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Artworks by Daniel TurnerImage post production by Janvier

Beyond Drifting: Imperfectly Known Animals encapsulates in miniature the much larger environmental problems of an imperfect world. This work presents a unique collection of plankton specimens related to pioneering discoveries made by naturalist JV Thompson in Cork Harbour during the 1800s. These recently found specimens are deceptive, however, and mysteriously conceal their true origin. _x000D__x000D_Plankton form a diverse group of microscopic marine organisms that are unable to swim against powerful ocean currents; they exist in a drifting, floating state, enveloped in the black deep. _x000D__x000D_As fragile as they are, current scientific research shows that plankton ingest microplastic particles, mistaking them for food. Plankton are a crucial source of food for larger creatures up the food chain - compounding the grave impact of plastics on marine life and, ultimately, humans. Plastic debris is now ubiquitous in the Anthropocene, the period since humanity has had a significant impact on our global environment, and today nearly all living creatures are affected by its widespread contamination. _x000D__x000D_The plankton specimens in this work are beautifully photographed objects of marine plastic debris, recovered from the same location as naturalist John Vaughan Thompson's plankton samples from 200 years ago. Long-exposure photographs record movements of recovered plastic objects floating in a black void, captured on expired film and with faulty cameras. Film grain is intentionally visible, alluding to microplastic particles being ingested. Each specimen has a new scientific name reflecting early Latin origins and containing the word 'plastic' hidden within its title.

Photography by Colin SnappText by Jeffrey GrunthanerEdited and Designed by Études StudioPublished by Études Books, Paris

As 'The Best American Book of the 20th Century' travels through the textual materiality of an entire century of mass-produced literature, it suggests intertextual relationships between the narratives of American fiction. Since a multitude of changes in time and culture converse in the book, the project transverses the usual, formal standards of language, questioning power dynamics between reader and writer. Are Pearl S. Buck, Sinclair Lewis, Ernest Hemingway, Margaret Mitchell, Ayn Rand, John Steinbeck, Daphne du Maurier, J. D. Salinger, Stephen King, and Toni Morrison basically telling a similar story? Do they, through this project, become the collective authors of one, all-encompassing- book? Is the project an opportunity to re-assess and reflect upon modernity's spell on our collective imagination? And, ultimately, how does its composed text resonate in our present times? _x000D__x000D_Pockets brought literature to the masses by turning books into best sellers. Contrary to high-end prints the design of these pockets, cheap and mass-produced, was fit to serve the distribution system. Often effectively well-boxed, they were proportioned to maximize the box's content and carrying-ability and were taggedto increase recognizability for the man handling the boxes rather than to make them look good. _x000D__x000D_The accompanying exhibition is conceived as a stock-sale of the book, in which the mass-produced and standardized presentation materials resonate with familiar formats of 20th century modes of book distribution and display. The standard cardboard boxes utilized as distribution and display devices represent functional carriers of the circulation of mass fiction throughout the previous century, and, for a significant part, up to this day. This project is brought to exhibition as a "stockroom-booksale", resonating the symptoms of mass-distribution as visualized both on a sculptural and a graphic, formalized level. It presents a unique opportunity to display the boxes both as singular units on bookshop counters and as miniature sculptures in exhibition contexts, hinting at the standardized logistical and economic infrastructures behind each book purchase and art display. _x000D__x000D_Design agency Project Projects translated these ambitions in the publication's graphics, in close collaboration with the editorial team. Curator Niels van Tomme served as scenographic advisor, Onomatopee director Freek lomme facilitated final editing and production: exhibition space and publisher Onomatopee provides an institutional framework for the presentation and distribution of this project, making 'The Best American Book of the 20th Century' its 100th project issue (OMP100).

Under the semblance of normalcy Aukje Koks' works unite art and spectator in a split dimensionality; her paintings and sculptures make us aware of the perspective from which we view things. In Ways of Being these images are being shown in tandem with informal, prosaic reports in which friends, critics and curators attribute a relationship to this reality. _x000D__x000D_This book creates an awareness for the relationship between the image and its perception. It surfaces the commonality of visual categorical mistakes* and thus creates an ethical space for parallel perspectives. Very playful and tangible with the art as a thing among things, Koks stands up for a free parallelism. _x000D_

Photography by Peter FunchText by William PymEdited and designed by Études Studio

Photography by Paul KooikerText by Erik ViskilEdited and Designed by Études StudioPublished by Études Books, Paris

Photography by Peter SutherlandInterview by Lola KramerEdited and designed by Études Studio

Mårten Lange intermittently lived in London for 4 years. Just before he left, he started photographing the birds surrounding him. In cities like London, feral pigeons are predominant. Their round eyes, which Patrick Süskind compared to a camera in his book, The Pigeon, are mechanically pointed at you. With sufficient technology, they could become inescapable surveillance tools, evoking the feeling of the pet owl possessed by Eldon Tyrell in the dystopian movie Blade Runner. Ironically, birds are presumed free by essence. Due to their ability to fly, they supposedly know neither limits nor boundaries. Yet, while a wing stroke could carry them anywhere, pigeons seem embedded in cities: glued to power lines or building balconies. Poles apart from a migrating bird; they are trapped in their concrete ecosystem. They seem to have always been here, en masse, like feathered sentinels to something sacred that only they perceive. Often immobile, they guard the city like the colossus that once guarded Rhodes. Purveying a bucolic sullenness, their apparent sadness echoes the drabness associated with urban landscapes. Pigeons often appear beat up, dirty, starving and crippled. Against all odds, they stay, feeding on what humans leave behind. Their wildness is urban, and in their quest for survival, they share the daily struggles of the cities' inhabitants. Similarly, pigeons passed their test of fire and claimed their territory, which Lange feels that this is what truly defines them as a citizen. Shot at close range in black and white, Lange's portraits of pigeons are almost clinical. It's as if these birds had to renew their passports and needed a photo. However, like a true citizen, they probably will never use it.