LOVESODY by Motoyuki Daifu is an intimate portrait of the photographer’s relationship with a single young mother and her two children. Suffused with joy and melancholy, the images capture all the intimacies of young love burning fast and bright. In Daifu’s introduction, he announces that their ‘lovesody’ (a portmanteau of love and rhapsody) lasted for six months—a statement that while endearing, hints also at a kind of sadness. All the while, Daifu’s relationship with his subject remains in constant flux—from father figure, to lover, and even to the role of child.

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8.75"x11.3"
100 signed and numbered (out of a total run of 300)

COVER: Chipboard, with high gloss coating
PAGES: Matte coated art paper.
Case bound hardback with linen spine and foil stamped title

Daifu’s images in all their frenetic quality allow the viewer to dive right in to the picture—to see and almost feel, touch, smell and hear. Firing on all senses, Daifu offers a multi-layered dialogue with the viewer, where one can almost taste the milk desired by the needy newborn, see the snot and grime, and taste the molten butter on thick cut toast. Added to this is Daifu’s ambigious position, whereby his gaze repeatedly shifts from that of amorous admirer, to that of a protective father, and finally to the role of a child himself. His image of a swollen breast amounts to both the lover’s gaze on the object of his desire, and also that of a child demanding his sustenance.

LOVESODY in its structure can clearly be seen as part of a photo dairy tradition within Japanese photography (Nobuyoshi Araki’s Sentimental Journey as an example).It is a book containing a clear timeframe and narrative, but in content, Daifu’s work remains apart from many of his contemporaries.In his previous series’, Daifu focused on his own family and the idiosyncrasies within. Chaos and imbalance reign, and we are often shown an intimate erosion of realities—the order, structure, and stoicism often associated with contemporary Japan are wholly absent, all the while marking Daifu as a more accurate recorder of a new, and uncertain time, a time when generations are shifting and values change on a daily basis. Added to this, in a country with a staggering age imbalance and birth rates at a critical low, LOVESODY is a pure anomaly.

LOVESODY is Motoyuki Daifu’s first publication, and coincides with a solo exhibition of the same name at Lombard Freid Projects in New York City. Daifu was previously featured in ‘Minor Cropping may Occur.’ a group photographic exhibition in early 2011. Reviewed favourably by several notable publications, Daifu’s work within the exhibition was highlighted by The New York Times and The New Yorker.

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Eden is a Magic World is a story of obsession. The central figure of Calderón’s book is Flor Eduarda, a former child actress in her native Mexico. After Carrusel (the hugely successful telenovela she appeared in as an infant) began screening around the world, Eduarda started to receive letters from a besotted admirer, Choi Chun Moon, an 18 year old student based in Seoul, Korea.

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9.75"x7.75"
450 total edition run, signed and numbered
Limited edition (50) with 4x5 print

COVER: Camomile uncoated
PAGES: Mohawk Uncoated 148GSM
Case bound hardback with exposed spine and dust jacket with additional silkscreen.

Moon’s letters demand that Eduarda reply in her own handwriting, so that he may study her spirit, and also send pictures of herself to him. While the offscreen persona of Eduarda remains a mystery to the obsessive Moon, Calderón happily obliges our own curiosities by providing insight into Eduarda’s private life—no longer the innocent girl of television. Capturing many lost days and nights spent between the pair, Calderón’s images detail a close friendship, and Calderón’s subsequent and brilliant transformation into Eduarda’s number one fan.

Within Eden is a Magic World, Calderón’s own obsession, coupled with that of his rival Moon’s resembles the building melodramatic narrative of a soap opera. Hints of attraction develop into hidden displays of longing and keep the viewer guessing. In the end, ultimately, Calderón’s story of Eduarda avoids a clear resolve, continuing evermore as it would on the small screen.

Mexico City based artist Miguel Calderón has exhibited worldwide, with notable solo exhibitions at the Kurimanzutto gallery and the Museo Tamayo in Mexico City, and Andrea Rosen Gallery in New York among others. In addition, his work has been shown at the PS1 Contemporary Art Center, Museo Carilo Gil, the Museum of Contemporary Art in Chicago, Mass MOCA, the Sao Paolo Bienal, the Bussan bienale and the Yokohama Trienale. His work will appear an the upcoming exhibition at Regen Projects in Fall 2011, and he will have a retrospective of his work at the Rochester Art Center in Minneapolis in 2012.

LIMITED QUANTITY REMAINING

Hundreds of youths went on a rampage in Huntington Beach on Sunday afternoon, pelting police officers with rocks and bottles, storming a large lifeguard station and overturning and burning police vehicles.

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11.5 x 15.75"
200 total edition run, signed and numbered
Limited edition (100) with 11×14 print

PAGES: 160gsm Naturalis Matt Absolute White,
Saddle stitched with silkscreened cover

“Hundreds of youths went on a rampage in Huntington Beach on Sunday afternoon, pelting police officers with rocks and bottles, storming a large lifeguard station and overturning and burning police vehicles.

Police said at least 12 people were injured, including five Huntington Beach officers and one Orange County sheriff’s deputy. Thirteen people were arrested but scores of youths who threw bottles at officers or took part in the destruction escaped in the confusion.

The disturbance broke out about 2 p.m. behind bleachers being used for the final day of the Ocean Pacific Pro Surfing Championships, which drew a crowd estimated at 100,000 people.

Witnesses said the melee had no direct connection to the surfing contest but instead was triggered by two or more men behind the bleachers immediately south of the Huntington Beach Pier who were trying to take off the bathing suits of two young women.

“We’ve got a riot and we’re making arrests,” Huntington Beach Lt. Jack Reinholtz said shortly after the melee began. He said it was the worst disturbance to occur in Huntington Beach since a 1969 Easter weekend riot.

He said his group of about 10 officers was surrounded by ‘about 5,000 people. They could have killed us if they wanted to.’”
-- Los Angeles Times, September 1, 1986

On the last day of August, 1986, Nick Waplington woke up late and turned on the news. An Aeromexico DC9 had collided with a light aircraft going to Big Bear for the weekend. Both aircraft dropped from the sky onto residential Cerritas, near Huntington Beach, just south of Los Angeles, killing all those onboard both planes — plus a number of people unlucky enough to be at home that Labor Day morning.

Waplington then drove to Huntington Beach, where he had been planning to watch the OP Surf Pro Championships. Upon arrival, all hell was breaking loose. Having only one roll of 24 exposure film, Waplington documented the chaos exploding around him in 25 concise frames.

The photographs within Surf Riot contradict the standard imagery associated with American surf culture from the 1980s. Gone is the laid-back Adonis figure and his flaxen-haired beach babe, and instead, in full lurid color, we see sunburned teens running wild. Unlike other youth revolts, this surf riot bears little in the name of protest— it's merely a spontaneous eruption of violence just for the sport of it. Coca Cola cups and radio station promotions lie trampled underfoot, commercial symbols of contentment cast aside.

New York based British artist Nick Waplington has created a number of acclaimed photographic books including Living Room (1991), Other Edens (1993), The Wedding (1994) Safety in Numbers (1996), and Truth or Consequences (2001). Solo exhibitions include The Philadelphia Museum of Modern Art, 1992, Photographer's Gallery, 1995, the Underwood Street Gallery, 1999, and the Whitechapel Art Gallery in 2007. In addition, Waplington’s work was exhibited at the 2001 Venice Biennale and is held within a number of international collections, not limited to the MoMA, The Guggenheim, and the Victoria and Albert Museum.

Published by Little Big Man, SURF RIOT is released in a strictly limited edition of 300 copies, with 100 specially packaged and containing a hand-numbered photographic edition.

Limited edition (100) silk-screened box, hand numbered and signed by the artist.
Contains additional 11x14 traditional c-print, and loose silkscreen cover image.

Hundreds of youths went on a rampage in Huntington Beach on Sunday afternoon, pelting police officers with rocks and bottles, storming a large lifeguard station and overturning and burning police vehicles.

Download factsheet pdf

11.5×15.75″
PAGES: 160gsm Naturalis Matt Absolute White,
Saddle stitched with silkscreened cover
Box: 11.75" x 17.75" x 1"

“Hundreds of youths went on a rampage in Huntington Beach on Sunday afternoon, pelting police officers with rocks and bottles, storming a large lifeguard station and overturning and burning police vehicles.

Police said at least 12 people were injured, including five Huntington Beach officers and one Orange County sheriff’s deputy. Thirteen people were arrested but scores of youths who threw bottles at officers or took part in the destruction escaped in the confusion.

The disturbance broke out about 2 p.m. behind bleachers being used for the final day of the Ocean Pacific Pro Surfing Championships, which drew a crowd estimated at 100,000 people.

Witnesses said the melee had no direct connection to the surfing contest but instead was triggered by two or more men behind the bleachers immediately south of the Huntington Beach Pier who were trying to take off the bathing suits of two young women.

“We’ve got a riot and we’re making arrests,” Huntington Beach Lt. Jack Reinholtz said shortly after the melee began. He said it was the worst disturbance to occur in Huntington Beach since a 1969 Easter weekend riot.

He said his group of about 10 officers was surrounded by ‘about 5,000 people. They could have killed us if they wanted to.’”
-- Los Angeles Times, September 1, 1986

On the last day of August, 1986, Nick Waplington woke up late and turned on the news. An Aeromexico DC9 had collided with a light aircraft going to Big Bear for the weekend. Both aircraft dropped from the sky onto residential Cerritas, near Huntington Beach, just south of Los Angeles, killing all those onboard both planes — plus a number of people unlucky enough to be at home that Labor Day morning.

Waplington then drove to Huntington Beach, where he had been planning to watch the OP Surf Pro Championships. Upon arrival, all hell was breaking loose. Having only one roll of 24 exposure film, Waplington documented the chaos exploding around him in 25 concise frames.

The photographs within Surf Riot contradict the standard imagery associated with American surf culture from the 1980s. Gone is the laid-back Adonis figure and his flaxen-haired beach babe, and instead, in full lurid color, we see sunburned teens running wild. Unlike other youth revolts, this surf riot bears little in the name of protest— it''s merely a spontaneous eruption of violence just for the sport of it. Coca Cola cups and radio station promotions lie trampled underfoot, commercial symbols of contentment cast aside.

New York based British artist Nick Waplington has created a number of acclaimed photographic books including Living Room (1991), Other Edens (1993), The Wedding (1994) Safety in Numbers (1996), and Truth or Consequences (2001). Solo exhibitions include The Philadelphia Museum of Modern Art, 1992, Photographer''s Gallery, 1995, the Underwood Street Gallery, 1999, and the Whitechapel Art Gallery in 2007. In addition, Waplington’s work was exhibited at the 2001 Venice Biennale and is held within a number of international collections, not limited to the MoMA, The Guggenheim, and the Victoria and Albert Museum.

Published by Little Big Man, SURF RIOT is released in a strictly limited edition of 300 copies, with 100 specially packaged and containing a hand-numbered photographic edition.

SOLD OUT!

300 total edition run, signed and numbered
Limited edition (10) with 10x8 print
128 pp

COVER: 160gsm Naturalis Matt Absolute White,
PAGES: Mohawk Uncoated 148GSM.
Perfect bound with florescent 5th color on cover

Zoloto, the Russian word for gold (observed by Haymes through his interactions with his Russian in-laws), reflects his affections for his family life—however unhinged it may appear. Childish revelry soon turns to a bloodied nose, which with time returns again to revelry. Through Haymes’ unflinching gaze, the experiences of childhood and adolescence are defined with unusual clarity and savage beauty. Zoloto’s sequence details an intimate narrative of this complex inner world, as Haymes’ images are at once a combination of both the documentary and the staged, employing tableaux to further reveal the intimacies of childhood life.

Nick Haymes was born in Stratford Upon Avon, England, and lives and works in New York City. Zoloto is his second book, having published Between Dog and Wolf with Nieves Books in 2007. Haymes has had several solo exhibitions, including XIV at New York’s Blackston Gallery in 2004, and Familiar at the Journal Gallery in 2006.