Alexi Hobbs was born in Montreal. He loves colours, light and scotch (preferably the smoky kind). In his photographs there are a lot of hands: hands touching, grazing, picking things up. And then there are those Canadian landscapes that make one want to get on a plane and leave. He exhibited in Montreal, Moscow and New York.
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Among photographs of kittens, self-portraits of more or less clothed girls posing in front of a mirror, faces hidden behind a plant or by dresses hung in a closet, and other stuff that exploits too well-known stylistic features, every now and then some little treasures manage to surface and it’s good and right to talk about them.
For those who still didn’t know, Disturber has a Flickr group and we intend to make the most of it. So we have decided to publish, every now and then, a selection of the best photographs presented by our users. (on top, photograph by Roberto Rubalcava)
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His photographs are simple and with light tones, but they’re endowed with an unmistakable and refined style. The young South-African photographer Nico Krijno is building little by little a convincing portfolio through which he’s getting deserved attention from magazines and photo-editors. Two months ago he held his first solo show at the Museum Gallery in Cape Town, where he exhibited about two hundred photographs taken between 2009 and 2011 and collected in the book “On How To Fill Those Gaps“. (Interview by Maurizio Di Iorio)
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Hardcover with Japanese binding
11″ x 8 1/2″
163 pages
144 four-color images
Special Price: $48.00
In Illuminance, Kawauchi continues her exploration of the extraordinary in the mundane, drawn to the fundamental cycles of life and the seemingly inadvertent, fractal-like organization of the natural world into formal patterns.
Gorgeously produced as a clothbound volume with Japanese binding, this impressive compilation of mostly previously unpublished images is proof of Kawauchi’s unparalleled, unique sensibility and her ongoing appeal to the lovers of photography.
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Todd Hido from his series A Road Divided, 2008
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A New Map of Italy - The Photographs of Guido Guidi
Texts by Gerry Badger and Marlene Klein
Clothbound hardcover with dust jacket 120 pages, 10 ½” x 12″
64 color plates
Edition of 1,500
Book design by John Gossage
Printed in Italy
Publication date: June, 2011
Italian photographer, Guido Guidi began experimenting in the late 1960s with pseudo-documentary images that interrogated photography’s objectivity. Influenced by Neorealist film and Conceptual art, in the 1970s he began investigating Italy’s man-altered landscape. Working in marginal and decayed spaces with a (8”×10”) camera, Guidi creates dense sequences intended as meditations on the meaning of landscape, photography, and seeing. Later he investigated the life and death of modernist architecture, with projects on Scarpa, van der Rohe, and Le Corbusier. Photography for Guidi is something autobiographical. It is synonymous with inhabiting, and the camera is the instrument that allows him to observe, appropriate and collect what lies beyond his doorstep.
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A few days ago a new project called Civil Collective came to our attention. Intrigued but ignorant about it, we headed towards the website and found some of the names we’re most fond of – Charles Guthrie, Sasha Kurmaz, Jennilee Marigomen, Frankie Nazardo and Christopher Schreck. Besides that, the synergy looked interesting so all we had to do was inquire further.
Managed by Charles Guthrie and finally launched in January 2012, Civil Collective gathers five of the most exciting talents of photography; it was born out of Guthrie’s hope “to amass a group of photographers who were dedicated and talented, but committed to producing work that was thought-provoking and even provocative” and “to create a group that would be able to contribute in different but equally impactful ways”.
The project aims “to offer the photographic community a refined product that feels fresh while it retains a constant degree of quality” and, through the synergy of photographers with similar concerns, “to use the idiosyncrasies found in each artist’s work to explore common concepts and ideas from a variety of angles”.
The newborn Civil Collective can already count on the strength of each individual, and looks set to be a force to be reckoned with. We’ll certainly keep it on our radar and, after checking it out, you might want to do it as well.
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There are no stereotypes or clichés in Eaton’s photographs. They tell us about deeply personal experiences; they’re striking because of his ability to describe with an extraordinary humorous vein the estrangement of the modern man, always divided between loneliness and the search for love. Images, simple but strongly emblematic, that always reveal the constant tension fruit of an awareness: in the end, each one of us is alone with himself. (Interview by Cecilia Manfredi)
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Natural, excessive, demure, unabashed, unveiled, exhibited, chaste, obscene, delicate, irreverent, idealized, exploited. Bodies immortalized in their whole or just in their sexual aspect; in their being ordinary or symbolically transfigured and able to express new, unexpected meanings. Disturber Magazine’s first issue is devoted to the body and its representations.
Contributing artists include:
Contributing artists include: Sasha Kurmaz, David Richardson, Guillaume Maraud, Chelsee Ivan, Dana Lauren Goldstein, Michael J DeMeo, Sinapsi, Santa Katkute, Ada Hamza, Dimitri Karakostas, Joe Skilton, Francesco Nazardo, Anya Schiller, Synchrodogs, Jeff Luker, Ren Hang, Alex Alekseenko, Ilya Smirnov, Olya Ivanova, Ulrike Biets, Todd Fisher, Kristie Muller, Martina Giammaria, April-lea Hutchinson, Maurizio Di Iorio, Eylul Aslan, Alex Wein.
32 pages
Soft Cover
Offset print on 170g – gloss paper
9″ x 13″ (23cm x 33cm)
Limited edition 500
Cover – Sasha Kurmax
Back Cover: Alex Wein
10,00 Eur + shipping
Limited edition of 500
For sale on DISTURBER BOOKS
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There are two ways to define the importance of a photographer: to argue about the fundamental role played by the artist when he founds a genre ex novo, as it’s often read in manuals and monographs, or simply let oneself be moved by the incredible inventions and creations scattered among his works.
Alexander Binder is both a refined experimenter of new visual languages and someone who whisks together suggestions mixed with great ability and thick with unique atmospheres.
Themes such as death and esotericism, combined with images of foggy landscapes and forests immersed in a cloak of mystery, might make us include his photography in the gothic genre; actually, Binder is a very modern artist and is capable of destroying the standard model of the category. His pictures, with their chromatisms and the almost pictorial taste of the framing, are a masterpiece of mise-en-scène and construction of tension that never submits to the slovenliness of predictable tricks.
Before his photographs, you can hardly consider yourselves as passers-by that cast a glance to some grand Mystery; you’ll instead be nailed to the fact that we all belong to that Mystery that is life and death. (Interview by Maurizio Di Iorio)
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