Spiess","offers":[{"title":"Default Title","offer_id":52059807711569,"sku":"LY021","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/9429\/9217\/files\/PKB_16661_210e4287-cde2-4700-98ec-8572b288d596.jpg?v=1763909718"},{"product_id":"emma-kunz-cosmos-yasmin-afschar-copy","title":"Cristina De Middel, Party - Quotations From Chairman Mao Tse-Tung","description":"\u003cp\u003eCondition: \u003cem\u003egood- marks on back cover\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eSigned\u003c\/p\u003e\n\u003cp\u003eParty: Quotations from Chairman Mao Tse-Tung is a photobook built upon the skeleton of Chairman Mao’s Little Red Book. It was conceived by photographer Cristina De Middel after her first trip to China, which took place in 2012 and for which she set the intention of reacting with the camera to whatever caught her attention, without any attempt to analyse or explain.\u003c\/p\u003e\n\u003cp\u003eDe Middel returned from China with an extensive series of photographs which at first she found hard to classify and edit since their only common denominator was her own astonishment. But she soon realised that their very resistance to classification was the key to their ability to show us what China is today.\u003c\/p\u003e\n\u003cp\u003eShe decided to adapt Chairman Mao Tse-Tung’s Little Red Book (which in the 1960s was the single most visible icon in mainland China, even more visible than the image of Chairman Mao himself) as a framework for the photographs to create a narrative for modern times. Censoring or hiding parts of the original text and highlighting and altering other parts, she presents a portrait of the People’s Republic of China in the 21st century.\u003c\/p\u003e","brand":"RM Verlag \u0026 Editorial RM","offers":[{"title":"Default Title","offer_id":52059836678481,"sku":"LY021","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/9429\/9217\/files\/PKB_16561_991d2680-d735-4edc-ad68-8e6649f441e9.jpg?v=1763909432"},{"product_id":"cristina-de-middel-party-quotations-from-chairman-mao-tse-tung-copy","title":"Chloë Sevigny, No time for love","description":"\u003cp\u003eCondition: \u003cem\u003eexcellent- like new\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThis limited edition zine of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNo Time For Love \u003c\/em\u003eby queen of cool Chloë Sevigny is a tribute to the past loves of her life. \u003c\/p\u003e\n\u003cp\u003eThe photobook is filled with snapshots from photobooths and candid images of the men in her life – from her father to her first loves – plastered with stickers to keep their privacy.\u003c\/p\u003e","brand":"Innen","offers":[{"title":"Default Title","offer_id":52059950121297,"sku":"LY021","price":70.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/9429\/9217\/files\/PKB_1837_f61f2711-d1af-421f-963b-699b4b15c976.jpg?v=1763845044"},{"product_id":"hot-and-cool-issue-8-copy","title":"Buffalo Zine No.9","description":"\u003cp\u003eCondition: \u003cem\u003egood- small bumps to corners and minor stress to the spine\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eAt a time when referencing, borrowing and adapting are everywhere — but our obsession with authenticity and uniqueness has never been greater — what does it mean to be original today? For the ninth issue of Buffalo Zine, we’re delving into the murky world of imitation, from copies to clones, fakes to frauds, parodists to plagiarists. As Pablo Picasso once said: good artists copy, great artists steal. Except he didn’t actually come up with it. He copied it from T.S. 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Lee places us in a world with perverse personal thoughts and multiple realities.\u003c\/p\u003e\n\u003cp\u003eIn our image-sharing society, where photography depicting sexuality and the human body is prohibited and censored, Lee’s work manages to challenge such rules by creating work around sex and the body, in the media of watercolour and pencil, deemed acceptable in these spaces to communicate such themes. As such, Lee’s work has found contemporary relevance on social networks, with liberators wanting to challenge ongoing censorship rules around the human body and sex, by sharing the artists work.\u003c\/p\u003e\n\u003cp\u003eLee’s work has been published internationally and received critical praise from publications including Numero and Playboy Magazine.\u003c\/p\u003e\n\u003cp\u003eThe book also contains an essay by academic Pernilla Ellens editor of Namio Harukawa (Baron 2021) and Death Book lll (Baron 2022).\u003c\/p\u003e","brand":"Baron Books","offers":[{"title":"Default Title","offer_id":52101933924689,"sku":null,"price":70.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/9429\/9217\/files\/PKB_1780.jpg?v=1760362275"},{"product_id":"emma-kunz-cosmos-yasmin-afschar-copy-1","title":"Misha Hollenbach, Pink\/Brown Stool\/Stool","description":"\u003cp\u003eCondition: \u003cem\u003eexcellent\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThere is a lot of pink and brown in this book of Misha Hollenbach’s, a lot of junk and random shit, nude women, phallic and other sexual objects, spread out over collages and photos of installations and interventions with no clear divisions between found and made, bookwork and documentation. Includes a short text by Timothy Moore.\u003c\/p\u003e","brand":"Seems","offers":[{"title":"Default Title","offer_id":52103006454097,"sku":"LY021","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/9429\/9217\/files\/PKB_1785.jpg?v=1760367374"},{"product_id":"misha-hollenbach-pink-brown-stool-stool-copy","title":"Ari Marcopoulos, Wandering","description":"\u003cp\u003eCondition: \u003cem\u003eexcellent- like new\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eAri Marcopoulos (New York, USA)\u003cbr\u003eWandering\u003c\/p\u003e\n\u003cp\u003ePublished on the Occasion of\u003cbr\u003ePrinted Matter’s New York Art Book Fair\u003cbr\u003e26 – 28 September 2014\u003c\/p\u003e","brand":"Innen","offers":[{"title":"Default Title","offer_id":52103168229713,"sku":"LY021","price":16.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/9429\/9217\/files\/PKB_1790_bac92955-de36-43de-aa08-3b6f37fd4599.jpg?v=1763851852"},{"product_id":"tr-ericsson-nicotine-copy","title":"Nobuyoshi Araki, Sky in the West","description":"\u003cp\u003eCondition: \u003cem\u003egood- faint mark to cover\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eIn one of his latest booklets, Nobuyoshi Araki explores a long-known subject of the female body, that he collects among illustration and photos of icon Lady Gaga and Japanese models, and a collection of Japanese skies with a diverse texture of clouds and light.\u003c\/p\u003e","brand":"Reflex Gallery","offers":[{"title":"Default Title","offer_id":52163215950161,"sku":"LY021","price":28.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/9429\/9217\/files\/PKB_1923_ed48e87a-af36-4c24-91b3-cd8a9e4d496f.jpg?v=1763850973"},{"product_id":"death-book-by-toshio-saeki-copy-1","title":"Nieves, Emma Kunz Penta","description":"\u003cp\u003eCondition: \u003cem\u003eexcellent- sealed\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe fascination with Emma Kunz (1892 – 1963) has never been greater than it is today. Much that the researcher, healer and artist anticipated with her holistic way of thinking is now taken for granted in contemporary art. ‘My images are intended for the 21st century,’ Emma Kunz is once said to have predicted. The augury of the researcher, naturopath and artist from Brittnau in the Canton of Aargau seems to be coming true: Emma Kunz’s drawings, presented to the public for the first time in the Aargauer Kunsthaus in 1973, have been shown in such places as Venice, Munich, London, Tel Aviv and Hong Kong over the past few years, and are celebrated by an international audience.\u003c\/p\u003e\n\u003cp\u003eLiving a secluded life far removed from the art scene, eighty years ago she exemplified an expanded concept of art, rejected the idea of art versus non-art and instead opened it up to a wide range of aspects – research, medicine, nature study and the supernatural, the magical, the visionary.\u003c\/p\u003e\n\u003cp\u003eEmma Kunz (1892 in Brittnau\/CH – 1963 in Waldstatt\/CH) was born into humble conditions in Brittnau in the Canton of Aargau. She never had any artistic training or higher education of any kind. Emma Kunz is said to have become aware of her special clairvoyant and radiaesthetic [radiation- reading] abilities at an early age. She began to heal her first patients and to work with the divining pendulum that she would use in her drawings from 1938 onwards. Until a few years before her death she produced some 500 characteristic drawings on graph paper, which she used as a tool for her healing activity. She also worked with numerology, researched in the field of herbalism and achieved a legendary series of healing successes. At this time she began to ask her acquaintances to call her ‘Penta’. In 1942 Emma Kunz is said to have discovered Aion A, the healing rock that is still available from Swiss pharmacies, in a quarry in Würenlos that had been used since Roman times – and is known today as the Emma Kunz Grotto.\u003c\/p\u003e","brand":"Nieves","offers":[{"title":"Default Title","offer_id":52165298946385,"sku":"LY021","price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/9429\/9217\/files\/PKB_1947_172f9987-ec61-4e1a-a068-0c933235d35b.jpg?v=1763851169"},{"product_id":"nieves-emma-kunz-penta-copy","title":"Adam Broomberg \u0026 Oliver Chanarin, Holy Bible","description":"\u003cp\u003eCondition: \u003cem\u003eexcellent- small dent on back cover\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eViolence, calamity and the absurdity of war are recorded extensively within The Archive of Modern Conflict, the largest photographic collection of its kind in the world. For their most recent work, Holy Bible, Adam Broomberg and Oliver Chanarin mined this archive with philosopher Adi Ophir's central tenet in mind: that God reveals himself predominantly through catastrophe and that power structures within the Bible correlate with those within modern systems of governance. The format of Broomberg and Chanarin's illustrated Holy Bible mimics both the precise structure and the physical form of the King James Version. By allowing elements of the original text to guide their image selection, the artists explore themes of authorship, and the unspoken criteria used to determine acceptable evidence of conflict. Inspired in part by the annotations and images Bertolt Brecht added to his own personal bible, Broomberg and Chanarin's publication questions the clichés at play within the visual representation of conflict.\u003c\/p\u003e","brand":"Mack + AMC","offers":[{"title":"Default Title","offer_id":52165576393041,"sku":"LY021","price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/9429\/9217\/files\/PKB_1952_56935913-51ab-4164-a680-08b96b268b1f.jpg?v=1763849561"},{"product_id":"adam-broomberg-oliver-chanarin-holy-bible-copy","title":"Harley Weir, Paintings","description":"\u003cp\u003eCondition: \u003cem\u003eexcellent- sealed\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003ePaintings by Harley Weir presents images made as a form of digression from her traditional photographic practice. Presented as short, rhythmical sequences, Paintings moves across the page like a melody, linking rhythm, colour and form through surface studies made consistently throughout the last three years. Intended to be considered outside the constraints of context and place, the images in Paintings attempt to exist at the threshold of photographic composition, while forming part of Weir's search for a 'pure' image. With each picture made according to a specific set of rules and criteria, Weir attempts to expunge herself from the act of image-making, and encounter photography as an immediate, indulging process.\u003c\/p\u003e\n\u003cp\u003eThese images are nevertheless underscored by tension and palpable throughout Weir’s practice - the transgressing of surfaces and boundaries, the uneasy relationship between camera and subject, and the inevitable constraints of choice and power that hover around the frame of a photograph. 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With the book’s Hungarian title Miért vagy te, ha lehetsz én is? Collins asks us: Why be you, when you can be me? Collins uses the camera as the third person. It captures historical truths (such as a time and place) and an emotional reality with a complicated relationship to intention and perception. Working with the sculptor Sarah Sitkin, Collins creates moulds of her body as well as her sisters to gain ownership, in a world where our bodies live in multiple realities.\u003c\/p\u003e\n\u003cp\u003eThis new body of work features Collins first experiments with self-portraiture. ‘I’ve seen my camera take on many truths. And the truths that shocked me the most to see, were my own. I see them in every image I have taken. Seldom am I the subject of my images but I often make my way into the matter of them’. Acknowledging this, these photographs are set in a world of ‘constructed’ domestic interiors contrasted with ‘real’ exterior locations and Collins own family and friends. The sixth instalment of Baron introduces the art director Sandra Leko who has collaborated with Collin’s to present this new body of work in book form that is inspired by the graphics and layouts of Japanese Kinbaku magazines, the sequencing of the images are disjointed, ambiguous and represent its own peculiar logic.\u003c\/p\u003e","brand":"Baron","offers":[{"title":"Default Title","offer_id":52166057296209,"sku":"LY021","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0957\/9429\/9217\/files\/PKB_1961_d25483cd-13f8-4f70-821d-8fd6b124faa2.jpg?v=1763848139"},{"product_id":"hotshoe-issue-208-martin-parr-copy","title":"Dash Snow, Love Roses","description":"\u003cp\u003eCondition: \u003cem\u003eexcellent- minor stress to spine\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“Loves roses” are glass tubes, 3\/8 inches in diameter, 4 inches long. Covered on one end with foil, each contains a cloth flower: red, yellow, blue, violet, white or green. They are duplicitous objects. If you ask one kind of person, they’ll tell you these “stems” are romantic offerings, valentine’s gifts. If you ask another kind of person, they’ll tell you these are pipes for smoking crack cocaine.\u003c\/p\u003e\n\u003cp\u003eIn September 2008 at a Balazzo Gallery in Brescia, Italy, Dan Colen and Nate Lowman installed the third incarnation of an evolving body of collaborative work. A long-envisioned but, until Italy, unrealized plan for a sculpture had been a “beaded” curtain made of “love roses” (and titled the same). The curtain was hung in a doorway leading into the ornate spaces housing the rest of their show.\u003c\/p\u003e\n\u003cp\u003eDash Snow arrived in Brescia when Colen and Lowman were finishing their installation. A close friend of the collaborators, Snow had documented their shared process since its inception in 2007, and he continued here. As well-heeled Italian patrons (almost all of them women) arrived for the show’s opening night, Snow began shooting photographs of them passing through love roses on their way into the galleries.\u003c\/p\u003e\n\u003cp\u003eThe piece created a theatrical plane through which Snow could enter the partnership and break apart the odd boundaries of inclusivity and exclusivity inherent to art making and art consumption. In turn, this staging ground quickly provoked the visitors to make dramatic entrances. Every passage through Love Roses and across Snow’s lens built on the collaborative armature – whether or not the participants were aware of the potential irony of the curtain or of the cumulative performance itself. 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