Bøger udgivet af APE

Vivier met Sophie through a casting agent around four years ago. "I was looking for a very athletic woman for a photoshoot," she recounts. "When I met Sophie, I was not only fascinated by her powerful, sculptural body but I was also drawn to her face which is sweet, feminine and tender. I felt that Sophie had a lot to say through her bodybuilding practice - it is, or at the time was, a reconstruction of herself in both an allegorical and a physical sense. "Sophie embodies many of the qualities that the photographer seeks to convey through her work: the architectural nature of the bodybuilder's form encapsulates both the subject and object dynamic that so intrigues Vivier, while simultaneously blurring the boundaries between preconceived notions of femininity and masculinity. "I felt that by reshaping herself with a very intimate, strong and personal motivation to feel good and comfortable with her own image, Sophie was reshaping the criteria of what the feminine body is supposed to be. " (Another Magazine)

F#1-13 is a collection of photographs, sculptures, wind barbs and texts around a gridded flag that blew for thirty-nine days in Citadel Park, Ghent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements - taken at the same instant as the photographs - were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums. This book is made with the kind support of the Cultural Department of the City of Ghent, School Of Arts/KASK, Ghent and Smoke & Dust/019.

"Tell me where you want to go first. I will tell you the whole story on the way. My generation is well versed in The Palace of Dreams,' Ont said, a strange pride straightening his back, as though it had shed a few of its years. 'As for today's youth, that's a different story. "This dual-narrative, part photo-novel, part real-life journey, tells one story in multiple ways. In its first part, the book couples short stories by Falma Fshazi with photographs by Stefano Graziani. The story of a discovery; an encounter with a strange land, beyond East and West, and a city, Tirana. The second part casts a retrospective look at the construction of a tower designed by 51N4E, and on all the projects that followed in its wake, from 2004 onwards. It describes moments, processes and relationships that allowed the architects to come into contact with a culture and a context so different from their own. Overall, this book is a story of embracing otherness, and a contemplation on how things meet. "51N4E, in the beginning they were only architects and later they became Belgian immigrants in Albania..." Edi Rama

The tension between the real world and the parallel world is intensified in these perplexing portraits of morphsuits. The design and theatricality of public space extends into the private realm. Self-design is a statement in the virtual arena that is the Internet. How do I present myself to the other's gaze? Which lifestyle do I use to construe an imaginary identity? How can I become someone else? In their Zentai suits these morphers succeed in escaping from the obligatory, omnipresent perception, the pressure of being seen, all the time, everywhere. They are encapsulated and unrecognisable in a completely enclosed form, vanishing into a trans-human identity that suddenly infiltrates reality in the home or hotel room where Lybeer portrays them. - Inge Henneman

Dominique Somers' work 00A consists of a remarkable compilation of found images. The title of the series refers to the starting-point markings printed between the sprocket holes on the leader of a 35-mm photographic film. Somers has been collecting the first, automatic exposures made on this 00A frame of the negative strip for years. They are the result of a photographic practice that in today's digital age has almost become a form of archaeology: when positioning a roll of analogue film in the camera, one has to release the shutter a few times and wind a couple of frames forward to reach the starting position (1A) of the unexposed part of the spooled film. It is precisely these throwaway shots, made while loading the camera before the real work begins, that Somers has appropriated. The 00A image is given, not made. It is the antipode of the naïve, redundant photography of amateurs and journalists, the users of 35-mm cameras. As a series, 00A investigates the boundaries of the technical and conceptual identity of photography. With the support of the Flemish Government and KASK & CONSERVATORIUM School of Arts Gent

For several years, Paul Kooiker and Erik Kessels have organized evenings for friends in which they share the strangest photo books in their collections. The books shown are rarely available in regular shops, but are picked up in thrift stores and from antiquaries. The group's fascination for these pictorial non-fiction books comes from the need to find images that exist on the fringe of regular commercial photo books. It's only in this area that it's possible to find images with an uncontrived quality. This constant tension makes the books interesting. It's also worth noting that these tomes all fall within certain categories: the medical, instructional, scientific, sex, humour or propaganda. Paul Kooiker and Erik Kessels have made a selection of their finest books from within this questionable new genre. Incredibly small photobooks is the second volume (after Terribly awesome photobooks) showing this amazing collection.

Lara Bongard inherited a 100 year old Shabbat tablecloth, the only surviving heirloom from the vanished world of her ancestors, with which her great-grandfather Mordko Bongard crossed the river of his shtetl in 1911 and never returned. He left his family and community, to escape the pogroms that swept the regions. Lara embarked on an extensive research into the scattered history of her family in the previous Russian Empire (present-day Ukraine). She retraced family members, collected testimonies, photographs, letters and archival material, researched Yiddish tales, symbols and mythologies - in order to reconstruct her own image of the past. The tablecloth grew into a symbol of life: sharing food with family across time, connecting East with West, the generations, and diversity of cultures we as a family represent. Gradually, dislocation became a portable home. 'The Girl Who Crossed the River with a Tablecloth' is a multidimensional work and dynamic space of memory, in which fictional stories about the lives of her ancestors are written in conjunction with the ancient Hebrew lunar calendar, travel stories and memories, photographs and illustrations. The project contributes to generating new connecting narratives about the fluid meaning of being ''at home'' in our contemporary world and reframing perspectives on multiple histories and identity. 'The Girl Who Crossed the River with a Tablecloth' is presented at the Kunstkabinet of the Jewish Museum in Amsterdam, taking place from 8. 04 - 01. 10. 2023.

'The roundness of loss' is a book on art as an 'in memoriam'. This publication contains poems, personal texts, works by Hanne Hagenaars and texts based on artworks by others. A book about loss, grieving, missing and rituals. How we can keep a loved one who has died close to us? Using specific artworks, Hagenaars discusses the possible ways a person can 'live on' and the context of this commemoration. How does remembrance relate to ideas about life and death, to religion, spirituality or the social context?Hanne Hagenaars: "How to remember someone is a subject that has fascinated me for a long time. Death is the great unknown in our lives; everyone is somewhat afraid of it. Death makes those left behind lonely, there is grief and those left behind don't really know what to say, often there is a lack of words to talk about death. Loss and grief are invisible, how do you shape them? How do you make sure you don't lose someone completely, how do you keep them alive? How can we grieve?"With the support of Mondriaan fonds, Prins Bernhard Cultuurfonds en Jaap Harten fonds.

Italian artist Luca Massaro has been building a solid body of work on 'the invisible space that separates an image from its caption, photographs from words, in their different forms of production, translation and transmission'. Through an eclectic array of photographs, words, sculptures, installations and artists books, concocted with advertising techniques of manipulation, borrowed from the urban and online accelerated mediascape, such as the proliferation of backlit devices, the repetition of graphic logos and leitmotifs, his work plays with the conflicting hybridization of iconotexts today. Ten years ago, Massaro began his affair with words in the public space and landscape, which initially emerged in a sort of photographic encyclopedia, his book Foto Grafia (Danilo Montanari Editore, 2015). With his new multimedia piece Dizionario Vol. 1 he goes one step further. As the entry of a dictionary has lost its linguistic autonomy and has become ancillary to the imagery picture of the term it defines, like a caption, Massaro exacerbates this concept by building a multi-volume dictionary in which words and entries are replaced by images of words indexed in alphabetic order. For Volume 1, these images-words have been shot in the public space and mostly, yet not exclusively, in the urban landscape, since 2012 in Europe, Japan, Mexico and North America. Dizionario is a long-term project: every ten years the artist will publish a volume that assembles around 1000 new images accumulated in the previous decade from his personal archive. This verbo-visual archive, a collision of signs, layers and transparencies, which creates abstract images out of language, is used as a matrix for the fabrication of new works with various materials. Through vectorial processes and the hybridization of the graphic and the photographic, the commercial and the semiotic, the volumes of the dictionary become the raw material to craft interventions and site-specific installations, where the photographed words are exhibited out of context, printed on public billboard, painted on zinc coated steel in molten iron frame, almost generating a second, more sculptural dictionary. In this way Massaro's project becomes a semiotic organism that questions and somehow resists the cultural and socio-political values of the images and texts that haunt our psyche and permeate a shared worldview. (Frederica Chiochetti)

Helena van der Kraan (1940-2020) is a photographer's photographer, her photos make you reflect on the ordinary things in life. Due to the great simplicity of both subject and image, the viewer may be inclined to associate a metaphor with what has been photographed, she never tries to steer the viewer's interpretation. For her personally, a bottle remains a bottle. She finds comfort and beauty in the photography of the everyday and is eager to share this with others. This is the first book devoted solely to her still life work, the images in the book are selected to compliment her latest, posthumous, solo Still (a) Life at Madé van Krimpen Gallery. In collaboration with Madé van Krimpen Gallery.

Is the title of this series the first segment of a phrase such as inner circle, inner room, or inner light? Looking at these images made of fragments of a body, a face and daily gestures that a permanent sun cuts out and includes in a room of a living space, we will simply understand that it is a question of interior, interiority and intimacy that can be shared with someone.

019 was never going to remain the only place we worked in. From the start, it's been a laboratory that swings us into unknown directions, constantly sharpening our sense of improvisation and reinvention on the spot. For three years, from 2013 onwards, we made that old welding factory at Dok Noord in Ghent the focal point of our activities. People even started to identify the entirety of our collective, Smoke & Dust, with what was basically only the name of its nineteenth project. We became 019. The whole project turned us upside down. But in doing so, we became aware as well. We understood that the act of occupying and taking possession of the site was not the goal of our work at all. From the inside out, starting with a wooden construction in its interior and up to the billboard at an outside wall and a series of flagpoles on the roof, we gradually developed the place into an assembly of undergrounds for public and artistic encounter, an emerging space for collaboration that was grounded on the premise that all media at our disposal were common grounds to be rediscovered. That's when the work began. That's when things began to move, for real. That's when we realized-artists, architects, designers and the like-we had all turned into scenographers, regardless of our discipline: co-authors of a scene that was constructed out of margins and constraints, participants in a game of give and take that we endlessly play around a display we like to recycle. In the end, that's how 019, our handling of its space through appropriation and dispossession, became the site of a moving practice, a collaborative way of working ready to be moved, reproduced and reinvented elsewhere.

This essay series attempts to stimulate the debate about the moral challenges that internationalisation confronts us with, both in the Netherlands and abroad, and in particular for Artist-in-Residencies (AIRs). The publication is a reflection on how the crisis is reconsidering our international ambitions, starting from a post-COVID society. Internationalisation is an inevitable reality, inherent to the art landscape. The current time calls for a critical reflection on major issues such as climate inequality, plurality and the Western-dominant canon. With contributions and critical insights by Jeanne van Heeswijk, Jack Segbars, Erik Hagoort, Pascal Gielen, Cecilia Bengtsson, Merlijn Twaalfhoven, Hicham Khalidi, reinaart vanhoe and Suzanne van der Beek. Thanks to Jan van Eyck Academie, Mondriaan Fonds, Prins Bernhard Cultuurfonds en het Amsterdams Fonds voor de Kunst for their support.

And then, as if out of nowhere, everything built be-came HERITAGE. The regulation would be confirmed in writing shortly, but on the telephone the office clerk left no room for doubt. Every brick, every beam and pipe, every tile, faucet and roofline had to be preserved. THE SITUATION AS IT IS, WILL BE THE SITUATION AS IT IS. The administration chose a new approach: a radical shift from ambiguous-at times obscure-decisions, procedures and decrees to an era of HYPER-REGULATION. Startled, THE ARCHITECT hung up. He looked at the list of construction sites he planned on visiting that day, grabbed his car keys and camera, and left. He wondered if, later on, his wife and kids would still be in the living room where he heard them playing now. THE SITUATION AS IT IS** is the story of an architect's ring binders, an archive filled with negatives and scattered subjects. THE PHOTOGRAPHS try to tell a story of an existing condition*: this is the state things are in. Within these binders buildings are perpetually unfinished. The dog keeps barking. It's our third birthday, again. Decades after they were exposed, these photographs appear to reveal the first traces of THE IMPASSE. **** Documenting the existing condition (de bestaande toestand) is a legally required aspect of a building application within the context of architecture and urban development: photographs describe a building, a landscape, infrastructure.... in order for it to be demolished, adjusted, built. The existence of the image, the document that presents THE SITUATION AS IT IS, usually implies and initiates change. ** THE SITUATION AS IT IS unfolded in 15 episodes of three frames that revolved rhythmically on a billboard mounted onto 019's facade. *** Part of the research project Documenting Objects, conducted by Arnout and Michiel De Cleene at KASK, the school of arts of HOGENT and Howest.

MUD is an ongoing collaboration between Arnaud Lajeunie and Georgia Pendlebury. For five years they have photographed girls cast online from all over Europe. The girls are strangers to one another. Lajeunie and Pendlebury seek to study the behaviour between them as their relationships develop within this artificially created situation. The first four volumes from this evolving body of work are now published by Art Paper Editions. The fifth volume is due to be shot later this year.

In the months that preceded the global spread of COVID-19, a series of airborne events transformed the atmosphere of the Indo-Pacific region; the bushfire smoke on the East coast of Australia, the tear gas used in the Santiago de Chile and Hong Kong protests, the Indian Supreme Court ruling on Delhi's pollution failures, and activists covering iconic statues with respirators across Johannesburg and Pretoria. All these incidents map the political struggles taking place in the region's air, triggering a proliferation of masked faces avant la lettre. The publication Folk Costumes, Indo-Pacific Air is an account of the region's masked state. It brings together culturally and geographically diverse case studies exploring air's effects on the body to describe the emergent wearable architectures it produces. Considered as folk costumes, these wearables are socio-technical constructions that mediate our relationship with the environment-they negotiate our daily struggles, emancipatory efforts, and emotional inner-lives. Discussing air as a political matter, the book collects contributions by scientists, writers, historians, architects, photographers, and dilettantes, encouraging readers to fly freely between visual and conceptual affinities to create a map of a region in the making. Edited by Urtzi Grau and Guillermo Fernández-Abascal with contributions by Dean Cross, Hamish McIntosh, Peter McNeil,Hélène Frichot,La Escuela Nunca y Otros Futuros,Lidia Morawska, Juan Elvira, Matthew Connors, Ricarda Bigolin, Peter Irga and Fraser Torpy, Sharbendu De, Enoch Cheng, Samaneh Moafi, Sumayya Vally,Matteo Dal Vera, and Achille Mbembe.

The images of 'tempête après tempête' were shot during Rebekka Deubners second journey to Fukushima-ken, in the summer of 2019. On 03. 11. 2011 a part of the north-east-coast was impacted by three major catastrophes: a naval quake, a tsunami, and lastly the explosion of the Fukushima Daiichi nuclear power plant. Deconstruction does not only causes annihilation, it also creates the occasion for new forms of life to emerge. 'tempête après tempête' portrays Fukushima through close-ups of inhabitants, scattered pieces of land, details of sea landscapes, moving elements of nature such as insects, humans, seaweed, pieces of bodies,... they all merge into a new and hybrid body. For Deubner taking close-ups is a way of working that is essential to her practice. Looking at things from a near perspective, gives her the opportunity to feel their materiality and texture directly through her eyes. It is as if the lens of the camera is an extension of her touch. It also allows her and her subjects to experience a form of contemplation. Taking time to create a testimony of this land where all the scattered pieces were never been understood as a whole.

BIRDS OF A FEATHER is a publication that gives an insight into the organisation and functioning of OpStap, a group-based program for people with drug addictions and people in recovery. The focus lays on the guests of OpStap, who are given a meaningful use of time and meaning through meetings, activities and voluntary work. BIRDS OF A FEATHER is a collaboration between the organisation of OpStap, photographer Vincen Beeckman, writer Colin Pantall, designer Lien Van Leemput, publisher Art Paper Editions (APE) & the city of Ghent. The project started with several workshops, hosted by Vincen Beeckman & Lien Van Leemput. They interacted with the guests at OpStap, and Beeckman also joined them on their weekly activities outdoors. Conversations took place where questions were posed about the dreams and memories of the guests, but also about their everyday concerns and their opinion about OpStap. Colin Pantall acts as a moderator and questions the goal of the project, the way in which people are portrayed, and the role of each person involved. This results in a series of interviews that will be a part of the publication. Besides this, doctor in pedagogical sciences Wouter Vanderplasschen and Aline Pouille, researcher at the Faculty of Psychology and Educational Sciences of UGent will contribute a text. Also Charlotte Colman, professor in drug & criminal policy, will give her vision on recovery and treatment.

'Sandcastles And Rubbish' is the fourth publication by Sybren Vanoverberghe with APE and is a continuation of his visual research on artefacts and non ordinary sites. 'Sandcastles And Rubbish' puts its focus on the site of the port and the industrial landscape around it. In previous projects Vanoverberghe shows statues and pillars made out of stone, ruins in desolated landscapes or nature in a constant state of transformation. For 'Sandcastles And Rubbish' a change in materiality took place, a change wherein Vanoverberghe investigates 'new' artefacts of our time. Rusted and bend steel, gravel pits, sturdy and raw structures flirt with composition and elegancy. Photographic works are presented alongside artefacts or 'objets trouvées'. Questions are raised about the value of an object and how value changes as time passes by. Vanoverberghes work is characterised by a constant flux of place and time.

'Replica' suggest a new reading of the body and the model as a pure image, a pure tool, without referring to any representative identity, hereby ignoring today's contemporary society of what the self should be. Lino refers strongly to American mid-century photographer William Mortensen, who states that a body is simply considered to be "a machine that needs adjustments. " According to Mortensen the body must be the basis, "representation of personality and emotion [...] are irrelevant and misleading". There is a certain dehumanization in Mortensen's approach to the model, a return of the body to an object without meaning, in front of the camera. Mortensen saw models as clay that form the image, a body was articulated only by the operator's intention. He wanted to strip the figure from its emotion and personality, so that we, as an audience, could consider the body as a formed prop and stare at the image as the essence, and not the subject. In Lino's case she is the model, the operator / photographer, the subject and the image at the same time. She is in complete control. She found a way to remove herself from representation and reduced her own body to a pure object and image, almost like a machine. 'Replica' is a manifestation of the artist's understanding of her role in front of and behind the camera. 'Replica' is a prescient of an approaching future in which identity will surrender to the carefree machine of image magnification.

The books included in the series Choreography as Conditioning are rooted in a cycle of work sessions entitled CASC at KASK, in which students work together with invited guests. They explore the notions of choreography, understood as ways of organizing subjects in their surroundings, and conditioning in both art-making and society-making. Where, how, and by whom are things organized and what kind of landscapes of experience are made (im)possible by the practices we enact and encounter?... Through Practices is written by artist researchers who have been involved in a three-day public symposium with the same title, explo­ring ecologies of attention, awareness, senses of participation, and agen­cies of practice. It presents resonances and sedimentations of indi­vidual, shared, and collective practices, mirroring different forms of participating and responding-diverse in/capacities, im/possi­bilities, and dis/interests as they appear in and through experience.

Don't be misled by the sweet pictures in pretty colours, for we're dealing with a radical artist here. This anarchist in angel's clothing contravenes a number of contemporary art's unwritten laws. Gijs Frieling is a standard-bearer for ornament and decoration and he embraces exuberance. His representations are not minimal but maximal, as full as can be, and there's always room for an extra flower. Gijs couldn't care less about the concepts of novelty and originality; on the contrary, he wants to work as unadventurously and predictably as possible. His paintings are jam-packed with repetition and he often falls back on the same elements. Also, he copies to his heart's delight - his own work and that of others, in versions that are painted (on glass) or embroidered (by his mother) and the distinction between the copy and the original doesn't interest him in the slightest. Moreover, his work is not critical but it is pleasing, it is incredibly beautiful, and on top of this he is a Christian. (Nanda Janssen)This book contains 10 visual essays photographed by Johannes Schwartz and conversations with the patrons of commissioned murals in private collections by Hanne Hagenaars:"The patrons who speak in this book are the brave among art buyers: their walls bear a mural by Gijs Frieling, and that's not something you can put away, or put into storage, turn to face the wall or sell. Painting over it is a possibility but if you have finally decided to enter into this commitment, moving house seems like a more realistic way of escaping from the work than a white coat of paint on top of it. But not a single owner that I spoke to is tired of the artwork; on the contrary. It seems that the whole ritual of deciding, discussing and allowing the artist into your house changes your position as a buyer: the patron is no longer a consumer but an accomplice. " (Hanne Hagenaars) With the generous support of Mondriaanfonds, Jaap Hartenfonds and Amsterdams Fonds voor de Kunsten

During seven years, 16 performers spread Lecture For Every One throughout Europe. They intervened in more than 300 different gatherings, from a corporate sales meeting to a brass-band rehearsal and a municipal council. As uninvited guests, they addressed every one with exactly the same text. Until now, the project has remained largely invisible to the wider public. This book now sheds light on the information and expertise Lecture For Every One has generated-feedback, stories and memories from a range of perspectives. It reflects on how places where people gather can become political instances, on the (im)possibility of addressing every one, and on the value of fiction in our daily lives. Sarah Vanhee is an artist, performer and writer. Her interdisciplinary work moves between the civilian space and the institutional arts sector, and is best known for its radical gestures and its engagement with non-dominant voices and narratives. Since 2007 she has created several onstage per­formances, (semi-)public interventions and site-specific works that have been widely presented internationally. With texts & contributions by: Adinda Van Geystelen, Anabela Almeida, Anne Thuot, Anton Wilsens, Bojan Djordjev, Carola Bärtschiger, Christine De Smedt, Christophe Slagmuylder, Daniel Blanga Gubbay, Deborah Hazler, Edith Goddeeris, Elina Pirinen, Evelyne Coussens, Gurur Ertem, Iiris Viirpalu, Ilse Ghekiere, Jan De Brabanter, Jan de Zutter, Joe Kelleher, Katja Dreyer, Kristien Van den Brande, Kristof Blom, Lara Barsaq, Lex Bohlmeijer, Linda Sepp, Mariel Supka, Marika Ingels, Matthieu Goeury, Mylène Lauzon, Robin Vanbesien, Salka Ardal Rosengren, Sarah Vanagt, Sarah Vanhee, Silvia Bottiroli, Taziana Pyson and many others.

Photographer Marie Déhé and writer Haydée Touitou team up to create We Have Been Meaning To, a book of sculptural poetry and poetic photographs. Words and images balance, push and attract our attention. A sensual softness and quiet passion show us pieces of skin and sky. Déhé and Touitou offer sunbeams through their words and images, making sounds in your head while flipping through the book. Daydreaming is made tangible.

The books included in the series Choreography as Conditioning are rooted in a cycle of work sessions entitled CASC at KASK, in which students work together with invited guests. They explore the notions of choreography, understood as ways of organizing subjects in their surroundings, and conditioning in both art-making and society-making. Where, how, and by whom are things organized and what kind of landscapes of experience are made (im)possible by the practices we enact and encounter?_x000D__x000D_The Orphans of Tar - A Speculative Opera answers the question posed in the second book by transforming life into voices and presenting possible mindsets through co-authoring a factual fiction. As such, it constitutes a mental space in which ficti­tious characters find an almost disturbing expansion of their thoughts. Accordingly, the book can be considered as an alle­gory of human thoughts as (possible) actions: what could happen becomes what does happen. For better and worse.