{"title":"Under $60","description":"\u003cp\u003eThe Perimeter 2025 Gift Guide\u003c\/p\u003e\n\u003cp\u003eBudget-friendly photobooks, readers, and artist books – or a Perimeter tote bag! After all, it's the thought that counts.\u003c\/p\u003e","products":[{"product_id":"louise-bourgeois-fleurs","title":"Louise Bourgeois – Les Fleurs","description":"\u003cp\u003eSECOND EDITION\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eLouise Bourgeois (1911 Paris – 2010 New York) grew up near Paris, where her parents ran a business restoring tapestries. Her childhood was marked by a complicated relationship to her father, who cheated on Bourgeois' mother with the British nanny. This traumatic experience haunted her throughout her life and was the major source of inspiration for her art. \u2028After pursuing studies in mathematics, Bourgeois attended a number of art schools in Paris. In 1938 she married the New York art historian Robert Goldwater (1907–1973) and moved to New York, where she raised three sons with him.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn the beginning, Bourgeois was focused on painting and printmaking. It was not until the late 1940s that she began to work as a sculptor. However, her almost obsessive writing, as well as drawing, always remained central forms of expression. After the death of her father in 1951, she became intensely involved in psychoanalysis. Bourgeois varied the proportions and unusual materials of her work as much as its forms, which oscillated between abstraction and figuration. Strong emotions such as loneliness, jealousy, anger, and fear make up the common thread throughout her work.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe first major retrospective of Bourgeois' work was held at the Museum of Modern Art in New York when she was 70. Subsequently, she created her monumental spider sculptures and the famous and uncanny 'Cells' – structures she enlivened with hanging fabric dolls and other objects. Art was her means of working through the past and practicing a kind of exorcism.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e28 pages, 19 x 25.5 cm, softcover, Nieves (Zurich).\u003c\/b\u003e\u003c\/p\u003e","brand":"Nieves","offers":[{"title":"Default Title","offer_id":43552596492527,"sku":"","price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/products\/IMG_4980_dad8c95a-011c-413c-8bc1-77ccd3144f40.jpg?v=1667368258"},{"product_id":"tim-carpenter-to-photograph-is-to-learn-how-to-die","title":"Tim Carpenter – To Photograph Is To Learn How To Die","description":"\u003cp class=\"p1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003cb\u003e\u003ci\u003eTo Photograph Is To Learn How To Die\u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003e is a book-length essay about the essential usefulness of the practice of making photographs. Drawing on the writings of Wallace Stevens and dozens of other poets, artists, musicians and thinkers, American photographer \u003c\/span\u003eTim Carpenter argues passionately – in one main essay and a series of lively digressions – that photography is unique among the arts in its capacity for easing the fundamental ache of our mortality; for managing the breach that separates the self from all that is not the self; for enriching one’s sense of freedom and personhood; and for cultivating meaning in an otherwise meaningless reality.\u003c\/p\u003e\n\u003cp\u003ePrinted in three colours that reflect the various ‘voices’ of the book, the typographically innovative text design follows several channels of thought, allowing for various approaches to reading. A unique and instructive contribution to the literature on photography, Carpenter’s research offers both a timely polemic and a timeless resource for those who use a camera.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e248 pages, 11.5 x 17cm, softcover, The Ice Plant (Los Angeles).\u003c\/b\u003e\u003c\/p\u003e","brand":"The Ice Plant","offers":[{"title":"Default Title","offer_id":43859479462127,"sku":"","price":48.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/products\/IMG_6623_a96885aa-af59-43a4-8ddb-f45b52255344.jpg?v=1679015447"},{"product_id":"pre-order-sight-unseen-visualising-the-unseeable-through-art-and-science","title":"Sight Unseen: Visualising the Unseeable through Art and Science","description":"\u003cp\u003eEdited by \u003cmeta charset=\"utf-8\"\u003eEdward Colless, Suzie Fraser \u0026amp; Ryan Jefferies.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eIn 2019, the previously unseeable became seen when the first image of a supermassive black hole was captured by the Event Horizon Telescope (EHT) project. Taking its initial inspiration from this pivotal event, \u003ci\u003eSight Unseen\u003c\/i\u003e considers phenomena in our universe once hidden from human sight, now made visible through the combined efforts and outputs of artists and scientists. Collaborative, multidisciplinary and non-hierarchical in its scope, this collection of essays and images draws on Western and First Nations knowledge systems to ask readers to see together. To see via cross-disciplinary collaboration; to see with help from non-human forces and beings; to see the togetherness often hidden from our gaze; and to strive to see an ecological and cosmological entirety while acknowledging, through practiced humility, that we can only ever see a small portion of what exists. At its most fundamental, the act of seeing is the sensory experience of detecting light. A confluence of science, art, cultural knowledge, imaging and imagining, \u003ci\u003eSight Unseen\u003c\/i\u003e – which is edited by Edward Colless, Suzie Fraser, and Ryan Jefferies, and designed by Daly \u0026amp; Lyon – positions the notion of sight to be so much more.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eCoVA x Perimeter is collaborative publishing initiative curated by the Centre of Visual Art at the University of Melbourne and independent publishing house Perimeter Editions. Foregrounding experimental and otherwise innovative discursive outputs from three key streams of enquiry – Postnational Art Histories, Feminism and Intersectionality, and Art + Science – the program spans research-in-progress, academic dialogues, artist responses, and essays, working to reframe scholarly research via a multiplicity of new perspectives and lenses. The Art + Science series, supported by Science Gallery Melbourne, creates a space for shared and collaborative conversations and research\u003c\/p\u003e\n\u003cp\u003e between scholars and practitioners across the arts and sciences internationally. The series broaches some of the critical challenges facing humanity – from climate change to artificial intelligence and gene editing – through a dialogic exchange across scientific and artistic disciplines and modes.\u003cbr\u003e\u003cbr\u003eWith contributions by: Thomas Apperley, Elisabetta Barberio, Monica Bello, Drew Berry, Justin Clemens, Madeleine Collie, Sean Cubitt, Peter Galison, Adrian Heathcote, Chris Henschke, Tessa Laird, Beverley Meldrum, Karlie Noon, Patricia Piccinini, Alicia Sometimes, Will Steffen, Paul Thomas, Marcus Volz, Lisa Waup, and Liam Young.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e156 pages, 25.5 x 15.5 cm, cold glue bind, \u003cmeta charset=\"utf-8\"\u003ePerimeter Editions x CoVA at the University of Melbourne (Naarm \/ Melbourne).\u003c\/span\u003e\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":44108568690927,"sku":"","price":48.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/files\/IMG_0286_927195b4-b720-4a52-84b6-81e523c7ea02.jpg?v=1704177961"},{"product_id":"georgia-metaxas-mnemosyne-grove","title":"Georgia Metaxas – Mnemosyne Grove","description":"\u003cp class=\"p1\"\u003eSPECIAL EDITION \u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003ePerimeter Editions and the artist are producing a special edition of 50 copies, which include a signed and editioned archival inkjet print (\u003c\/span\u003e\u003ci\u003ePalairos Grove, \u003c\/i\u003e\u003ci\u003eVoula I\u003c\/i\u003e, from the series ‘Mnemosyne Grove’, 2020, 20.3 x 25.5 cm, shown in the last image).\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMemory is inherently porous and complex, as is memoriam. Our dealings with recollection and loss are personal, familial, and communal in their ambit. They shift and reshape with every conversation, image, and experience of place.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eMnemosyne Grove\u003c\/i\u003e, the debut book from London-based Australian artist Georgia Metaxas, traverses this territory with great sensitivity and poeticism. Using the olive tree as its central motif, the project explores family lineage and tragedy through connections between land, family archives, and storytelling, reflecting on the photograph’s ability to provide a nexus for multiple personal histories – in particular, those of migration, displacement, loss, and return.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe book connects two sites of particular familial significance in Greece, with Metaxas journeying between an olive grove bequeathed to her mother’s family in Palairos – where the ancient trees, each named after a woman in the maternal line, have stood sedately for five-hundred years – and Ithaca, the island where her father’s family originated, before migrating to Australia on a British steamship in 1901. Drawing upon Metaxas’s multiple photographic languages, as well as her father’s Super-8 film stills – which he shot on his first and only trip to Greece in the late 1970s, travelling to Ithaca and Palairos with his wife and two daughters in tow – \u003ci\u003eMnemosyne Grove\u003c\/i\u003e unfolds amidst an elegiac subtext. That Metaxas’s young father would tragically die during the same journey casts this work in the most poignant of lights – the artist retracing her father’s footsteps, in search of his family’s land and the olive trees that grow from its rugged contours. The symbol of the olive tree, and its branches, shifts in this context. Though intensely personal, Metaxas’s work poses broader questions about our relationship to the land as a community, especially in the age of the Anthropocene.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe book is sequenced via a system of visual ‘dactylic hexameters’ and ‘spondees’ adapted from the poetic and rhythmic structures that form the framework and \u003ci\u003eAide-mémoire\u003c\/i\u003e for Homer’s epic poem \u003ci\u003eThe Odyssey\u003c\/i\u003e, a work that wrangles kindred themes to Metaxas’s own journey. Like many of her projects, \u003ci\u003eMnemosyne Grove\u003c\/i\u003e sees her explore memory and loss as a personally and culturally embodied experience. The past is within us and becomes richer and more complex with every step forward, yet all the more difficult to grasp.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e192 pages, 15 x 19cm, section-sewn hardcover, Perimeter Editions (Melbourne).\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Regular Edition","offer_id":44619780423919,"sku":"","price":55.0,"currency_code":"AUD","in_stock":true},{"title":"Special Edition","offer_id":45117373743343,"sku":"","price":220.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/files\/MnemosyneGrove_cover_0000_IMG_2862.jpg?v=1717574439"},{"product_id":"david-horvitz-eighty-ways-to-steal-a-book","title":"David Horvitz – Eighty ways to steal a book","description":"\u003cp\u003eThe artists’ book \u003ci data-mce-fragment=\"1\"\u003eHow to shoplift books\u003c\/i\u003e by David Horvitz is a guide on how to steal books. It details 80 ways in which one can steal a book, from the very practical, to the witty, imaginative and romantic. Originally published in 2013, this paperback reissue is making the sought after title available again at an affordable price (for those who don’t yet know the techniques described within) and is released in multiple languages.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis is the Australian edition, \u003ci data-mce-fragment=\"1\"\u003eEighty ways to steal a book\u003c\/i\u003e.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis publication originated in 2011 as a conversation in The Classroom at Printed Matter's NY Art Book Fair. 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Shot on location at one of the world’s most iconic beaches, \u003c\/span\u003eBanjo McLachlan\u003cspan\u003e’s new book, \u003c\/span\u003e\u003ci\u003e31 Beach Looks\u003c\/i\u003e\u003cspan\u003e, reads like an alternative manifesto for the beach experience.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eYoung tourists, ageing locals, Speedo-clad amateur action photographers, passersby – no one escapes the Sydney-based photographer’s humorous, hyper-observant gaze. Disappearing into the crowd and shooting in the pressure of the moment, Banjo gains intimate access to his subjects, even if fleeting. On spending time with this series, it comes as little surprise that the now editorial and documentary photographer’s early career was spent as a paparazzo in the US, shooting some of the world’s biggest stars. Back on the beach, key themes and details emerge amidst the tight framing and emphatic zooms. Luxury accessories, faded tattoos, perfectly lacquered nails, and idiosyncratic beach fashion choices punctuate this playful series. But perhaps the most resonant motif is that of the camera and the screen itself. For all the beachgoers’ enthusiasm for their locale, they seem one step removed. In the vast majority of these \u003cem\u003e31 Beach Looks\u003c\/em\u003e, \u003c\/span\u003ewe observe the subject experiencing the beach through the mediated space of the smartphone screen. We look at them through Banjo’s lens, while they look at the beach through their own.\u003c\/p\u003e\n\u003cp\u003eBut rather than tending to some cultural or technological critique, these images feel lively, playful, even democratising. There is no singular way to experience the Australian beach. 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Just where do the dialogues, tensions, and reciprocities between photography and architecture lie? Focusing on the practice of Australian photographer Rory Gardiner and Belgian photographer Maxime Delvaux – two central figures in a new generation of architectural photographers – \u003cem\u003eAnalogue Images\u003c\/em\u003e explores the output of these leading practitioners and poses key questions around the underpinnings and parameters of the broader milieu in which they work. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAnalogue Images\u003c\/em\u003e was originally an exhibition at the Tin Sheds Gallery at the University of Sydney, where the work of Gardiner and Delvaux was presented side by side for the first time. The coupling of images disclosed specific nuances in the nature of the photographers’ collaborations, their modes of authorship, and how they captured everyday life. In this book, the initial selection of twenty-two images has been doubled to display a more comprehensive array of work, while texts from photographers, collaborators, and critics situate the images further.\u003c\/p\u003e\n\u003cp\u003eThe large majority of these pictures are the result of professional commissions. Brussels-based Delvaux is the photographer of choice for Bruther, Baukunst, 51N4E, Muoto, and Christian Kerez, whereas Gardiner, who is based in Melbourne, is for Baracco+Wright, Richard Stampton, Candalepas Associates, Buchner Bründler Architekten, and Ludwig Godefroy. Their images are the lenses through which we consume a big chunk of contemporary architecture. 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Carried by a decidedly fragmentary and collective backbone, the GUD handbook combines a multitude of theories and narratives of varying densities – from visual essay, hands-on experiment, interview or advertorial, to poem, speculative tale and academic writing. 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Based on his original 6-volume work from the 1930s, this book offers 348 colour combinations, as attractive and sensuous as the book’s own design.\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e354 pages, 10 x 16 cm, paperback, Seigensha (\u003cmeta charset=\"utf-8\"\u003eKyoto).\u003c\/p\u003e","brand":"Seigensha","offers":[{"title":"Default Title","offer_id":46269627793647,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/files\/IMG_7241.jpg?v=1741147042"},{"product_id":"pleasant-place-7-daffodils-narcissus","title":"Pleasant Place 7: Daffodils (Narcissus)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eMany bulbous plants have been dubbed 'heralds of spring', but none is more recognisable than those carrying actual megaphones to spread the word: daffodils. Throughout history, painters, poets, and writers all over the world have been inspired by the flower’s various symbolisms. An introduction to the genus ‘Narcissus’ by Lou-Lou van Staaveren, with photographs by Elspeth Diederix, sets the tone for this issue. Other contributors include philosopher Christopher F. Julien, who reflects on how scent mixes with memories, and artist Tina Farifteh, who digs into her personal archive and writes about her memories of growing up in Iran, where daffodils are a symbol of hope.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e40 pages, 18 x 24 cm, softcover, Pleasant Place (Amsterdam).\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Pleasant Place","offers":[{"title":"Default Title","offer_id":46474464002287,"sku":null,"price":33.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/files\/IMG_8525.jpg?v=1747887804"},{"product_id":"1000-words-photobook-conversations","title":"1000 Words: Photobook Conversations","description":"\u003cp\u003e\u003cem\u003ePhotobook Conversations\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eforegrounds discussions on and around a range of positions, practices and politics that shape the landscape of contemporary photography and publishing today. With generosity and willingness to share personal histories, experience and knowledge, the contributors in this volume encompass artists such as Raymond Meeks and Sohrab Hura, as well as individuals and collectives responsible for the ‘afterlife’ of artists’ works – designers, editors, publishers, critics, and historians – including Bruno Ceschel, Yumi Goto, Hans Gremmen, and Valentina Abenavoli. Among the organisations whose activities and ambitions are represented within this volume are BLOWUP PRESS; Center for Contemporary Photography, Melbourne; Self Publish, Be Happy; Goliga; Nepal Picture Library; and Dikan Center and Photo Library, Accra.\u003c\/p\u003e\n\u003cp\u003eSpeaking with hope and humility, the concerns expressed by those who work with the photobook form vary from approaches to editing and sequencing images and building narrative structure to questions around the audience and market for photobooks and models for better ecosystems. Evident throughout are critical reflections on the significance of the shift of the book towards a design object, balancing choices between utilising specific materials or processes and the desire for access, the importance of books reaching other continents, and attempts to address sustainability in publishing. Exploring specific territories and different contexts for bookmaking,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePhotobook Conversations\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eembraces and develops the ever-expanding space for the culture, study and appreciation of the photobook.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFeaturing:\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eValentina Abenavoli, Daniel Boetker-Smith, Miguel Del Castillo, Bruno Ceschel, Yumi Goto, Hans Gremmen, NayanTara Gurung Kakshapati, Sohrab Hura, Andrea Josch, Luis Juárez, Sanjay Kak, Aneta Kowalczyk, Anastasiia Leonova, Buen Lugar, Raymond Meeks, Paul Ninson and Ivan Vartanian.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEditors:\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eAna Casas Broda, Anshika Varma and Duncan Wooldridge.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e160 pages, 19.8 x 12.9 cm, softcover, 1000 Words (London).\u003cbr\u003e\u003c\/p\u003e","brand":"1000 Words","offers":[{"title":"Default Title","offer_id":46491568472303,"sku":null,"price":39.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/files\/IMG_8636_da599903-07ab-48bf-8d02-b34734b1def3.jpg?v=1748400877"},{"product_id":"clementine-edwards-and-kris-dittel-eds-the-material-kinship-reader","title":"Clementine Edwards and Kris Dittel (eds.) – The Material Kinship Reader","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eSECOND EDITION\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eWhat does it mean to acknowledge one’s closeness to, enmeshment in or even kinship with the material world? And what does it mean to question family structures – the way they organise, coerce and make deviant certain lifeforms – and dwell in other possibilities of kin-making?\u003cbr\u003e\u003cbr\u003eNot just a jolly rethinking of objects or a polyamorous romp through relationships, \u003ci\u003eThe Material Kinship Reader\u003c\/i\u003e reckons with the extractavist histories of materials and the social relations that frame much of contemporary life.\u003cbr\u003e\u003cbr\u003eSpanning fiction and theory, the collection of texts expand the idea of an artist’s book by bringing words into conversation with an aesthetic proposition. Clementine Edwards’ artwork is the visual weft to the book’s written net. From colonial conquest to climate collapse, \u003ci\u003eThe Material Kinship Reader \u003c\/i\u003etells toxic and tender stories of interdependence among all things sentient and insentient.\u003cbr\u003e\u003cbr\u003eIncluding contributions by Sara Ahmed, Hana Pera Aoake, Roland Barthes, Joannie Baumgärtner, Heather Davis, Kris Dittel, Clem Edwards, Ama Josephine B. Johnstone, Robin Wall Kimmerer, Ursula K. Le Guin, Sophie Lewis, Steven Millhauser, Jena Myung, Aileen Moreton-Robinson, M. Murphy, Ada M. Patterson, Kim TallBear and Michelle Tea\u003cbr\u003e\u003cbr\u003e453 pages, 11.4 x 16.2cm, softcover, Onomatopee (Eindhoven).\u003c\/p\u003e","brand":"Onomatopee","offers":[{"title":"Default Title","offer_id":46647146086639,"sku":null,"price":59.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/files\/IMG_9866.jpg?v=1753159427"},{"product_id":"francesco-jodice-francesco-zanot-irrational-a-visual-directory-to-a-world-with-no-reason","title":"Francesco Jodice \u0026 Francesco Zanot – Irrational: A Visual Directory to a World with No Reason","description":"\u003cdiv class=\"product__description rte remove-empty-space\"\u003e\n\u003cp\u003eIn \u003cem\u003eIrrational\u003c\/em\u003e, artist Francesco Jodice and curator Francesco Zanot dissect the rise of irrationality in modern life and society through an extensive and thought-provoking array of visual case studies. Addressing topics such as AI, fake news, post-truth, and new populism, this illustrated essay challenges our understanding of a world increasingly dominated by unpredictability. 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Whether joy, sorrow, loneliness, or desolation, these emotions transcend time and space, connecting the hearts of everyone. What you see might be your own story or that of a stranger, but they all speak of similar emotions. Nostalgia for the past, anticipation for the future, and a cherishing of the present. I tried to collect these strangers’ memories and weave them into empathetic visuals through my own artistic practice.\u003c\/p\u003e\n\u003cp\u003eEach set of photos is a deconstruction of time—it belongs neither to the past nor the future but exists in an eternal state outside of time. Just like the emotional memories and psychological experiences universally shared by humanity, they show little trace of being altered by time. 'Until we meet again’ is no longer a promise about time but a questioning of time itself. It reminds us that farewells and reunions are not the beginning or end of time but another form of existence beyond time and space. Each set of photos attempts to erase the marks of time.’\u003c\/p\u003e\n\u003cp\u003eWang Zhong was born in a beautiful coastal city in northern China. He studied fine art painting before enrolling at School of Design of Jiangnan University. There, he discovered photography through an elective course and became deeply captivated by it. He later pursued a Master's Degree at the School of Design, Central Academy of Fine Arts, where he began contemplating and experimenting with photography as the focus of his career.\u003cbr\u003eHis early works primarily featured spaces and still life, often published in RayLi Magazine and Space Magazine. In 2011, he moved to Sydney, shifting his focus to portrait and fashion photography. 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And the notion of paradox: the possibility of elevation being located in the very weight of things, the effect of verticality through horizontality, and luminosity achieved through darkness—as evidenced by the name of the vases, \u003c\/span\u003e\u003ci\u003eInchiostri\u003c\/i\u003e\u003cspan\u003e, the Italian word for 'inks'.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003eExcerpt from text by Martin Bethenod\u003cbr\u003e(Translated from the French by Lucas Faugère)\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eComes with \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eInchiostri Supplement\u003c\/em\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cmain class=\"main-content js-focus-hidden\" id=\"MainContent\" role=\"main\" tabindex=\"-1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cmain class=\"main-content js-focus-hidden\" id=\"MainContent\" role=\"main\" tabindex=\"-1\"\u003e\u003cwlm 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class=\"site-footer__item\n                     site-footer__item--center\n                    site-footer__item--full-width\"\u003e\n\u003cdiv class=\"site-footer__item-inner site-footer__item-inner--link_list\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cmain class=\"main-content js-focus-hidden\" id=\"MainContent\" role=\"main\" tabindex=\"-1\"\u003e\u003cwlm class=\"wlm-content\"\u003e\u003cdiv id=\"shopify-section-product-template\" class=\"shopify-section\"\u003e\u003cdiv class=\"product-template__container page-width\" id=\"ProductSection-product-template\" data-section-id=\"product-template\" data-section-type=\"product\" data-enable-history-state=\"true\"\u003e\u003cdiv class=\"grid product-single\"\u003e\u003cdiv class=\"grid__item medium-up--one-half\"\u003e\u003cdiv class=\"product-single__description rte\"\u003e\u003cp\u003e20 pages + 20 page supplement, 19.5 x 25.5 cm \/ 11.2 x 17.8 cm, softcover\u003cbr\u003ePublished by Nieves\u003cbr\u003eISBN: 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The resulting watercolours and journal entries, published in Cyanide, form the fieldwork of this project – 'The stuff that happened while I was researching the other stuff. The result is part-daily reportage, part-fever dream, part-touristic flagposting.'\u003c\/p\u003e\n\u003cp\u003e64 pages, 24 x 18 cm, softcover, Stray Pages (Melbourne)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Stray Pages","offers":[{"title":"Default Title","offer_id":47214620606703,"sku":null,"price":35.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/files\/IMG_2707.jpg?v=1763705024"},{"product_id":"real-review-17","title":"Real Review 17","description":"\u003cp\u003eEXTINCTION BURST\u003c\/p\u003e\n\u003cp\u003eAn extinction burst occurs when bad behaviour intensifies before stopping. Undesirable qualities can become entrenched through positive reinforcement. But if the world changes and no longer provides us with the same feedback, we lose our minds: to the privileged, equality feels like persecution. Extinction bursts are forms of active denial; refusals to accept the past as gone, and desperate attempts to preserve the potential of an impossible reality. Today, modernity’s worst tendencies return intensified: patriarchy, racism, plutocracy, colonialism, exploitation, rentierism, genocide. Even attempts at redemption, restoration and stasis accelerate the decline.\u003c\/p\u003e\n\u003cp\u003eIs the decline of the West irreversible? We interview YANCEY STRICKLER on creating alternative realities. RICHARD WENTWORTH walks and sends postcards. WENDY BROWN prefaces a new translation of Marx’s Capital. NOAM CHOMSKY is in conversation with RAGE AGAINST THE MACHINE. FRANCIS FUKUYAMA is in conversation with JACK SELF, who reviews Bin Laden and the creative millennial. MADDY WEAVERS cancels out noise. OLUWATOBILOBA AJAYI reviews black satire, while NEO-METABOLISM reviews The Limits to Growth. NOAH GOTLIB watches the American dream crumble. MAX CREASY documents the last disposable vape, while TANJA ENGLEBERTS captures oil at sea. SARAH OWEN and ROSE THEODORA read the stars. STEPHANIE SHERMAN, LUKÁŠ LIKAVČAN and RACHEL PEARL don spacesuits on Earth, while the OFFICE OF APPLIED STRATEGY wears corporate merch. SOPHIA SHEPPARD frees herself as an adult, plus much more.\u003c\/p\u003e\n\u003cmain class=\"main-content js-focus-hidden\" id=\"MainContent\" role=\"main\" tabindex=\"-1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cmain class=\"main-content js-focus-hidden\" id=\"MainContent\" role=\"main\" tabindex=\"-1\"\u003e\u003cwlm class=\"wlm-content\"\u003e\u003cdiv id=\"shopify-section-product-template\" class=\"shopify-section\"\u003e\u003cdiv class=\"product-template__container page-width\" id=\"ProductSection-product-template\" data-section-id=\"product-template\" data-section-type=\"product\" data-enable-history-state=\"true\"\u003e\u003cdiv class=\"grid product-single\"\u003e\u003cdiv class=\"grid__item medium-up--one-half\"\u003e\u003cdiv class=\"product-single__description rte\"\u003e\u003cp\u003e26 x 11.5 cm, softcover\u003cbr\u003ePublished by Real Review\u003cbr\u003eISBN: 9781838493455\u003c\/p\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/wlm\u003e\u003c\/main\u003e\n\u003cdiv id=\"shopify-section-footer\" class=\"shopify-section\"\u003e\u003cfooter class=\"site-footer\" role=\"contentinfo\"\u003e\n\u003cdiv class=\"page-width\"\u003e\n\u003cdiv class=\"site-footer__content\"\u003e\n\u003cdiv class=\"site-footer__item\n                     site-footer__item--center\n                    site-footer__item--full-width\"\u003e\n\u003cdiv class=\"site-footer__item-inner site-footer__item-inner--link_list\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cmain class=\"main-content js-focus-hidden\" id=\"MainContent\" role=\"main\" tabindex=\"-1\"\u003e\u003cwlm class=\"wlm-content\"\u003e\u003cdiv id=\"shopify-section-product-template\" class=\"shopify-section\"\u003e\u003cdiv class=\"product-template__container page-width\" id=\"ProductSection-product-template\" data-section-id=\"product-template\" data-section-type=\"product\" data-enable-history-state=\"true\"\u003e\u003cdiv class=\"grid product-single\"\u003e\u003cdiv class=\"grid__item medium-up--one-half\"\u003e\u003cdiv class=\"product-single__description rte\"\u003e\u003cp\u003e26 x 11.5 cm, softcover\u003cbr\u003ePublished by Real Review\u003cbr\u003eISBN: 9781838493455\u003c\/p\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/wlm\u003e\u003c\/main\u003e\n\u003cdiv id=\"shopify-section-footer\" class=\"shopify-section\"\u003e\u003cfooter class=\"site-footer\" role=\"contentinfo\"\u003e\n\u003cdiv class=\"page-width\"\u003e\n\u003cdiv class=\"site-footer__content\"\u003e\n\u003cdiv class=\"site-footer__item\n                     site-footer__item--center\n                    site-footer__item--full-width\"\u003e\n\u003cdiv class=\"site-footer__item-inner site-footer__item-inner--link_list\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cmain class=\"main-content js-focus-hidden\" id=\"MainContent\" role=\"main\" tabindex=\"-1\"\u003e\u003cwlm class=\"wlm-content\"\u003e\u003cdiv id=\"shopify-section-product-template\" class=\"shopify-section\"\u003e\u003cdiv class=\"product-template__container page-width\" id=\"ProductSection-product-template\" data-section-id=\"product-template\" data-section-type=\"product\" data-enable-history-state=\"true\"\u003e\u003cdiv class=\"grid product-single\"\u003e\u003cdiv class=\"grid__item medium-up--one-half\"\u003e\u003cdiv class=\"product-single__description rte\"\u003e\u003cp\u003e26 x 11.5 cm, softcover\u003cbr\u003ePublished by Real Review\u003cbr\u003eISBN: 9781838493455\u003c\/p\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\u003c\/wlm\u003e\u003c\/main\u003e\n\u003cdiv id=\"shopify-section-footer\" class=\"shopify-section\"\u003e\u003cfooter class=\"site-footer\" role=\"contentinfo\"\u003e\n\u003cdiv class=\"page-width\"\u003e\n\u003cdiv class=\"site-footer__content\"\u003e\n\u003cdiv class=\"site-footer__item\n                     site-footer__item--center\n                    site-footer__item--full-width\"\u003e\n\u003cdiv class=\"site-footer__item-inner site-footer__item-inner--link_list\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e26 x 11.5 cm, softcover, \u003c\/span\u003e\u003cspan\u003eReal Review (London).\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/footer\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/footer\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/footer\u003e\u003c\/div\u003e\n\u003c\/main\u003e","brand":"Real Review","offers":[{"title":"Default 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In a contemporary context in which images proliferate endlessly online, Marlow’s latest book feels like an informal ode to the photograph’s physical potentials and limitations –\u003cspan class=\"s1\"\u003e \u003c\/span\u003ethe internationally-renowned Melbourne-based photographer’s images exploring the variable, democratic, and happily fallible qualities of the physical print in the public sphere.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe book itself – Marlow’s first with Perimeter Editions – is presented in the form of a stack of wall-to-wall, full-bleed sheets, scored once down the middle, and unbound save for a cloth-wrapped elastic band. We experience these images as fragments, repetitions, textures, and tears. Their gritty fine-grain details, striking colour palette, and dynamic compositions are brought into vibrant conversation with one another across recto and verso pages, half of one image colliding and melding with half of another. 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