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	<title>PMVABF &#124; Kodoji Press</title>
	<link>https://kodoji.cargo.site</link>
	<description>PMVABF &#124; Kodoji Press</description>
	<pubDate>Tue, 23 Feb 2021 18:51:34 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://kodoji.cargo.site/Home</link>

		<pubDate>Tue, 23 Feb 2021 18:51:34 +0000</pubDate>

		<dc:creator>PMVABF &#124; Kodoji Press</dc:creator>

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+++ WATCH clip&#38;nbsp;by Philippine Chaumont &#38;amp; Agathe Zaerpour +++ Fashion and modern clothing in Kenya +++ WATCH clip by Philippine Chaumont &#38;amp; Agathe Zaerpour +++ Their journeys from Nairobi to Mombasa&#38;nbsp;

</description>
		
	</item>
		
		
	<item>
		<title>Books</title>
				
		<link>https://kodoji.cargo.site/Books</link>

		<pubDate>Sun, 21 Feb 2021 11:17:15 +0000</pubDate>

		<dc:creator>PMVABF &#124; Kodoji Press</dc:creator>

		<guid isPermaLink="true">https://kodoji.cargo.site/Books</guid>

		<description>
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A close up of a large rock, I think.


&#60;img width="642" height="782" width_o="642" height_o="782" data-src="https://freight.cargo.site/t/original/i/1600388e1b26aed7dd968441ac9474ee8c66aa4898933aba8cddd85099391fba/NOW_00.1.jpg" data-mid="99612950" border="0"  src="https://freight.cargo.site/w/642/i/1600388e1b26aed7dd968441ac9474ee8c66aa4898933aba8cddd85099391fba/NOW_00.1.jpg" /&#62;
Now is Now


&#60;img width="582" height="731" width_o="582" height_o="731" data-src="https://freight.cargo.site/t/original/i/5e9568992ee641c6a2a2382385a2ae2bcf1cde334a336191418716a075e4ebeb/ERDT_LIAR-00.1.jpg" data-mid="99612962" border="0"  src="https://freight.cargo.site/w/582/i/5e9568992ee641c6a2a2382385a2ae2bcf1cde334a336191418716a075e4ebeb/ERDT_LIAR-00.1.jpg" /&#62;
Liar Lügner


&#60;img width="1419" height="1241" width_o="1419" height_o="1241" data-src="https://freight.cargo.site/t/original/i/a203ab03e971281512798cd3ec3b3ef4d4393d36d9f4193667e6a22e61d6ae71/LUPITA_0.1.jpg" data-mid="99612948" border="0"  src="https://freight.cargo.site/w/1000/i/a203ab03e971281512798cd3ec3b3ef4d4393d36d9f4193667e6a22e61d6ae71/LUPITA_0.1.jpg" /&#62;
LUPITA, I’ve kept you an apricot on the tree. I’ve told it to wait for you.
	&#60;img width="891" height="1093" width_o="891" height_o="1093" data-src="https://freight.cargo.site/t/original/i/6de1289f8764fc1f6e94c088190e96d3c2b073059627efc87c3acd01054c853c/RUECKSCHAU_00.1.jpg" data-mid="99612971" border="0"  src="https://freight.cargo.site/w/891/i/6de1289f8764fc1f6e94c088190e96d3c2b073059627efc87c3acd01054c853c/RUECKSCHAU_00.1.jpg" /&#62;
Rückschaufehler / Hindsight Bias


&#60;img width="1700" height="2291" width_o="1700" height_o="2291" data-src="https://freight.cargo.site/t/original/i/11949544a7649816f00720854f0bd081ecb12ea2e36d496fa38068b6542d5e37/SCULPTURES_00.2.jpg" data-mid="99612975" border="0"  src="https://freight.cargo.site/w/1000/i/11949544a7649816f00720854f0bd081ecb12ea2e36d496fa38068b6542d5e37/SCULPTURES_00.2.jpg" /&#62;
Sculptures


&#60;img width="2782" height="3148" width_o="2782" height_o="3148" data-src="https://freight.cargo.site/t/original/i/9e79afdbe6b806e14eada9a7d3477254fd9b3565e6f87fb8ee42701afca6f901/Ginza_1.2.png" data-mid="99612957" border="0"  src="https://freight.cargo.site/w/1000/i/9e79afdbe6b806e14eada9a7d3477254fd9b3565e6f87fb8ee42701afca6f901/Ginza_1.2.png" /&#62;
Every Building on the Ginza Strip / GINZA HACCHO


&#60;img width="977" height="1409" width_o="977" height_o="1409" data-src="https://freight.cargo.site/t/original/i/15d016dd1c1ac4c33d03d0204b0b170b0fa0885bd2b26e03bbc112577461c525/Lonely_0.4.png" data-mid="99612965" border="0" data-scale="97" src="https://freight.cargo.site/w/977/i/15d016dd1c1ac4c33d03d0204b0b170b0fa0885bd2b26e03bbc112577461c525/Lonely_0.4.png" /&#62;
Lonely Planets
	&#60;img width="1600" height="2268" width_o="1600" height_o="2268" data-src="https://freight.cargo.site/t/original/i/798c6180ce8d040d1fbd9c26395a3f889d33c52c1612c943aea74c054321ba12/LOD_GZD_Cover-0.0.jpg" data-mid="99612978" border="0"  src="https://freight.cargo.site/w/1000/i/798c6180ce8d040d1fbd9c26395a3f889d33c52c1612c943aea74c054321ba12/LOD_GZD_Cover-0.0.jpg" /&#62;
Lessons of Darkness


&#60;img width="827" height="1192" width_o="827" height_o="1192" data-src="https://freight.cargo.site/t/original/i/9d7586db142db91409fdf2ee78a154504a9f2af9784a50cc1bf3c7c1446d02a5/KENYA_0.2.jpg" data-mid="99612977" border="0"  src="https://freight.cargo.site/w/827/i/9d7586db142db91409fdf2ee78a154504a9f2af9784a50cc1bf3c7c1446d02a5/KENYA_0.2.jpg" /&#62;
Things People Wear in Kenya


&#60;img width="1845" height="2294" width_o="1845" height_o="2294" data-src="https://freight.cargo.site/t/original/i/eb97d997259b7aa2c401ff0de47f55fcb806ab54c09b75a2ac47e6d28f0c3014/MISE_EN_ABYM_00.3.jpg" data-mid="99612970" border="0" data-scale="93" src="https://freight.cargo.site/w/1000/i/eb97d997259b7aa2c401ff0de47f55fcb806ab54c09b75a2ac47e6d28f0c3014/MISE_EN_ABYM_00.3.jpg" /&#62;
Mise en Abym

	



	
	
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	</item>
		
		
	<item>
		<title>Rare Books</title>
				
		<link>https://kodoji.cargo.site/Rare-Books</link>

		<pubDate>Sun, 21 Feb 2021 14:48:45 +0000</pubDate>

		<dc:creator>PMVABF &#124; Kodoji Press</dc:creator>

		<guid isPermaLink="true">https://kodoji.cargo.site/Rare-Books</guid>

		<description>
	&#60;img width="1206" height="1321" width_o="1206" height_o="1321" data-src="https://freight.cargo.site/t/original/i/7d83802505ea5ca3a4ae6d2d7d46bfe97137f4887acf75884d2ca5c98aad737f/Rare10TH-1.0.jpg" data-mid="99626144" border="0"  src="https://freight.cargo.site/w/1000/i/7d83802505ea5ca3a4ae6d2d7d46bfe97137f4887acf75884d2ca5c98aad737f/Rare10TH-1.0.jpg" /&#62;
43–35 10TH Street


&#60;img width="2010" height="3109" width_o="2010" height_o="3109" data-src="https://freight.cargo.site/t/original/i/9101541d9083b1f4dba131461197183dfa9f7e22ed996af2902316ec62dfcf4f/Kleine_Foto_Cover_1.jpg" data-mid="99626177" border="0"  src="https://freight.cargo.site/w/1000/i/9101541d9083b1f4dba131461197183dfa9f7e22ed996af2902316ec62dfcf4f/Kleine_Foto_Cover_1.jpg" /&#62;
Kleine Fotoenzyklopädie
	&#60;img width="1080" height="1400" width_o="1080" height_o="1400" data-src="https://freight.cargo.site/t/original/i/15a19d4ded19745474675f6f2ee1446247d6f071c83988dbe86535b245b161ae/BBB-Aufsicht-0.2.jpg" data-mid="99626152" border="0"  src="https://freight.cargo.site/w/1000/i/15a19d4ded19745474675f6f2ee1446247d6f071c83988dbe86535b245b161ae/BBB-Aufsicht-0.2.jpg" /&#62;
I Fuck with Turrell

&#60;img width="2417" height="3041" width_o="2417" height_o="3041" data-src="https://freight.cargo.site/t/original/i/70d91aefc45202938141b51f2fb6e103917e4c32e09a7f135571a4d4d2d59b99/Frankenstein_Cover_1.png" data-mid="99626175" border="0"  src="https://freight.cargo.site/w/1000/i/70d91aefc45202938141b51f2fb6e103917e4c32e09a7f135571a4d4d2d59b99/Frankenstein_Cover_1.png" /&#62;

In Search of Frankenstein – Mary Shelley’s Nightmare
</description>
		
	</item>
		
		
	<item>
		<title>Artworks</title>
				
		<link>https://kodoji.cargo.site/Artworks</link>

		<pubDate>Sun, 21 Feb 2021 15:02:41 +0000</pubDate>

		<dc:creator>PMVABF &#124; Kodoji Press</dc:creator>

		<guid isPermaLink="true">https://kodoji.cargo.site/Artworks</guid>

		<description>
	&#60;img width="590" height="768" width_o="590" height_o="768" data-src="https://freight.cargo.site/t/original/i/dc970500442e5d67f43294ba5159f2fa9e073b2d8f056aea6aebd17b8eb972a2/Moonlight_0.gif" data-mid="99627269" border="0"  src="https://freight.cargo.site/w/590/i/dc970500442e5d67f43294ba5159f2fa9e073b2d8f056aea6aebd17b8eb972a2/Moonlight_0.gif" /&#62;
MARS+VENUS AQUARIUS 
Marine Julié
&#60;img width="485" height="532" width_o="485" height_o="532" data-src="https://freight.cargo.site/t/original/i/c16a3af651997e521df4c741b153624713bcd276b3f1e563f3850216044deb3d/Kodoji_Press.png" data-mid="99640735" border="0" data-scale="91" src="https://freight.cargo.site/w/485/i/c16a3af651997e521df4c741b153624713bcd276b3f1e563f3850216044deb3d/Kodoji_Press.png" /&#62;Many MarksErik Steinbrecher





	&#60;img width="1671" height="2362" width_o="1671" height_o="2362" data-src="https://freight.cargo.site/t/original/i/168562439085d9a9c859c027048e47b8132f2ed392f5ae471778f4951593ccb1/LonelyPlanets_Print_GIRL.jpg" data-mid="99627830" border="0"  src="https://freight.cargo.site/w/1000/i/168562439085d9a9c859c027048e47b8132f2ed392f5ae471778f4951593ccb1/LonelyPlanets_Print_GIRL.jpg" /&#62;Lonely PlanetsAtlas Studio
</description>
		
	</item>
		
		
	<item>
		<title>43–35 10th Street</title>
				
		<link>https://kodoji.cargo.site/43-35-10th-Street</link>

		<pubDate>Mon, 22 Feb 2021 08:32:12 +0000</pubDate>

		<dc:creator>PMVABF &#124; Kodoji Press</dc:creator>

		<guid isPermaLink="true">https://kodoji.cargo.site/43-35-10th-Street</guid>

		<description>
	LAST 2 COPIES + LAST 2 COPIES + LAST 2 COPIES + LAST 2 COPIES +&#38;nbsp;

43–35 10TH STREETDaniel Shea

«It is always worth asking if an observer alters the subject they observe: Daniel Shea is acutely aware of his role within the operation of neoliberalism.»&#38;nbsp;


&#60;img width="2962" height="1823" width_o="2962" height_o="1823" data-src="https://freight.cargo.site/t/original/i/e2d32558eef706f84a236deab454f8052931acb204e7302d7a3df1856cab556f/Rare10TH-3.jpg" data-mid="99696851" border="0"  src="https://freight.cargo.site/w/1000/i/e2d32558eef706f84a236deab454f8052931acb204e7302d7a3df1856cab556f/Rare10TH-3.jpg" /&#62;
&#60;img width="2962" height="1823" width_o="2962" height_o="1823" data-src="https://freight.cargo.site/t/original/i/3fe723c925bbdd48b7da623dc58cc1b94f41dfc501da92bee19723c2804ffecc/Rare10TH-4.jpg" data-mid="99696852" border="0"  src="https://freight.cargo.site/w/1000/i/3fe723c925bbdd48b7da623dc58cc1b94f41dfc501da92bee19723c2804ffecc/Rare10TH-4.jpg" /&#62;
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&#60;img width="2962" height="1823" width_o="2962" height_o="1823" data-src="https://freight.cargo.site/t/original/i/e9492346400d59de9ef2e873a48e5d44f44108c595157784e62f11fa7cdea24f/Rare10TH-6.jpg" data-mid="99696854" border="0"  src="https://freight.cargo.site/w/1000/i/e9492346400d59de9ef2e873a48e5d44f44108c595157784e62f11fa7cdea24f/Rare10TH-6.jpg" /&#62;
&#60;img width="2962" height="1823" width_o="2962" height_o="1823" data-src="https://freight.cargo.site/t/original/i/824136a49d73a3df359e7c69163ad2b0c30b5dfc1dd53bcb3bee71e5b44a03cd/Rare10TH-7.jpg" data-mid="99696855" border="0"  src="https://freight.cargo.site/w/1000/i/824136a49d73a3df359e7c69163ad2b0c30b5dfc1dd53bcb3bee71e5b44a03cd/Rare10TH-7.jpg" /&#62;
&#60;img width="2962" height="1823" width_o="2962" height_o="1823" data-src="https://freight.cargo.site/t/original/i/8d00f19e464cd46418d894b2bdefc973b485103d55b929394e7d4523d3803631/Rare10TH-9.jpg" data-mid="99696857" border="0"  src="https://freight.cargo.site/w/1000/i/8d00f19e464cd46418d894b2bdefc973b485103d55b929394e7d4523d3803631/Rare10TH-9.jpg" /&#62;
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&#60;img width="2962" height="1823" width_o="2962" height_o="1823" data-src="https://freight.cargo.site/t/original/i/1fbe9f72ec41af1f265acd5021293a8027054bacf738d645f02d68bc932df861/Rare10TH-11.jpg" data-mid="99696859" border="0"  src="https://freight.cargo.site/w/1000/i/1fbe9f72ec41af1f265acd5021293a8027054bacf738d645f02d68bc932df861/Rare10TH-11.jpg" /&#62;
&#60;img width="3600" height="2400" width_o="3600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/1c33536abb32030d8e6cfafee62d21cd364cd95ec79841daa600251d413961ab/Rare10TH-13.jpg" data-mid="99696860" border="0"  src="https://freight.cargo.site/w/1000/i/1c33536abb32030d8e6cfafee62d21cd364cd95ec79841daa600251d413961ab/Rare10TH-13.jpg" /&#62;
&#60;img width="2962" height="1823" width_o="2962" height_o="1823" data-src="https://freight.cargo.site/t/original/i/0fbb19e6f4abdefb1ad1712874c3ec3f5bd5798a84c363aa26da53b57c864471/Rare10TH-14.jpg" data-mid="99696861" border="0"  src="https://freight.cargo.site/w/1000/i/0fbb19e6f4abdefb1ad1712874c3ec3f5bd5798a84c363aa26da53b57c864471/Rare10TH-14.jpg" /&#62;
&#60;img width="2962" height="1823" width_o="2962" height_o="1823" data-src="https://freight.cargo.site/t/original/i/00724dede5caaf3bafbacb3bc974db6f7c463963084de17f847320c8e0c4c072/Rare10TH-15.jpg" data-mid="99696862" border="0"  src="https://freight.cargo.site/w/1000/i/00724dede5caaf3bafbacb3bc974db6f7c463963084de17f847320c8e0c4c072/Rare10TH-15.jpg" /&#62;
&#60;img width="2962" height="1823" width_o="2962" height_o="1823" data-src="https://freight.cargo.site/t/original/i/9898e9aac3a8fe0b084463d54f6489dfc742328043058f2a949e12d70deec7c2/Rare10TH-16.jpg" data-mid="99696863" border="0"  src="https://freight.cargo.site/w/1000/i/9898e9aac3a8fe0b084463d54f6489dfc742328043058f2a949e12d70deec7c2/Rare10TH-16.jpg" /&#62;
&#60;img width="2962" height="1823" width_o="2962" height_o="1823" data-src="https://freight.cargo.site/t/original/i/0e49c110a81e962ed83261000419964487df0c03a6c8e7de4557215ed7bfdda4/Rare10TH-17.jpg" data-mid="99696864" border="0"  src="https://freight.cargo.site/w/1000/i/0e49c110a81e962ed83261000419964487df0c03a6c8e7de4557215ed7bfdda4/Rare10TH-17.jpg" /&#62;
&#60;img width="2962" height="1823" width_o="2962" height_o="1823" data-src="https://freight.cargo.site/t/original/i/63a5002518c2227ba72e87dbff0ff772b0fc239f933d11a5b49e410290b823c9/Rare10TH-18.jpg" data-mid="99696865" border="0"  src="https://freight.cargo.site/w/1000/i/63a5002518c2227ba72e87dbff0ff772b0fc239f933d11a5b49e410290b823c9/Rare10TH-18.jpg" /&#62;
&#60;img width="2962" height="1823" width_o="2962" height_o="1823" data-src="https://freight.cargo.site/t/original/i/9fdd61f0453860938e43a914a09d50f7e848d0ac40657b1bc0831381d455ddf3/Rare10TH-19.jpg" data-mid="99696866" border="0"  src="https://freight.cargo.site/w/1000/i/9fdd61f0453860938e43a914a09d50f7e848d0ac40657b1bc0831381d455ddf3/Rare10TH-19.jpg" /&#62;
&#60;img width="2962" height="1823" width_o="2962" height_o="1823" data-src="https://freight.cargo.site/t/original/i/f53aaa1a67b50b69203b3e78f840982faa81826119804d4869097ae10418bc96/Rare10TH-20.jpg" data-mid="99696867" border="0"  src="https://freight.cargo.site/w/1000/i/f53aaa1a67b50b69203b3e78f840982faa81826119804d4869097ae10418bc96/Rare10TH-20.jpg" /&#62;
&#60;img width="2962" height="1823" width_o="2962" height_o="1823" data-src="https://freight.cargo.site/t/original/i/e5aec93033595fc022d5c0ae3db1f5c176fb901de67beb8b1f81725439765dd1/Rare10TH-21.jpg" data-mid="99696868" border="0"  src="https://freight.cargo.site/w/1000/i/e5aec93033595fc022d5c0ae3db1f5c176fb901de67beb8b1f81725439765dd1/Rare10TH-21.jpg" /&#62;
&#60;img width="2962" height="1823" width_o="2962" height_o="1823" data-src="https://freight.cargo.site/t/original/i/90100df985d6a6ebd575d617d03b18fc2b1992761e73be6c0c154e8d66565d10/Rare10TH-22.jpg" data-mid="99696869" border="0"  src="https://freight.cargo.site/w/1000/i/90100df985d6a6ebd575d617d03b18fc2b1992761e73be6c0c154e8d66565d10/Rare10TH-22.jpg" /&#62;
&#60;img width="1206" height="1321" width_o="1206" height_o="1321" data-src="https://freight.cargo.site/t/original/i/961653bb1a3d6aed9248520885547d1dd0df3273498831c873cb3b9debbeb706/Rare10TH-1.0.jpg" data-mid="99696850" border="0"  src="https://freight.cargo.site/w/1000/i/961653bb1a3d6aed9248520885547d1dd0df3273498831c873cb3b9debbeb706/Rare10TH-1.0.jpg" /&#62;

43–35 10TH STREET
Daniel Shea
Essay by Walter Benn Michaels, English, 24 × 27 cm, 288 pages, 399 color and 27 black &#38;amp; white plates, softcover,&#38;nbsp;Kodoji Press, Baden 2018, ISBN 978–3–03747–086–2CHF 300 (plus shipping)

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Shea is based in Long Island City, from where he has observed the rapacious processes of recent real estate development. This book moves us from the end and edges of built community to its inner-city nascence. It combines observations from Shea’s neighbourhood with impressions from the Modernist icon Brasilia and the arid Searles Valley in the American West. These are contrasted and superimposed. Few specificities of the sites can be deciphered, but impressions accumulate and coalesce. Shea looks at architecture: its&#38;nbsp;surfaces, its forms and its designs. In concrete he finds aesthetic pleasure and a connection to Modernism’s aspirations and failures – both ripe for fetishisation. He looks too at reflections, challenging the photographer’s position documenting or fashioning the world around them. These planes are saturated with meanings; with time, connections start to be deciphered.


An essay by Walter Benn Michaels in ‘43-35 10th Street’ starts to pull apart the stratifications of Shea’s images, articulating political subjects that roil be-neath overtly neutral surfaces or are caught between their layers. The capitalist market and the facility for speculation, for example, that art and building have in common. That artists personify self-organised, precarious, de-unionised labour while creating intrinsically worthless goods that fuel the market itself, and not necessarily identifying what they do as labour at all. Buildings may be designed to improve equality, but, as Brasilia proved, cannot do so alone. Shea constructs images yet resists communicating a clear message, probing, in Michaels’ words, ‘the symbiotic relation between our aesthetics and our economy’.




Born in 1985, Daniel Shea has lived and worked in Long Island City, Queens for five years. He studied at the Maryland Institute College of Art and later the University of Illinois at Chicago and has taught on several North American art programmes. His work has been exhibited throughout Europe and the United States, and books are a key element of his practice.
</description>
		
	</item>
		
		
	<item>
		<title>In Search of Frankenstein</title>
				
		<link>https://kodoji.cargo.site/In-Search-of-Frankenstein</link>

		<pubDate>Mon, 22 Feb 2021 09:36:31 +0000</pubDate>

		<dc:creator>PMVABF &#124; Kodoji Press</dc:creator>

		<guid isPermaLink="true">https://kodoji.cargo.site/In-Search-of-Frankenstein</guid>

		<description>
	LAST 5 COPIES + LAST 5 COPIES + LAST 5 COPIES + LAST 5 COPIES +&#38;nbsp;

IN SEARCH OF FRANKENSTEIN — MARY SHELLEY’S NIGHTMARE Chloe Dewe Mathews

«‘In Search of Frankenstein — Mary Shelley’s Nightmare’ is a book work by Chloe DeweMathews, which was conceived during her 2016 residency at the Verbier 3D Foundation in the Val de Bagnes, Switzerland.»&#38;nbsp;
 


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IN SEARCH OF FRANKENSTEIN — 
MARY SHELLEY’S NIGHTMARE 
Chloe Dewe Mathews 


Texts by Chloe Dewe Mathews, Paul Goodwin, Alexa Jeanne Kusber and Kiki Thompson, English,&#38;nbsp;17 × 23 cm, 192 pages, 128 color plates, softcover,&#38;nbsp;Kodoji Press, Baden 2018, ISBN 978–3–03747–091–6 
SOLD OUT


 It is well known that Mary Shelley began to write the novel Frankenstein 75km away, on the shores of Lake Geneva; it is a less familiar story that she and her companions were deprived of the usual summertime pursuits because it was 1816, the ‘Year Without Summer’. The eruption of the Mount Tambora volcano on an Indonesian Island the previous year had sent ash into the atmosphere, blocking sunlight over large parts of the globe, bringing low temperatures, crop failure and severe food shortages. A further consequence was the Débacle du Giétroz two years later, when a swollen glacier dyke collapsed under the pressure of many millions of cubic metres of water. The water flooded into the Val de Bagnes, killing 44 people and ran all the way to Lake Geneva.



Mary Shelley’s monster – an extended account of a nightmare – was a human creation that destroyed its unloving creator, an echo we see in recent climactic disasters, demonstrating our continuing impact on the environment. Dewe Mathews’ book uses the sublime snowy expanses Shelley encountered as she travelled through Switzerland to draw parallels between the themes in Frankenstein and the environmental issues of our time. The artist went in search of the glacial landscapes that inspired Shelley’s creation but instead found a different form of human folly: a grey mass of melting ice. Dewe Mathews also investigated a series of bunkers with passages running for many miles tunnelled in the mountains around Verbier and Geneva, constructed in the 1960s as shelter from potential nuclear fallout. It is a cold, featureless and dreadful setting, even though it was designed as a refuge. ‘In Search of Frankenstein — Mary Shelley’s Nightmare’ interweaves reproductions of the ‘Geneva Notebook’ – the first half of Shelley’s original manuscript – with photographs of the Alpine landscape above and below ground today. Where is the monster to be found?


Chloe Dewe Mathews (b. 1982 London) lives and works in St Leonards-on-Sea, England. Her work has been exhibited internationally, including at Tate Modern, the Irish Museum of Modern Art and Museum Folkwang. Public and private collections have acquired her work, such as the British Council Art Collection, the Irish State Art Collection and the National Library of Wales. Dewe Mathews has been awarded the British Journal of Photography International Photography Award, the Royal Photographic Society Vic Odden Award and the Robert Gardner Fellowship in Photography at the Peabody Museum of Archaeology and Ethnology, Harvard University.
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		<title>Kleine Fotoenzyklopädie</title>
				
		<link>https://kodoji.cargo.site/Kleine-Fotoenzyklopadie</link>

		<pubDate>Mon, 22 Feb 2021 09:54:54 +0000</pubDate>

		<dc:creator>PMVABF &#124; Kodoji Press</dc:creator>

		<guid isPermaLink="true">https://kodoji.cargo.site/Kleine-Fotoenzyklopadie</guid>

		<description>
	ENCYCLOPAEDIA MANIA +&#38;nbsp;ENCYCLOPAEDIA MANIA +&#38;nbsp;ENCYCLOPAEDIA MANIA +&#38;nbsp;

KLEINE FOTOENZYKLOPÄDIEGuadalupe Ruiz

«The idea of this Encyclopaedia comes from my interest in photography books published in the Thirties and Forties and also from my desire to share the photos I produce. For this reason I decided to create my own book, not only to produce the images I need, but also to learn printing the book myself.»&#38;nbsp;
 


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KLEINE FOTOENZYKLOPÄDIE
Guadalupe Ruiz
13 × 20,5 cm, 672 pages, 645 black &#38;amp; white and color plate&#38;nbsp;offset printed, hardcover with dust jacket,&#38;nbsp;self printed &#38;amp; self published by the artist, Biel 2015


CHF 85  (plus shipping)&#38;nbsp;
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 KLEINE FOTOENZYKLOPÄDIE (small photo Encyclopaedia) corresponds to the iconographic research I did during my artist’s residencies and travels in 2014 and 2015. Each place of residence (Genoa, New York, Detroit, Bogota, Tirana, Mexico, Chicago) gave me the inspiration to develop my project and collect images of different themes.


As a photographer I want to document and to offer a unique vision of a place, an object, a building or a person.&#38;nbsp;This collection of 645 photographs is arranged in 37 chapters, among which are: Wolkenkratzer (skyscraper) Blumen aus Kolumbien (flowers of Colombia), Gegenstände aus der elterlichen Wohnung (decorative objects from the house of my parents), Patisserien aus Chinatown (cakes from Chinatown), Mais- und Kartoffelsorten (varieties of corn and potatoes), Weihnachten in New York (christmas in New York)…


Since I moved with my partner in a building of a former offset printing company in Biel, I was struck by the idea to learn everything about offset printing. The former owner taught us the whole process within 2 months, to be able to print the entire book ourselves.


Guadalupe Ruiz (born 1978, Bogota) is a Columbian visual artist and photographer based in Biel, Switzerland. She studied at the ECAL in Lausanne and the HGKZ in Zürich. Her work has been exhibited internationally.
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	<item>
		<title>I Fuck with Turrell</title>
				
		<link>https://kodoji.cargo.site/I-Fuck-with-Turrell</link>

		<pubDate>Mon, 22 Feb 2021 10:22:28 +0000</pubDate>

		<dc:creator>PMVABF &#124; Kodoji Press</dc:creator>

		<guid isPermaLink="true">https://kodoji.cargo.site/I-Fuck-with-Turrell</guid>

		<description>
	LAST 5 COPIES OF THE ENGLISH EDITION … LAST 10 COPIES OF THE GERMAN EDITION …&#38;nbsp;

FUCK WITH TURRELL – 


NE TRAVAILLEZ JAMAIS


«James Turrell’s light installations are renowned world-wide; the rapper Drake even imitated Turrell’s work in his music video Hotline Bling. Many people know of Turrell, many more know Drake’s music. “I fuck with Turrell” said Drake when asked about his inspiration.»&#38;nbsp;
 


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FUCK WITH TURRELL – 


NE TRAVAILLEZ JAMAIS


Ed. by Nadja Baldini, Ivan Sterzinger and Martin AndereggenTexts by Nadja Baldini, Ivan Sterzinger, Philipp Sack and Michael Birchall, 12,8 × 17 cm, 292 pages, 72 color and 32 black &#38;amp; white plates, softcover with flaps Kodoji Press, Baden 2018 


English ed., ISBN 978–3–03747–088–6

SOLD OUT&#38;nbsp;

German ed., I SBN 978–3–03747–087–9 

CHF 40 &#38;nbsp;(plus shipping)
︎ Add to ︎&#38;nbsp;


In 2011 an art department opened at the BBB vocational school in Baden, Switzerland, alongside courses on car mechanics, hairdressing, catering and construction. The school’s percentage for art budget was used to bring artists into the school to produce work and to instigate a dialogue about the nature of work, be that ‘creative’ or otherwise. While the small book ‘I Fuck With Turrell – Ne Travaillez Jamais’ is a document of the first phase of the BBB art department project, it is much more a visual meditation on how art infiltrates our lives. Across 200 pages connections are drawn between art and the everyday: advertisements and the aesthetics they share; a historic photograph and an art action that recreated it; extraordinary performances beside advanced tech-nology; Sheryl Sandberg meets the painter and forger Wolfgang Beltracchi. Art is inspiration for pop culture and for consumer goods, while the systems and stuff of daily life inspire artists.


Interspersed between the pictures are numerous short statements, from artists, teachers and students. Some are famous quotations, some relate to the specific experience of art at the BBB school. The work of this publication is to undo art’s special status and instead to show it as a part of life, like work and leisure. To overcome the accepted outsider role of art and offer truly creative thinking as a tool for everyone.

 
Nadja Baldini is an art historian who lives and works as a freelance curator in Zurich. She has co-founded several independent art spaces and was responsible for the establishment of the art department at the BBB Vocational School from 2011 to 2015. Ivan Sterzinger studied psychology, media and art history at the University of Zurich. He founded the graphics studio Huber/Sterzinger with Gregor Huber in 2006. Martin Andereggen lives and works in Zurich. He studied graphic design at the ZHdK, Zurich University of the Arts. Since 2011 he has run Atlas Studio with Claudio Gasser and Jonas Wandeler.
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	<item>
		<title>A Close Up of a large Rock</title>
				
		<link>https://kodoji.cargo.site/A-Close-Up-of-a-large-Rock</link>

		<pubDate>Mon, 22 Feb 2021 10:50:20 +0000</pubDate>

		<dc:creator>PMVABF &#124; Kodoji Press</dc:creator>

		<guid isPermaLink="true">https://kodoji.cargo.site/A-Close-Up-of-a-large-Rock</guid>

		<description>
	💥️ HOT HOT HOT 💥️ FRESHLY PRINTED&#38;nbsp;💥️&#38;nbsp;HOT HOT HOT&#38;nbsp;💥️&#38;nbsp;FRESHLY PRINTED

A CLOSE UP OF A LARGE ROCK, I THINK.Sebastian Stadler
«The book is printed on paper that is ultra-high gloss on one side and uncoated on the other. Not all pages have been cut, most remain closed with perforated edges. As depending on how the book’s signatures are bound, more matt or more gloss becomes visible leafing through.»&#38;nbsp;
 


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A CLOSE UP OF A LARGE ROCK, I THINK.
Sebastian Stadler
Texts by Marco Poloni and Nadia Veronese, English,&#38;nbsp;24 × 32 cm, 128 pages, 102 color and black &#38;amp; white plates,&#38;nbsp;softcover with printed mylar jacket with flaps,&#38;nbsp;Kodoji Press, Baden 2021, ISBN 978-3-03747-098-5
CHF 125 &#38;nbsp;(plus shipping)
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Sebastian Stadler’s book work A CLOSE UP OF A LARGE ROCK, I THINK. combines the artist’s photographic work L’apparition, 2015–2019 with text generated by image-recognition software. Each of the images, whether single or in a series, is a double exposure composition: a relatively generic scene or location is merged with a digital texture or surface. This combination sometimes punctures the image; on occasion it barely makes the viewer aware of the artifice of the reproduction. 


The photographs are combined with two forms of text: either a tentative description, like the book title, or what reads like an unmoored quotation. Both have been generated or sourced by an image-recognition algorithm that Stadler has employed in other works; this has been fed the images of L’apparation. The algorithm first presents its findings with the modest addendum ‘I think’. In a second step this has been cross-referenced with a huge text database, the Project Gutenberg digital library, in order to source unrelated quotations that accord with the image content identified. A screen-printed mylar cover around the publication further articulates the image-layering process. The book is printed on paper that is ultra-high gloss on one side and uncoated on the other. Not all pages have been cut, most remain closed with perforated edges; the book’s edit takes into consideration both surfaces of the paper, as depending on how the book’s signatures are bound, more matt or more gloss becomes visible leafing through. The closed pages hide other images and quotes waiting to be discovered. 


The publication was created in conjunction with Stadler’s Manor Prize-winning exhibition at the Kunstmuseum St. Gallen, curated by Nadia Veronese, which is also documented. Veronese contributes one text collating all the works shown in the exhibition, with a second on L’apparition by Marco Poloni. Through the different forms of text and images, the book is a reflection on how what we see has evolved as image technologies have developed, and a look to a future ever more influenced by algorithms. In Poloni’s words ‘Stadler produces projections of the world that bring forth its thingness and dispense altogether with semiotic processes, that is, with the production of meaning through the bias of interpretation.’

 
Sebastian Stadler (Swiss and Finnish) was born in 1988 and lives in Zurich. He studied photography at the Zurich University of Arts (ZHdK) and the University of Arts in Lausanne (ECAL). His work has been exhibited internationally, with solo exhibitions in Switzerland at institutions such as the Photoforum PasquArt in Biel or Kunstmuseum St. Gallen. Stadler has been the winner of awards including the Swiss Art Award (2013), the grant of the Canton of Thurgau (2017) and the Manor Art Prize (2019). ‘A CLOSE UP OF A LARGE ROCK, I THINK.’ is his first book with Kodoji Press.
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		<title>Ginza Hacho</title>
				
		<link>https://kodoji.cargo.site/Ginza-Hacho</link>

		<pubDate>Mon, 22 Feb 2021 10:43:18 +0000</pubDate>

		<dc:creator>PMVABF &#124; Kodoji Press</dc:creator>

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		<description>
	EVERY BUILDING ON THE GINZA STRIP / GINZA HACCHO 


Michalis Pichler



«In 1954 Japanese writer and artist Shohachi Kimura published GINZA HACCHO, with photographs by Yoshikazu Suzuki of every building on Ginza Street in Tokyo as an accordion foldout book. Twelve years later, Ed Ruscha published EVERY BUILDING ON THE SUNSET STRIP in almost exactly the same style. While the latter has become a touchstone of conceptual publications and artists’ books, its predecessor remains largely unknown..»&#38;nbsp;
 

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EVERY BUILDING ON THE GINZA STRIP / GINZA HACCHO 


Michalis Pichler


460 × 18 cm, leporello fold, black &#38;amp; white plates, housed in a slipcase, 14.4 × 18.4 cm,&#38;nbsp;published in collaboration with “greatest hits”, Berlin,&#38;nbsp;Kodoji Press, Baden 2018, ISBN 978-3-03747-093-0 




CHF 50 (plus shipping)
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Appropriating Shohachi Kimura’s work, Michalis Pichler’s accordion-folded book opens up to a fourteen-foot strip of photographs of every building on the GINZA STREET of today, each building identified by a street number. Crossroads are also identified with captions. Photographed from a car driving past, the individual photos were then pasted together to make the long accordion fold. Paper joins are visible throughout the book. Pichler’s version offers a modern update, depicting Ginza street in contemporary Tokyo, where the facades are dominated by glamorous high-end global fashion and luxury brands mixed with local heavyweights.


Within Pichler’s body of work GINZA HACCHO represents a piece of serial photography, urban phenomenology, ambiguous social critique and art history karaoke.&#38;nbsp;In a critical essay on appropriation, Pichler describes the karaoke technique as follows: ‘– the strategic use of found and pre-used material, be it image, object, sound, text or thought – the use of an existing layout scheme or corporate identity (see Kippenberger, especially) – the 1:1 use or paraphrase of a historic book title, using the same or alluding words, syntax or rhythm – the reenactment of an “old” concept with “new” material – the reenactment of “old” material with a “new” concept – if a book paraphrases one explicit historical or contemporary predecessor in title, style and/or content, this technique is what I would call a “greatest hit”. By now the appropriation and paraphrasing of Ed Ruscha constitutes a genre of its own.

 
Michalis Pichler lives and works in Berlin. He was trained as a sculptor on the preservation site of Acropolis Monuments Athens. He holds diplomas in Architecture from the Technical University Berlin and in Fine Arts from the Art Academy Berlin Weissensee and he co-founded and co-organises Miss Read: The Berlin Art Book Fair and the Conceptual Poetics Day. He works as an artist and writer on the imaginary border between visual art and literature. 
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