Charlie Engman, Mom, Edition Patrick Frey
Welcome to the Castle
Photobooks of the Year 2020
Brad Feuerhelm
American Suburb X

It is first of all necessary to identify the features of the discourses and the desires which have led us to this grim and demoralizing pass, where class has disappeared, but moralism is everywhere, where solidarity is impossible, but guilt and fear are omnipresent – and not because we are terrorized by the right, but because we have allowed bourgeois modes of subjectivity to contaminate our movement.

These are books that I have held in my hands in 2020. I do not work from pdfs and I could not attend any fairs apart from Festival Images Vevey. This list is long. It was a good year, great if you take in consideration the plague. I have no favorites, but I will say that I believe that Stanley/Barker and Mack probably held the year with their overall work and flow.

Including works of:
Stephen Shore, Transparencies Small Camera Works 1971-1979 (Mack)
Paul Graham’s A1 – The Great North Road (Mack)
Harmony Korine & Juergen Teller William Eggleston 414 (Steidl)
Christopher Anderson’s Pia (Stanley/Barker)
Tom Wood 101 Pictures (RRB Books)
Gordon Parks, The Atmosphere of Crime (Steidl)
Tatum Shaw’s Plusgood (Aint-Bad)
Alessandra Sanguinetti, The Adventures of Guille and Belinda

[Excerpt via American Suburb X]

  • How Not to Be Seen
    May 10 – Sep 8, 2024
    Remai Modern
    Saskatoon, Canada

    We may not always be aware of it, but we live in an era of continuous scrutiny. Modern technology captures, distributes, and analyzes images and data at ever-increasing rates. We are all subjects of tracking, not only by cameras employed purportedly as a deterrent for crime but also by digital tools used by corporations and governments alike to monitor and evaluate our actions, needs, and desires. (more…)

  • Immemory
    Apr 12 – Jun 30, 2024
    Keelung Museum of Art
    Keelung City, Taiwan

    Immemory, “bē-kì-tit” in Taiwanese, is a memory project focusing on the “historical turn” in contemporary art over the past decade in specifically the local context of Keelung. The exhibition considers historical objects and facts as the “thing-in-itself,” aiming to explore Foucault’s concept of “historical a priori” through self-reflexive historiography. The project presents five leitmotifs: “archive fever,” “cold cold war,” “things as the historical a priori,” “politics of exosomatic memory,” and “settler colonialism vs colonialism.” (more…)