{"title":"Foreword \u0026 Archive of Modern Conflict","description":"\u003ch3\u003eA collection of publications featuring the work of artists from \u003ca title=\"Foreword\" href=\"https:\/\/image.museum\/on\/foreword\/\"\u003eForeword\u003c\/a\u003e\u003cem\u003e, \u003c\/em\u003ethe inaugural exhibition at the \u003ca title=\"The International Centre for the Image\" href=\"https:\/\/image.museum\/\"\u003eInternational Centre for the Image\u003c\/a\u003e, which ran from July to September 2025, and \u003cem\u003e \u003c\/em\u003ethat included all the books published by the \u003ca href=\"https:\/\/image.museum\/on\/archive-of-modern-conflict\/\" title=\"Archive of Modern Conflict\"\u003eArchive of Modern Conflict\u003c\/a\u003e.\u003cbr\u003e\n\u003c\/h3\u003e\n\u003ch3\u003e\u003cbr\u003e\u003c\/h3\u003e","products":[{"product_id":"before-during-after-almost-david-farrell-signed","title":"Before, During, After... Almost, David Farrell","description":"\u003cp\u003eAs part of the 1916 commemorations, the Royal Hibernian Academy approached the photographer David Farrell to consider responding to the broader global situation of that time with the war in Europe raging on the Somme. As with many projects the point of departure becomes just that and through the process of discussion and reflection a very different vision for the exhibition began to form.\u003c\/p\u003e\n\u003cp\u003eFor Farrell, the period of Irish history since the 1966’s 50th anniversary of the Rising marks the greatest period of social and political transition since the founding of the State. He sees the ‘inevitable delayed aftershock’ of the War of Independence and the Civil War, together with the isolationism associated with neutrality during the Second World War as only reaching its thaw in the late sixties.\u003c\/p\u003e\n\u003cp\u003eFarrell has mined his own archive of a quarter of a century of his photography to compile a provocative and complex suite of images. Though made in what the great American photographer Walker Evans describes as the ‘documentary style’ these images are open to metaphorical or allegorical readings well beyond their surface content.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003ePublished by RHA Gallery\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHardcover, includes insert\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e216 pages\u003c\/span\u003e\u003cbr\u003e 260 x 200 mm\u003cbr\u003e ISBN 1903875811\u003c\/p\u003e","brand":"RHA Gallery","offers":[{"title":"Default Title","offer_id":4177875075103,"sku":"BDAADF","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2538\/3478\/products\/before_during_after_almost.jpg?v=1587558152"},{"product_id":"end-eamonn-doyle","title":"END., Eamonn Doyle","description":"\u003cp\u003eCreated as both installation and publication, \u003cem\u003eEnd.\u003c\/em\u003e is a collaborative work by Eamonn Doyle, Niall Sweeney and David Donohoe. Built around the photographs of Doyle, it also features drawing and sound by Sweeney and Donohoe. \u003cem\u003eEnd.\u003c\/em\u003e gives equal significance to the city and its population, their combined forces continuously shaping each other. Individual journeys of everyday life are compacted repetitively into the same streets. Dubliners wear away at the autonomy of their city, while the streets themselves become a kind of sculptural civic mental State. Dublin, its light and its people, carry out dance-like actions, swapping roles in a series of short plays. End. unfolds as a sequence of events — loops of time and place — revealing a city whose concrete is as plastic as the movement of its inhabitants.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEnd.\u003c\/em\u003e is a set of 13 sections all brought together in a white leatherette slipcase, with black-embossed drawings and tip-in title sheet, wrapped in yellow cellophane.\u003cbr\u003e Each section is folded to 200 x 280 mm, portrait.\u003c\/p\u003e\n\u003cp\u003eFeaturing 273 photographs, 20 ink drawings and a 7” vinyl sound work, these 13 Dublin “moments” comprise:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eOne yellow book, thread sewn, printed in black duotone with screen-printed drawings.\u003c\/li\u003e\n\u003cli\u003eTwo black books, thread sewn, printed with silver inks.\u003c\/li\u003e\n\u003cli\u003eThree full-colour books, thread sewn, with screen-printed drawings.\u003c\/li\u003e\n\u003cli\u003eFour concertina-folded double-sided diptychs in full-colour with screen-printed drawings.\u003c\/li\u003e\n\u003cli\u003eOne large full-colour double-sided folded map.\u003c\/li\u003e\n\u003cli\u003eOne 7” vinyl record tucked inside a printed and folded glassine poster.\u003c\/li\u003e\n\u003cli\u003eAt the centre of the work is a concertina-folded double-sided full-colour triptych.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eIn \u003ca href=\"http:\/\/photoireland.org\/product\/eamonn-doyle-pack-6\/\"\u003e\u003cem\u003ei\u003c\/em\u003e\u003c\/a\u003e, Doyle presented a sequence of images depicting unknowable figures enveloped entirely in their own interior landscape of street, poised in silent choreography. \u003ca href=\"http:\/\/photoireland.org\/product\/eamonn-doyle-pack-4\/\"\u003e\u003cem\u003eON\u003c\/em\u003e\u003c\/a\u003e’s black \u0026amp; white giants convulse across the pages, bracing the hard Dublin light. The texture and volumes of the city and the people are somehow hewn from the same rock, though they strike out against it.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEnd.\u003c\/em\u003e gives equal significance to the city and its population, but here their combined forces collectively and continuously morph each other in order to survive. Individual journeys of everyday life are compacted repetitively into the same streets. Dubliners wear away at the constructed autonomy of their city, while the streets themselves become a kind of sculptural mental State. End. unfolds like a series of maps — loops of time and place — revealing a city whose concrete is as plastic as the movement of its inhabitants.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003ePublished by D1\u003cbr\u003eEdition of 1000\u003cbr\u003e 295 x 200 mm\u003cbr\u003e ISBN: 9780992848729\u003c\/p\u003e","brand":"D1","offers":[{"title":"Default Title","offer_id":4178402181151,"sku":"EED01","price":300.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2538\/3478\/files\/EndEamonnDoyle_Cover.webp?v=1761058666"},{"product_id":"the-swallowing-tree-david-farrell","title":"The Swallowing Tree, David Farrell","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eDavid Farrell made his first photograph of what he would subsequently term The Swallowing Tree during the first official search for the bodies of Kevin McKee and Seamus Wright at Coghalstown Wood, Wilkinstown in 1999. These young men belonged to the Disappeared, a small group of people that had been killed and secretly buried by the IRA during the conflict in Northern Ireland. These disappearances, which occurred during the seventies and early eighties, were the result of a policy of internal policing of the Republican movement and the wider Catholic community with Kevin and Seamus being amongst the first to endure this fate in October 1972. The revelation in ’99 that this place and other locations associated with the missing people were in the south of Ireland came as a final twist – in death they had been exiled from their homeland, north of the border.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePublished by Latent Image Editions\u003cbr\u003eEdition of 500\u003cbr\u003eHardback\u003cbr\u003e230 × 200 mm\u003cbr\u003eISBN 978099281210\u003c\/p\u003e","brand":"Latent Image Editions","offers":[{"title":"Default Title","offer_id":5042871435295,"sku":"TSTDF","price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2538\/3478\/products\/TheSwallowingTree_DavidFarrell.jpg?v=1674405241"},{"product_id":"k-eamonn-doyle","title":"K, Eamonn Doyle","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eIn his Dublin trilogy (\u003cem\u003ei, ON \u003c\/em\u003eand\u003cem\u003e End.\u003c\/em\u003e) Eamonn captured the combined actions of the city and its population as they played out in front of him. With \u003cem\u003eK\u003c\/em\u003e, he moves away from the urban east coast to the western Atlantic edge of Ireland, to a landscape that, in places, appears out of time, a parallel world untouched by human presence.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThrough the intense colour images of \u003cem\u003eK\u003c\/em\u003e, we follow a figure that shape-shifts as it travels across this landscape. Entirely veiled in cloth, the figure is spectral, changing in colour and materiality as it is pushed and pulled by gravity, wind, water and light. In places it appears almost gaseous, in others it is molten and then, at times, the weight of being earthbound becomes apparent. Accompanying these colour images, \u003cem\u003eK\u003c\/em\u003e includes a number of dense black and white photographs that appear to describe some kind of seismic evidence.\u003c\/p\u003e\n\u003cp\u003ePrinted on a number of pages in the book are stratified layers of hand-written letters from a mother to her dead son. Eamonn’s brother, Ciarán, died suddenly at age 33 in 1999. His mother, Kathryn, never managed to escape the grief of such a time-reversed event, right up until her own death in 2017. In the letters, we can make out a word here and there, but the cumulative effect is their appearance as musical notation, a veil of sound waves, a phonetic score for lament.\u003c\/p\u003e\n\u003cp\u003eWorking with a 1951 recording of an Irish Keen, musician David Donohoe has composed a new, two-part piece for voice that accompanies this body of work for exhibition, and is included in the book as a 10\" vinyl record. is layered and ever-changing composition forms an integral part of our experience of \u003cem\u003eK\u003c\/em\u003e, relating directly to it in both form and expression. The Keen (or Cine, from the Irish \u003cem\u003ecaoinim\u003c\/em\u003e, “I wail”) is an ancient Irish tradition of lamentation songs for the dead, to carry their spirit over to the other side and to act as a cathartic expression of grief for those gathered around. Traditionally Keens are performed directly over the body of the deceased by women. In some of the images of \u003cem\u003eK\u003c\/em\u003e, the contorted and wind-blown shapes of the figure and cloth seem to take on the form of the wailing sound itself.\u003c\/p\u003e\n\u003cp\u003eWith his Dublin work, Eamonn looks at how the contemporary forces of the city and the movement of its people continually shape each other. In \u003cem\u003eK\u003c\/em\u003e, he seeks out the primal, even primordial, forces that have sculpted and driven us into being.\u003c\/p\u003e\n\u003cp\u003eThee cruelty of the speed of light is that we can only ever look back in time. The further we look out, the further back in time we see. But this does bring the past into the present as we attempt to understand, even though sometimes we just cannot. This is as true of a photograph taken on the streets of Dublin as it is of one taken of plasma clouds in distant galaxies. And we can only comprehend any of this by passing through the vibrations of time, like a song cast out to the cosmos.\u003c\/p\u003e\n\u003cp\u003ePublished by D1\u003cbr\u003eEdition of 1000\u003cbr\u003eHardback, includes a 35 RPM vinyl disc\u003cbr\u003e88 pages\u003cbr\u003e370 × 290 mm\u003cbr\u003eISBN 9780992848736\u003c\/p\u003e","brand":"D1","offers":[{"title":"Default Title","offer_id":13657185288282,"sku":"KED01","price":60.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2538\/3478\/products\/K_cover.jpg?v=1579697968"},{"product_id":"on-blue-cover-eamonn-doyle","title":"ON, Eamonn Doyle","description":"\u003cp\u003eEamonn Doyle’s second photo-book, \u003cem\u003eON\u003c\/em\u003e, follows last year’s \u003cem\u003ei\u003c\/em\u003e, a widely acclaimed collection of street portraits that drew significant plaudits from, among others, Martin Parr. In \u003cem\u003eON\u003c\/em\u003e, black and white figures stalk across Dublin streetscapes, by turns lost, menacing, wary, browbeaten or entranced – but always at odds in some way with their environment. Not just the physical environment of Dublin city, but also the virtual environment of the photo-book itself, because \u003cem\u003eON\u003c\/em\u003e is less a depiction of subjects organised around a unified theme than a depiction of subjects refusing a theme in the first place.\u003cbr\u003e  \u003cbr\u003e As in \u003cem\u003ei\u003c\/em\u003e, the photographs were mostly taken on Dublin’s Parnell Street and O’Connell Street. But here the historic role of those two streets as zones of resistance, protest and insurrection is far more present. The very title of the book itself evokes a resistance – that doggedly existential kind identified by Samuel Beckett’s narrator in \u003cem\u003eThe Unnameable\u003c\/em\u003e: ‘You must go on, I can’t go on, I’ll go on.’\u003cbr\u003e  \u003cbr\u003e For these figures are always dynamic – muscles taut, heads in mid-turn, bodies in motion. Some flee the photographic gaze itself. Others stare challengingly down the barrel of the lens. Most appear caught up in projects so intensely private that they have an air of total inaccessibility. Rarely does the photographic act intrude so little on the lives of its subjects. Paradoxically, huge energy is found at precisely those moments when the unruly subjects look most likely to tear the images asunder.\u003cbr\u003e  \u003cbr\u003e The central drama of the book could thus be said to be its subjects’ struggle with representation – not necessarily against it, but writhing, wriggling, jockeying with it. The resulting images invariably draw attention to the photographic act. One never forgets that these images have been selected, framed, constructed. One is never tempted to identify the image with the subject of the image or to respond ‘I know exactly how that person feels.’ The interiority of the subjects is preserved; their dignity remains intact.\u003cbr\u003e  \u003cbr\u003e Yet \u003cem\u003eON\u003c\/em\u003e is neither a portrait of a city nor a treatise about its citizens. It is at once more modest and more passionately involved in its subjects. It forms not a coherent narrative revealing truths about the people depicted, but emerges as a series of deeply felt essays, attempts to glimpse elusive beings in motion. So its Dublin is not unified, but fragmentary – less a well-defined place than an archipelago. If \u003cem\u003eON\u003c\/em\u003e is a book about Dublin at all, it is about the impossibility of representing it. (One particular figure even blocks the first letter of a neon sign so that it now reads ‘ublin’.)\u003cbr\u003e  \u003cbr\u003e\u003cem\u003eON\u003c\/em\u003e opens out to history more directly than its predecessor. Whereas \u003cem\u003ei\u003c\/em\u003e was preoccupied with figures consumed by introspection, the dramas in \u003cem\u003eON\u003c\/em\u003e are far more environmental. Dublin’s hermetic seal has cracked open and the rest of the world has somehow spilled in. These subjects are photographed mostly from the front and from a lower angle. It’s a presentation that opens out their world, contextualising them by placing them against an architectural backdrop. Where the mysterious, often faceless figures of \u003cem\u003ei\u003c\/em\u003e were often flattened against their worlds, the subjects of \u003cem\u003eON\u003c\/em\u003e stand out and strike out against their environments, often looming against skies in a way that speaks of possibility, even as they nurse wounds or eye each other suspiciously. And while the faces on display here are often squinting or averting their gaze, they are faces that speak of beings asserting themselves in their world, even as they flee the camera. \u003c\/p\u003e\n\u003cp\u003ePublished by D1\u003cbr\u003eBlue Cover\u003cbr\u003eEdition of 999\u003cbr\u003eNumbered and Signed\u003cbr\u003e Hardback\u003cbr\u003e 280 x 350 mm\u003cbr\u003e 102 pages\u003cbr\u003eISBN 9780992848712\u003c\/p\u003e","brand":"D1","offers":[{"title":"Edition of 999 (numbered and signed)","offer_id":56398542504267,"sku":"ONED01","price":300.0,"currency_code":"EUR","in_stock":false},{"title":"Out of Edition\/Overprint (Green)","offer_id":56398542537035,"sku":"ONED02","price":200.0,"currency_code":"EUR","in_stock":true},{"title":"Out of Edition\/Overprint (Blue)","offer_id":56398542569803,"sku":"ONED03","price":200.0,"currency_code":"EUR","in_stock":true},{"title":"Out of Edition\/Overprint (Red)","offer_id":56398542602571,"sku":"ONED04","price":200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2538\/3478\/products\/Eamonn_Doyle_ON.jpg?v=1579696244"},{"product_id":"i-eamonn-doyle","title":"i, Eamonn Doyle","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e\"The photographs that form \u003cem\u003ei\u003c\/em\u003e gestated as I started to feel my way back into photography following a long break. Around that time I was re-discovering the work of Samuel Beckett, specifically the Trilogy comprising the novels \u003cem\u003eMolloy\u003c\/em\u003e, \u003cem\u003eMalone Dies\u003c\/em\u003e and \u003cem\u003eThe Unnameable\u003c\/em\u003e. I began to be drawn towards a number of solitary 'Beckettian' figures I saw on the streets of Dublin, people I had seen passing me every day who seemed to be treading the same ground, day in, day out.\" - Eamonn Doyle\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“The best new street photo book I have seen for a decade.” Martin Parr\u003c\/p\u003e\n\u003cp\u003eThe book is designed and produced by Niall Sweeney and Nigel Truswell at Pony Ltd, with printing by MM Artbookprinting, Luxembourg, and binding by Van Waarden, Netherlands\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003ePublished by D1\u003cbr\u003eEdition of 750\u003cbr\u003eHardcover\u003cbr\u003e74 Pages\u003cbr\u003e340 x 245 mm\u003cbr\u003eISBN 9780992848705\u003c\/p\u003e","brand":"D1","offers":[{"title":"Default Title","offer_id":16406415376474,"sku":"IED01","price":400.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2538\/3478\/files\/iEamonnDoyle_Cover.webp?v=1761058402"},{"product_id":"eamonn-doyle","title":"Eamonn Doyle","description":"\u003cp\u003eThis substantial review of Eamonn Doyle's practice has been published to accompany a large exhibition that took place at Mapfre Foundation 12 September 2019 to 26 January 2020, Madrid. Including never before seen or published material and photographs, from the beginnings of Doyle's practice, to most recently commissioned work, with commissioned texts by Niall Sweeney, Bob Quinn, David Donohoe, and Lisa Godson.\u003c\/p\u003e\n\u003cp\u003eThe exhibition was curated by Niall Sweeney and included the well-known Dublin Trilogy, \u003cem\u003ei\u003c\/em\u003e, \u003cem\u003eOn,\u003c\/em\u003e and \u003cem\u003eEnd\u003c\/em\u003e, whose images capture the rhythm and the drama of the city. It features the \u003cem\u003eK\u003c\/em\u003e series as well, which consists of spectral figures photographed on Ireland’s West Coast and in Extremadura.\u003c\/p\u003e\n\u003cp\u003eDoyle, who before turning to photography was a music producer, is a relevant figure in the cultural scene of his hometown. He set up and ran the Dublin Electronic Arts Festival for almost a decade. His debut photobook was described by celebrated British photographer Martin Parr as \"the best street photobook in a decade\". Most of Doyle’s photographs are taken in Dublin and its outskirts. Since 2009, when Doyle began to take his career as a photographer seriously, his work has been shown in galleries in Dublin, Paris, London, New York and Madrid, among other big cities around the world.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePublished by Editorial RM and Mapfre Foundation\u003cbr\u003eHardback\u003cbr\u003e289 pages\u003cbr\u003e305 × 250 mm\u003c\/p\u003e","brand":"Editorial RM","offers":[{"title":"Default Title","offer_id":31338023485530,"sku":"ED01","price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2538\/3478\/products\/Eamonn_Doyle_01.png?v=1579698108"},{"product_id":"over-journal-issue-1","title":"OVER Journal Issue 1","description":"\u003cp\u003eOVER journal is a new periodical publication and online platform that proposes its readers a more wholesome, honest, and critical observation and enjoyment of Photography. Publishing commissioned texts and artworks alongside interviews and opinion pieces, it aims to create the ideal channel for an open and global discussion about the context in which the discipline sits, as well as about the output of artists, exhibiting venues, and publishing houses.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eOVER journal critically focuses on aspects often overlooked that affect the discipline, zooming out to observe the whole scene, to analyse what exactly is happening, what power relationships are at play. It is about preventing the repetition of obsolete and flawed structures, as much as highlighting the work of those who constructively are expanding what we still call Photography into new horizons. More than a portfolio magazine, it is a space for reflection on new practices, new ways of thinking, shining a light wherever needed.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eContributors\u003cbr\u003e\u003c\/strong\u003eThe publication, a project by \u003ca href=\"http:\/\/photoireland.org\/\" target=\"_blank\"\u003e\u003cstrong\u003ePhotoIreland\u003c\/strong\u003e\u003c\/a\u003e developed as part of the \u003cstrong\u003e\u003ca href=\"http:\/\/edu.photoireland.org\/\" target=\"_blank\"\u003eCritical Academy\u003c\/a\u003e, \u003c\/strong\u003e presents works by artists and writers that contribute to a better understanding of the present challenges, and the future opportunities of both the medium and the world we live in. Contributors include Aidan Kelly-Murphy, Alison Nordstrom, Amelie Schüle, Ángel Luis González, Anna Ehrenstein, Becks Butler, Benedetta Casagrande, David Farrell, Duncan Wooldridge, Erik Vroons, Eva Kreuger, Francesca Catastini, Garry Loughlin, Gloria Oyarzabal, Guerrilla Girls, Heather Agyepong, Hiro Tanaka, Jorg Colberg, Julia Gelezova, Marion Hislen, Mark McGuinness, Natasha Christia, Shia Conlon, Teresa Eng, Theo Ellison, Yining He, Vera Ryklova, and Yvette Monahan.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWith Visual Culture and Critical Thinking at the core\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eOur interest in energising a critical engagement with Photography and Visual Culture, Cultural Studies, and Critical Thinking —to collectively question the world we persistently represent to ourselves— motivated PhotoIreland since 2009 to develop a variety of short and long-term projects. Our work has manifested in a yearly Photography festival, a public resource photobook library, an Art bookshop, various publishing ventures, a print fair, Art residencies such as How to Flatten a Mountain, and a space for critical research called the Critical Academy. Adding to these, since 2015 we have gained valuable experience participating in various European Union co-funded projects. It is then not by chance that OVER journal comes into being this year.\u003c\/p\u003e\n\u003cp\u003eIt all started with a long and deep reflection on our experience over the last decade as a cultural organisation working in Ireland and abroad, founded initially by a Photography graduate to support the discipline. Running a wealth of projects since then, and discussing our experience with peers internationally, we found along the way many cases of questionable practices; these oftentimes reinforced existing power relations, nepotism, favouritism, poor governance, as much as a lack of curatorial renewal, transparency, and a proper evolution of the practice. It became apparent that there is an urgency to speak openly about these issues, and that a platform where these discussions could be held publicly is certainly important and necessary.\u003c\/p\u003e\n\u003cp\u003eOur aim is to acknowledge contemporary challenges critically, constructively, and to seek a healthier ecosystem that can support with an honest mindset what current practitioners are bringing into play.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOVER Journal was made possible with the contribution of these wonderful people: \u003c\/strong\u003eAidan Gageler, Ailbe Collins, Aisling Keavey, Alan Phelan, Andrés Pardo Rodriguez, Andreas Oetker-Kast, Anne Mullee, Aoife Shanahan, Arman Duzel, Becky Warnock, Ben Hutchinson, Bianca Fatu, Caitriona Dunnett, Clare Lymer, Clare Lyons, Clodagh Moreland, Conner Dorbin, Conor Nolan, Dara McGrath, David Kronn, David Thomas Smith, Dianna Wojciechowska, Donall Curtin, Duncan Wooldridge, Eamonn Doyle, Edward Dunne, Elise Fisher, Ellie Berry, Frank Brennan, Garrett Hayes, George Voronov, Harry Rose, Jacqui Kiely, James Cockroft, Jane Cummins, Jennifer Ricketts, John Collins, John O'Toole, Kate Nolan, Keith Shuaib, Lara Ciarabellini, Laurel Bradley, Laurence Gorman, Letizia Lopreiato, Malcolm McGettigan, Mark Kavanagh, Mark Tracy, Michael Lee, Miriam O'Connor, Mo White, Moritz Neumüller, Niamh Smith, Olga McGeough, Mandy O'Neill, Orla Fitzpatrick, Paula Nolan, Raphael Schumacher, Rodrigo Orrantia, Róisín White, Ruby Wallis, Sarah Shaw, Seán Laoide-Kemp, Sebastian Farron-Mahon, Shane Lynam, Shannon Guerrico, Sharon Murphy, Sheaneen Healy Byrne, Simon Worthington, Ste Murray, Therese Barry, Thomas Bregulla, Thomas Licek, Tommie Lehane, Yvette Monahan, and Zoe Hamill.\u003c\/p\u003e\n\u003cp\u003ePublished by PhotoIreland\u003cbr\u003e160 pages\u003cbr\u003e184 × 245 mm\u003cbr\u003eSoftcover\u003cbr\u003eISBN 9781916140417\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eGlobal Distribution: \u003ca href=\"https:\/\/www.raandollyltd.com\/\"\u003eraandollyltd.com\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"PhotoIreland","offers":[{"title":"Default Title","offer_id":40084313047229,"sku":"OJ1","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2538\/3478\/products\/OVERJourmalIssue1_cover.jpg?v=1595523357"},{"product_id":"eamonn-doyle-100-views-of-contemporary-ireland","title":"Eamonn Doyle, 100 Views of Contemporary Ireland","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eEamonn Doyle\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eConnemara, 2017\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003ePostcard\u003cbr\u003e\u003cbr\u003e\u003ca href=\"https:\/\/www.eamonndoyle.com\/\"\u003eeamonndoyle.com\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003csection class=\"content offset-top-0\"\u003e\n\u003cdiv class=\"container\"\u003e\n\u003cdiv class=\"row product-info-outer\"\u003e\n\u003cdiv class=\"col-sm-12 col-md-12 col-lg-12\"\u003e\n\u003cdiv class=\"row content\"\u003e\n\u003cdiv class=\"tab-content tab-content--ys\"\u003e\n\u003cdiv role=\"tabpanel\" class=\"tab-pane active\" id=\"Tab1\"\u003e\n\u003cdiv itemprop=\"description\"\u003e\n\u003cp\u003ePresented as part of\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/stpatricksfestival.ie\/\" target=\"_blank\"\u003eSt. Patrick's Festival\u003c\/a\u003e cultural city trail in 2020, and to mark the first decade of \u003ca href=\"http:\/\/photoireland.org\/\" target=\"_blank\"\u003ePhotoIreland\u003c\/a\u003e, The Library Project brings together 100 Views of Contemporary Ireland, a collection of photographs in the form of postcards by 100 contemporary photographers from Ireland.\u003c\/p\u003e\n\u003cp\u003eViewers will discover a different Ireland through the incisive, playful, and poignant work of these artists. Gathered in this guise, the images aim to represent the complexities and charm of a growingly diverse country that has changed beyond recognition in the last decades. One that, having achieved outstanding social and political milestones, reflects on present challenges, and aspires to an ideal future.\u003c\/p\u003e\n\u003cp\u003eThe project celebrates a discipline that has also undergone its own radical transformation in the last few years; it highlights the growing number of artists providing us with excellent work, and it underlines the role of PhotoIreland in contributing to a healthy ecosystem in Photography in Ireland.\u003c\/p\u003e\n\u003cp\u003eThe images have been kindly donated by the artists in support of The Library Project space and are available to purchase as postcards at the venue and online,\u003ca href=\"https:\/\/tlp.photoireland.org\/collections\/100-views-of-contemporary-ireland\"\u003e here.\u003c\/a\u003e PhotoIreland thanks all the participating photographers for their kind support.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e","brand":"PhotoIreland","offers":[{"title":"Default Title","offer_id":32193959821402,"sku":"100ED","price":1.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2538\/3478\/products\/EamonnDoyle_100ViewsofContemporaryIreland.jpg?v=1674318440"},{"product_id":"o-eamonn-doyle","title":"O, Eamonn Doyle","description":"\u003cp\u003e“\u003cem\u003eThis then, I thought, as I looked round about me, is the representation of history. It requires a falsification of perspective. We, the survivors, see everything from above, see everything at once, and still we do not know how it was.\u003c\/em\u003e” \u003cbr\u003e— W.G. Sebald, The Rings of Saturn\u003c\/p\u003e\n\u003cp\u003eAs the day passes, its shadow goes by. Taken within the orbital limits of the south-east Dublin coastal suburbia of his youth, incidental objects of memory strive to resist the forensic pressure of the late Spring sun as it bears down its weight in this new, large-scale publication of photographs by Eamonn Doyle.\u003c\/p\u003e\n\u003cp\u003ePublished by D1\u003cbr\u003eEdition of 250\u003cbr\u003e32 pages\u003cbr\u003e460 x 340 mm\u003cbr\u003eSoftcover\u003cbr\u003eISBN 9780992848743\u003c\/p\u003e","brand":"D1","offers":[{"title":"Default Title","offer_id":35945103294614,"sku":"OED","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2538\/3478\/products\/O_EamonnDoyle_cover.png?v=1598272794"},{"product_id":"reset","title":"RESET","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003ePrompted by the sudden junctures the arts and liberal societies found themselves at in 2020, \u003ca href=\"https:\/\/www.futures-photography.com\/\" target=\"_blank\" data-mce-href=\"https:\/\/www.futures-photography.com\/\"\u003eFutures Photography\u003c\/a\u003e presents \u003cem\u003eRESET: Questioning the Image, the Market and the Role of Representation\u003c\/em\u003e. Developed with a critical attitude, it necessarily pushes past the dimensions of a yearly round-up or catalogue — to engage in debate on our splintered representations of reality and their revealing architectures of influence.\u003c\/p\u003e\n\u003cp\u003eThe exponential rise of non-human photography; our ambivalent — yet subversive — relationship with memes, emojis and digital communication at large; and how the forces of representation continue to shape our racial condition are just some of the topics explored by a host of cross-disciplinary contributors.\u003c\/p\u003e\n\u003cp\u003eThe structure of RESET — in a play on the world turned upside-down — is developed in two parts that must be flipped to read. One side takes a step towards analysing how photography plays into our collective situation; housing essays, visual interventions and discussions that took place during Futures Digital Festival 2020. While the reverse proudly features the work of 57 image-based artists and collectives, annually nominated by Futures’ network of institutions across Europe for their exceptional practice and the urgent stories they tell.\u003c\/p\u003e\n\u003cp\u003e___\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEditors:\u003c\/strong\u003e Salvatore Vitale and Saba Askary.\u003cbr\u003e\u003cstrong\u003eContributors:\u003c\/strong\u003e Aisling Murray, Alexey Shlyk, Ana Zibelnik, Dávid Biró, Ela Polkowska, Eva O’Leary, Garry Loughlin, Geert Lovink, George King, Joanna Zylinska, Julie Poly, Julia Gelezova, Karolina Wojtas, Kevin Osepa, Leonard Pongo, Lewis Bush, Liza Premiyak, Mariama Attah, Marina Paulenka, Ola Lanko, Olav Velthuis, RafaŁ Milach, Salvatore Vitale, Sandrine Colard, Sanne de Wilde, Sasha Chaika, Sybren Vanoverberghe, and Tanya Kapitanova.\u003cbr\u003e\u003cstrong\u003eFeatured artists:\u003c\/strong\u003e Agnieszka Sejud, Alina Maria Frieske, Alin Barbir, Ana Zibelnik, András Ladocsi, Andrii Dostliev, Arne Piepke, Balázs Máté, Becks Butler, Bernardita Morello, Brave Boy Studio, Camilla Ferrari, Camillo Pasquarelli, Clémence Elman, Daniel Szalai, David Arribas, David Denil, Dorottya Vékony, Ela Polkowska, Etienne Courtois, Florine Thiebaud, Garry Loughlin, George Stamenov, Giovanna Petrocchi, Hanna Jarzabek, Ire Lenes, István Bielik, Jon Gorospe, Kacper Szalecki, Kata Geibl, Katherine Longly, Laure Cottin Stefanelli, Lia Dostlieva, Lukas Kreibig, Manuela Braunmüller, Mar Sáez, Marco Schiavone, Marina Caneve, Mark McGuinness, Marta Bogdańska, Masha Svyatogor, Maximilian Mann, Michael Swann, Olga Shurygina, Paulina Metzscher, Pierre Vanneste, Renée Loir, Ruth Montiel Arias, Sasha Chaika, Sebastian Steveniers, Shia Conlon, Sina Niemeyer, Sybren Vanoverberghe, Vassilis Triantis, Vera Ryklova, and Wiktoria Synak.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003ePublished by Futures Photography and Vandejong\u003cbr\u003eHardcover\u003cbr\u003e192 pages\u003cbr\u003e200 x 270 mm\u003cbr\u003eISBN 9789090341101 \u003c\/p\u003e","brand":"Futures Photography","offers":[{"title":"RESET","offer_id":40843964448957,"sku":"RFP","price":10.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2538\/3478\/products\/RESET_01.jpg?v=1616162868"},{"product_id":"over-journal-issue-2","title":"OVER Journal Issue 2","description":"\u003cp\u003eA project by PhotoIreland, OVER Journal launched its first issue in July 2020, and it has enjoyed a growing interest reaching rapidly all corners of the global market, from Zurich to Los Angeles. The publication, billed as 'The Critical Journal of Photography and Visual Culture for the 21st century', is co-edited by Aidan Kelly Murphy, Julia Gelezova, and Ángel Luis González, and is currently the only photography publication in Ireland, produced with the generous support of the Arts Council of Ireland.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFor its second issue, the editors have worked with writers and thinkers Julie Chun, Anna Ehrenstein, Orla Fitzpatrick, Yvette Hamilton, Camille Lévêque, Sue Rainsford, Rashi Rajguru, Kwasi Ohene-Ayeh, Duncan Wooldridge. In addition, a succulent and eclectic selection of practices manifests through the works of Hoda Afshar, Lewis Bush, Jean Curran, Irene Antonia Diane Reece, Audrey Gillespie, Kelvin Haizel, Iris Hassid, Federica Landi, Roberto Tondopó, and Bindi Vora.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOVER journal critically focuses on aspects often overlooked that affect the discipline, zooming out to observe the whole scene, to analyse what exactly is happening, what power relationships are at play. It is about preventing the repetition of obsolete and flawed structures, as much as highlighting the work of those who constructively are expanding what we still call Photography into new horizons. More than a portfolio magazine, it is a space for reflection on new practices, new ways of thinking.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eGlobal Distribution: \u003ca href=\"https:\/\/www.raandollyltd.com\/\"\u003eraandollyltd.com\u003c\/a\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cstrong\u003eAbout Issue 2\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eCo-editors\u003c\/strong\u003e\u003cbr\u003eAidan Kelly Murphy, Julia Gelezova, Ángel Luis González.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003ePeer Review Panel\u003cbr\u003e\u003c\/strong\u003eDaniel Boetker-Smith, Dr. Justin Carville, Alejandro Castellote, \u003cbr\u003eDr. Mohini Chandra, Irina Chmyreva, Yining He, Caroline McQuarrie, \u003cbr\u003eTanvi Mishra, Kwasi Ohene-Ayeh, and Niclas Östlind.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cstrong\u003eFeatured Artists\u003cbr\u003e\u003c\/strong\u003eHoda Afshar, Lewis Bush, Jean Curran, Irene Antonia Diane Reece, \u003cbr\u003eAudrey Gillespie, Kelvin Haizel, Iris Hassid, Federica Landi, \u003cbr\u003eRoberto Tondopó, Bindi Vora.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cstrong\u003eFeatured Writers\u003cbr\u003e\u003c\/strong\u003eJulie Chun, Anna Ehrenstein, Orla Fitzpatrick, Yvette Hamilton, \u003cbr\u003eAidan Kelly Murphy, Camille Lévêque, Dónal Talbot, Sue Rainsford, \u003cbr\u003eRashi Rajguru, Kwasi Ohene-Ayeh, Duncan Wooldridge.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cstrong\u003eCover Image \u003c\/strong\u003e\u003cbr\u003eJean Curran, The Vertigo Project. 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All Rights Reserved.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cstrong\u003eBack Cover Image\u003cbr\u003e\u003c\/strong\u003eRafał Milach and the Archiwum Protestow Publicznych.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cstrong\u003eDesigned\u003c\/strong\u003e by Ángel Luis González\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cmeta charset=\"utf-8\"\u003ePublished by PhotoIreland\u003cbr\u003e256 pages\u003cbr\u003e184 × 245 mm\u003cbr\u003eSoftcover\u003cbr\u003eISBN  9781916140424\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eSet in ABC Diatype and Burgess Pro \u003cbr\u003ePrinted on Munken Lynx Rough 90 gsm 1.4, Arctic Volume White 115 gsm. \u003cbr\u003eCover on Rives Design Bright White 170 gsm\u003c\/p\u003e\n\u003cp\u003eWith the support of the Arts Council of Ireland.\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"PhotoIreland","offers":[{"title":"Default Title","offer_id":40083938640061,"sku":"OJ02","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2538\/3478\/products\/OVER_Journal_2.jpg?v=1639488778"},{"product_id":"one-eamonn-doyle","title":"One, Eamonn Doyle (Signed)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eOne features images from a recently made collection of unique, bespoke-process, large format, gelatin silver contact prints.\u003c\/p\u003e\n\u003cp\u003ePublished by D1\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSoftcover with printed double black and screen-printed cover\u003c\/span\u003e\u003cbr\u003eNumbered edition of 300\u003cbr\u003e24 pages\u003cbr\u003e350 x 500 mm\u003cbr\u003eISBN 9780992848750\u003c\/p\u003e","brand":"D1","offers":[{"title":"Default Title","offer_id":40203347886269,"sku":"OED01","price":50.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2538\/3478\/files\/OneEamonnDoyle_Cover.webp?v=1761058557"},{"product_id":"tools-for-conviviality-anna-ehrenstein","title":"Tools for Conviviality, Anna Ehrenstein","description":"\u003cp data-style=\"mso-layout-grid-align:none;text-autospace:none\" style=\"font-weight: 400;\"\u003eAnna Ehrenstein (b. 1993; lives and works in Berlin and Tirana) studies the exchanges between humans and objects in the digital era. Individual realities and reflections around migrant visual cultures, diasporic narratives, networked images, and the class hierarchy of pixels constitute the foci of her creative practice. In her current project\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTools for Conviviality\u003c\/em\u003e, Ehrenstein, in collaboration with Awa Seck, Don Kafele, Lydia Likibi, Saliou Ba, and Nyamwathi Gichau, uses photographs, installations, textile sculptures, and a 360° video to reflect on contemporary media and confront the cultural repercussions of migration and the rise of digital technology.\u003c\/p\u003e\n\u003cp data-style=\"mso-layout-grid-align:none;text-autospace:none\" style=\"font-weight: 400;\"\u003eBased on the 1973 book of the same title by the philosopher Ivan Illich, the project questions the utopian vision of modern technology as a neutral tool. The artist recruited a team of colleagues who availed themselves of Senegal’s comparatively loose visa regulations to migrate to the country’s capital, Dakar, which beckons with welcoming working conditions for artists and a thriving creative scene. 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The publication, billed as 'The Critical Journal of Photography and Visual Culture for the 21st century' is produced with the generous support of the Arts Council of Ireland.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eOVER journal critically focuses on aspects often overlooked that affect the discipline, zooming out to observe the whole scene, to analyse what exactly is happening, what power relationships are at play. It is about preventing the repetition of obsolete and flawed structures, as much as highlighting the work of those who constructively are expanding what we still call Photography into new horizons. 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He spent much of the next twenty years producing music and working in the independent music business, founding the Dublin Electronic Arts Festival (DEAF) alongside the record labels D1 Recordings and Dead Elvis. He returned to photography in 2010. His debut photobook i was self-published in March 2014. ON (2015) and End. (2016) completed the Dublin trilogy. A ground-breaking exhibition of the Dublin trilogy formed the centrepiece at Rencontres d’Arles 2016. In 2018, Eamonn published K, photographed in the west of Ireland. In 2019, Fundación Mapfre Madrid and RHA Dublin staged the first fully comprehensive exhibition of Eamonn’s work to date, accompanied by an extensive publication. Collaborating again in 2020, Eamonn, Niall, David and Kevin made the short film EX, which was selected for the Berlin Short Film Festival 2021 and Austin Arthouse Film Festival 2021. Further self-publications followed: O (2020), ONE (2021) and most recently, TWO (2022). 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After purchase, we will contact you to organise delivery and payment for delivery costs.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAlternatively, \u003cb\u003efree Click-and-Collect\u003c\/b\u003e is available from The Library Project at 4 Temple Bar Street, D02YK53 during opening hours.\u003c\/p\u003e","brand":"Eamonn Doyle","offers":[{"title":"Default Title","offer_id":43747470082262,"sku":"","price":180.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2538\/3478\/products\/TWOposter.jpg?v=1666877051"},{"product_id":"with-bread-abigail-o-brien","title":"With Bread, Abigail O’Brien","description":"\u003cp\u003eWhile bread and the craft of making it are nearly as old as civilisation itself, Pain au levain was the first leavened bread, probably discovered in Egypt six thousand years ago. 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Now out of order, these screens are muted, voiceless, marked by flaw, by hand, or by their own inner liquid chemical flow.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHere, in their final presentation, ephemeral images of broken material objects materialize once again as ink on paper - digital signal transcribed to ink. Umbrico further emphasizes the materiality of these worn, obsolete and sold-for-parts objects by over-inking the press during printing. This intervention undermines the precision of the press and the slick-ness of the screen, calling attention to the material messiness of both.\u003c\/p\u003e\n\u003cp\u003eWhile the intervention expresses the particularity of these objects and renders each copy of the book unique, its unbound form further subverts the idea of order. The clean readable screen, the precision of the printing press, and the typically accepted structure of a book, are all in question here: to view the book as a whole, the images are fragmented; to view a whole image, you must take the book apart. \u003cem\u003eOut of Order: Bad Display\u003c\/em\u003e destabilizes the organizational logics of the book and the screen, requiring incompatible maneuvers to view one or the other.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003ePublished by RVB Books\u003cbr\u003eSoft plastic slipcase\u003cbr\u003e132 pages\u003cbr\u003e180 x 280mm\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eISBN 9791090306851\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"RVB Books","offers":[{"title":"Default Title","offer_id":52647195181387,"sku":null,"price":80.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2538\/3478\/files\/Out_Of_Order_Bad_DisplayIII.jpg?v=1761047313"},{"product_id":"out-of-order-penelope-umbrico","title":"OUT OF ORDER: USED OFFICE DESKS AND USED OFFICE PLANTS FOR SALE, Penelope Umbrico","description":"\u003cp class=\"p1\"\u003eIn the midst of the global financial crisis that began in 2008, Penelope Umbrico started noticing large quantities of used office desks for sale online. In the pictures advertising them, these desks, once the definitive site of organization and productivity, sat empty, dusty, and cumbersome - as awkward in their photographic frames as they were in the spaces in which they were pictured. Uncomfortably occupying the constraints of their office spaces, these giant surfaces don't fit nicely. The desk's value - its reason for being - is hinged on its potential for facilitating productivity, and its form is a testament to ideologies of a clean, elegant modern aesthetic. But in these pictures all efficiency, productivity and elegance is in question - the mere fact that the desk is out of commission, being sold, points to an attendant deflation of its value.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eOut of Order\u003c\/em\u003e is a collection of images Umbrico found between 2008 and 2013 on office liquidations websites that buy the entire stock of furniture from offices going out of business. Among the offerings of used office desks for sale are the office plants whose job it was to make office plants whose job it was to make office employees feel more human - to give them something to care for in these synthetic modular spaces. The objects pictured in these images are the aftermath and by-products of a Modernism infused with a disparity between free market optimism and its dystopic result.\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp align=\"justify\"\u003eThe book is unbound, with the images folded in half and cradled together. A red elastic holds the pages and cover together. The book contains:  \u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e- Images of\u003c\/span\u003e\u003cem style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e Used Office Desks for Sale\u003c\/em\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e- folded into the book, the images get broken up with intersecting pages so that each desk is incomplete unless the book is pulled apart.\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e- Repurposed and unstapled (and therefor out of order) pages of\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e \u003c\/span\u003e\u003cem style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eOut of Order: Used Office Desks for Sale \u003c\/em\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e(ink book), and inserted between the folded images of the desks. Un-bound (set free, so to speak) – they create hybrid desks and puzzle-like geometric compositions within their own spreads and with those they are set against, further abstracting the ideologies they represent.\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e- Inserted among, and slicing through these mismatched desks are folded images of the\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e \u003c\/span\u003e\u003cem style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eUsed Office Plants for Sale\u003c\/em\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e. They too become hybridized, one plant grafted onto another, creating a strange new office horticulture.\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e- A 8.5” x 68” text piece listing all the bank failures in the United States from 2008 – 2013 from the US Federal Deposit Insurance Corporation via Wikipedia wraps around the pages into an accordion at the back of the book.\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e- An essay by Clément Chéroux, Curator of Photography at the Centre Pompidou\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003ePublished by RVB Books\u003cbr\u003e138 pages\u003cbr\u003e230 x 280mm\u003cbr\u003eISBN 9791090306288\u003c\/p\u003e","brand":"RVB Books","offers":[{"title":"Default Title","offer_id":52647300596043,"sku":null,"price":65.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2538\/3478\/files\/outofordercover.jpg?v=1751633494"},{"product_id":"a-complete-examination-of-middlesex-bruce-gilden","title":"A Complete Examination of Middlesex, Bruce Gilden","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eIn 2011, New York-based street photographer Bruce Gilden was commissioned by the Archive of Modern Conflict to capture the people and places of London. 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Founded in 1991, the archive began as a collection of photographs relating to war and conflict but has since expanded its remit to become the vast and thematically diverse repository it is today.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ePublished by Archive of Modern Conflict\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eHardcover\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e104 pages\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e225 x 335 mm\u003cbr\u003eISBN \u003cmeta charset=\"utf-8\"\u003e9780957049055\u003c\/span\u003e\u003c\/p\u003e","brand":"Archive of Modern Conflict","offers":[{"title":"Default Title","offer_id":52684328894795,"sku":null,"price":45.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2538\/3478\/files\/ACompleteExaminationOfMiddlesex.webp?v=1761046610"},{"product_id":"amc2-issue-4-collected-shadows","title":"AMC2 Issue 4: Collected Shadows","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eCollected Shadows\u003ca data-encoded-tag-name=\"meta\" data-encoded-tag-value=\"\" data-encoded-attr-charset=\"dXRmLTg=\"\u003e\u003cspan\u003e, a touring exhibition curated by the Archive of Modern Conflict and first exhibited at Paris Photo in 2012. The works span a period from the early 1850s to the present day and are by photographers both known and unknown, amongst them Bertha Jaques, Gustave Le Gray, Robert Frank, Willi Ruge, Paul-Émile Miot, Johann Böhm, Ferdinand Quénisset, Mario Giacomelli, Eugene Atget, Josef Sudek and many others, while subjects include earth, fire, air, water and ether as well as divinity, astronomy, meteorology, flight and dance.\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Archive of Modern Conflict is an organisation dedicated to the collection and preservation of vernacular photographs, objects, artefacts, curiosities, and ephemera. 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