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The images capture moments that arise when lost in thought, evoking a connection to memories. This sensation dwells in my chest, ascending like an elevator into my brain-the essence of my narrative. Drawing from personal experiences, I used them as the foundation. Delving into scattered memories and anxieties, I forged a nonlinear storyline centered on myself. As both narrator and subject, I embarked on a complex journey. This exploration pushed my inner and outer boundaries, confronting vulnerabilities from family ties, especially my younger sister. I faced my humanity, photographer identity and existence in the post-Soviet Muslim context.

The collection titled "Expressions" consists of 50 computer-generated images, each featuring a female eye. The eyes portrayed in these images are not real, but rather a product of digital rendering. They do not belong to any particular person, yet at the same time, they belong to everyone. Although they appear to gaze at nothing in particular, their gaze is all-encompassing, directed towards all of us. The eyes are adorned with makeup that was never actually applied by anyone, but represents every type of makeup that has ever been used. Using Artificial Intelligence software called "Text to image," each image is generated by composing a line of text, which led to a series of eyes and a set of unanswerable questions.

The series MUSA consists of twenty-six works of UV printed photographs on brass. The works are divided into three sizes which measure 150 x 200, 37,5 x 50 and 80 x 100 cm. The photographs for these works have been taken at various greenhouses in Morocco, which harvest Banana Trees. On the images we see abstract impressions of green and yellow leaves pressed against the plastic sheeting of the greenhouses. On top of that we see strips of copper wiring that keep the plastic sheets in position. It is the first series of images in Vanoverberghe's work that solely puts the focus on the natural aspect of our surroundings.  The work is a continuation in Vanoverberghe's research to the material in which he presents his photographs.

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.

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.

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.

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.

'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.

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.

This photographic statement is a chronological record of an obsessive four-day walk through one of the twentieth century's most battered cities. Rosa Smalen crisscrossed Berlin with her eyes and camera pointed down, unflinchingly recording the worn-out and often patchwork sidewalks that carried her along. The pavements of Berlin silently bear witness to great turmoil, and so does Smalen, who managed to recover from a coma after an accident that nearly took her life. Facing the site of a trauma exceeding her own, Smalen set out to keep it simple and focus on the literal ground beneath her feet, an act to which this book forms a determined and resilient testimonial. (Taco Hidde Bakker)

Erwin Wurm Photographs is being published to accompany the first retrospective (4 March - 7 June 2020) organized by the Maison Européenne de la Photographie (MEP) of this world-renowned Austrian artist's photographic work.The book explores Wurm's eclectic practice from this new angle. In addition to bringing together some 600 photographs from the late 1980s to the present, this exhaustive compilation includes original contact sheets and prints from the artist's personal archive that have never been seen before. It examines the artistic process through which Wurm created many of his major works and series, from his "Dust Sculptures" and "Fabio Getting Dressed" to his influential "One-Minute Sculptures," and also features his recent large-format Polaroid photographs.

In the early 1960s Oscar Niemeyer designed a complex in Tripoli that was intended to serve as a large exhibition centre and to be part of the Tripoli International Fair. The location used to be an immense?/vast orchard, full of oranges. Now here lies an abandoned complex of 15 structures, including?/?which include an outdoor theater, a concert hall, an atrium, an arch, a heliport and lodgings. The site is an example of futurist modernist architecture, unfortunately led to decay. The project was never finished due to technical problems, incoherent bud-gets and the Lebanese Civil War in 1975. Photographer Giovanna Silva visited the site and documented what is left, capturing the atmosphere, the fading colours, the leftover stones but nonetheless showing us the grandeur of what was once the centre of Tripoli's architecture.