Engelska

Ljusbacken was one of the leading communes in Sweden in the 1970s. It represented much of what came to be associated with the "hippie movement" and later the "prog movement". Much of the most extreme phenomena in the movement resided here. Healing, primal scream therapy, yoga, meditation, drugs, sexual liberation were essentially important ingredients. In Ljusbacken, artist Joanna Lombard visits the mythical place of her childhood home, searching its surfaces for an answer to an unknown question. The book is the artist's journey of facing the memories and extracted stories that were generated during her childhood in the commune. Using contemporary photographs of the places where the stories unfolded a tension is created between the stories' time and space.

The impact of our industrialized culture on nature - including the exploitation of natural resources, global warming, and climate change - is one of the most crucial and urgent issues of our times. Environmental centers have developed within several scientific disciplines with a common global interest - trying to secure the future of our existence in the world as we know it. The book Broken sets out to investigate environmental change and explore our relation to nature. It also follows in the photographic tradition of raising awareness and supporting policymakers, politicians, researchers, environmentalists, and activists. Featuring texts by seminal environmental photographers and theorists, the book Broken re-evaluates early environmental photography and investigates new ways of experiencing and visualizing landscapes in an interdisciplinary context.

<p>This book explores the notion of belonging in contemporary photography in Turkey and Sweden. Throughout the investigation, Erika Larsson uses the term engaging to bring together a range of theoretical perspectives in order to move beyond a representational take on photography. In so doing, her aim is to approach particular photographic works as affective, embodied, and situated interactions or acts. Through the lens of these theoretical perspectives, she explores a number of different photographic projects that in one way or another deal with the notion of belonging.   </p><p>Larsson argues that affective and embodied perspectives are significant and often overlooked both in terms of contemporary photography and theoretical discussions around belonging. In bringing these two themes together, the explorations reveal previously unforeseen aspects of how experiences of belonging are shaped, felt, and negotiated through contemporary photography.  </p><p>In order to bring close attention to certain photographic works and how they function within particular situated space, Larsson focuses on works from the areas in and around Sweden and Turkey, but the discussion also reflects on the wider question of European experiences of belonging. </p>

#selfies documents Harry Woodrows ongoing project of taking selfies whilst wearing a specially constructed reflective helmet. The artist becomes a mirror, so in each selfie the viewer sees the mirrored box, the iPhone taking the photograph, and the photograph being taken within its screen. The book is illustrated with 82 examples of these recursive images, which Woodrow has been posting on a dedicated Instagram account since 2015. #Selfies includes a conversation between Woodrow and curator and writer Nora Arrhenius Hagdahl on the role of the selfie in contemporary society, and an essay by artist and writer David Price.

"NOBODY'S ART "<br/>150 färgbilder tagna på väggar i Indien<br/>När fotografen Reg Fallah är ute med sin kamera kan förbipasserande fråga varför han siktar in sig på en sliten vägg med nedrivna affischer, när det finns så mycket vackert att fotografera. Den här boken är ett svar på den frågan.<br/>Reg Fallah har förmågan att se genom och bortom det medfarna, spruckna, slumpvisa och tillfälliga, utan att sluta se de hårda kanterna, de avskavda färgerna, de trasiga fragmenten. Men ur dessa bortglömda väggar, som saknar eget värde och bara väntar på att åter bli överklistrade, målade på, hackade i och nedskvätta, framträder nya bilder, nytt liv. Ett bortrivet affischhörn bildar en fågelvinge, en fläck blir en mun, och ett öga skymtar bakom en ojämn papperskant.<br/>Bilderna blir mycket distinkta, med en nästan brutal tydlighet och närhet. Det blir omöjligt att inte se, och fortsätta se, och på så sätt färdas genom skikt efter skikt i Reg Fallahs bildvärld. En skönhet bortom det vackra...<br/>Som fotografen själv uttrycker det: "Att se är det magiska"!<br/>Av: Åsa Grågarn