Bøker utgitt av RVB

In this new publication, Tiane Doan na Champassak works on his own collection of Parkett, a seminal art magazine issued between 1984 and 2017. His subtle approach consists of isolating a considerable amount of double-spreads displaying gallery advertisements, all from the first five years of Parkett. Coherent in style and form, these ads are works of art in their own right, reflecting the supremacy of text over image in the conceptual production of those years. In their simple yet sophisticated appeal, they trace an alternative history of postmodern and contemporary art, marking the recurrence of certain artists - such as Marcel Broodthaers, Michael Heizer, Louise Bourgeois, Ed Ruscha, Richard Prince, Anish Kapoor, and Cindy Sherman, among many others - in the galleries' landscape of the 1980s.

Distilled from over 15.000 family albums, Incomplete Encyclopedia of Touch archives the human desire to put a hand on things. Whether it's cars, boats, animals, trees, fridges, bridges, bushes, fellow humans or even their graves - everything that can be touched will be touched. Containing only 2.948 photos, this collection is far from ever being finished but provokes questions about the underlying motivations behind this universal pictorial behaviour. Do we seek connection? Do we claim ownership? Or do we just want to measure ourselves to the objects of our world? Perhaps you could ask yourself these questions, next time you strike a touching pose.

Famed for restoring historic properties, Belmond luxury?hotel group is now collaborating with world-leading contemporary photographers to create bodies of work responding to their destinations, carefully pairing each artist with the personality of the chosen hotel. Letizia Le Fur photographed Caruso, on the Amalfi Coast in autumn 2022, and spring 2024. Caruso has a history that goes back almost a thousand years, and there is a certain genius in the way Le Fur depicts its architecture against the glowing hills and towering cliffs of this most iconic stretch of Italy's coastline. The reliefs appear almost flat, like a Renaissance trompe l'oeil fresco, or a stage set for A Midsummer Night's Dream, where one could simply step out and glide across their surface. The gardens could have been plucked straight from a Hayao Miyazaki fantasy. It was quite intentional for these photographs to reinforce the dreamlike, timeless aspect of the place. Le Fur sought to capture what she calls the 'omnipresent sun' - the buttery light that drenches the 11th-century walls and cliffside gardens. It is this singular observation that drives the book; every subject Le Fur captures is soaked in a luminescence that plays a character in several acts, and it is the sun's kaleidoscopic theatrics that form the heart of the story. (...)

Rosie Marks photographed Mount Nelson in Cape Town, in spring 2023 and winter 2024. Rosie Marks remembers seeing the trademark-pink walls of the Mount Nelson Hotel when she was a kid on a family holiday in South Africa. Years later, in this book she captures the rooms and grounds and their inhabitants with a sense of nostalgia, personal connection and her characteristic earthy humour. She was particularly drawn to Mount Nelson's employees.?Her portraits of the staff, some of whom have worked in the hotel for decades, gazing out at us proudly from windows and offices, offer a glimpse into their daily lives. She explains that she was fascinated by the rhythms of administrative work overlapping with ritual and community - the morning briefings often culminate?in group prayer and singing, an important marker of the day's beginning. Above all, her photographs are as much about herself as they are about the people she is photographing: her images reveal what is funny and extraordinary and unique to her, picturing those quirks of human existence that we too often overlook.

In a context of contemporary warfare, drones are increasingly used as tools and machines for control, surveillance, and repression, becoming more and more technologically sophisticated. Through a selection of images collected from various channels, active in most modern conflicts (Syria, Libya, Mali, Central Africa and Ukraine), the book questions the ways war is represented. Where journalistic images are often framed, if not suppressed, by the belligerents and tend to lose relevance, they are gradually being replaced by these machine-produced images. The book brings together documentary images on which the author intervenes only minimally. It is not question of creation here but more on how representing reality.