Bøger udgivet af RM Verlag SL

Yvonne Venegas explores the rules and accidents of weeding photography, probably the social use of intimate photography most simbolically charged.Special Days is the result of the rescue of images from the archive of Venegas Fotografía Fina, a photography studio that her father, José Luis, established in Tijuana, Baja California, in 1972. The younger photographer thus reveals the routines that came to define the iconography of the emergent middle class who lived in this border city in the 1970s and ’80s, appropriating a set of images that, by breaking the photographer’s social contract with his subjects, offer us a fleeting, fragmentary viewpoint.

Chronicling the aesthetics of sacrifice in Mexican artist Ximena Labra's public interventionsThis volume documents 25 years of public interventions by Mexico City-based artist Ximena Labra (born 1972). Focusing in particular on Labra's use of the supernatural and carnivalesque aesthetics of sacrifice, the book features texts by Cuauhtémoc Medina, José Luis Barrios and Bef.

Latin American female photographers reflect on personal and collective struggleShowcasing 12 Latin American female photographers--Adriana Lestido, Luz María Bedoya, Johanna Calle, Helen Zout, Claudia Donoso, Rosa Gauditano, Leonora Vicuña, Carla Rippey, Carolina Cárdenas, Milagros de la Torre, Paz Errázuriz and Rosario López--Black Sun reflects on personal and collective tragedies.

Includes already published interviews with J. Guerrero (1979-), Spanish photographer.

An exquisitely produced survey of Eamonn Doyle's searing, strange views of Dublin's streets This volume looks at the recent work and the meteoric rise within the photography world of the Irish photographer Eamonn Doyle (born 1969). An established electronic music producer in his hometown of Dublin, Doyle returned to photography after a 20-year break and produced the Dublin trilogy, a series of instant photobook classics: i (2014), described by Martin Parr as "the best street photo book in a decade," ON (2015) and End. (2016). Doyle's newest body of work, K, is his most mysterious and personal. Titled after the Irish tradition of keening, a vocal lamentation for the dead, the series was born partly out of personal loss, and features spectral figures set against dramatic natural landscapes. Eamonn Doyle features selections from each of the photographer's major recent series, a group of early dark room prints and works from Made in Dublin (2019), a collaborative book project Doyle undertook with writer Kevin Barry.

Catalogue gathers photographs of prostitutes that where provided to select clients of a brothel in Mexico City and shown to Calderon by his uncle, when he was thirteen years old, so he could undergo his "Initiation into manhood"

Groups and Spaces in Mexico. Contemporary Art in the 90's Vol. 1: Licen- ciado Verdad Licenciado Verdad tells the story of a generation of artists and curators that substantially transformed Mexico's contemporary art scene in the late 80s and early 90s.

The volume explored one of the many and varied aspect of multifaceted artist Frederic Amat (b. 1952 in Barcelona), one of the most outstanding figures on the Spanish contemporary art scene.

This volume represents the conclusion of Alex Arteaga's research project into Mies van der Rohe's German Pavilion for the 1929 World's Fair in Barcelona.It consists of a sound installation with video, audio and text, exploring concepts of interiority and exteriority in architecture. Documentary photographs and essays shed light on the project.

Life in the Folds makes use of an encrypted alphabet as a typographical and visual resource in approaching the project created by Carlos Amorales for the Mexican pavilion of the 2017 Venice Biennale.

HUUN is a new annual magazine-book that offers a space for artistic expression.Contributors include poets, critics, fiction writers, composers, and artists such as Vivian Abenshunshan, Daniel Aguilar Ruvalcaba, Manuel Álvarez Bravo, Luigi Amara, Edgardo Aragón, Sandra Barba, Mario Bellatin, Ana Bidart, Iñaki Bonillas, Hernán Bravo Varela, Juan Caloca, Abraham Cruzvillegas, Data4, Claudia de la Torre, Mónica de la Torre, Dolores Dorantes, Frida Escobedo, Miguel Fernández de Castro, Rodrigo Flores, Mateo García Elizondo, Verónica Gerber Bicecci, Maricela Guerrero, Aline Hernández, Alejandro Hernández Gálvez, Tedi López Mills, Valeria Luiselli, Gabriela Jáuregui, María Minera, Emiliano Monge, Mayra Martell, Mónica Nepote, Enrique Olvera, Gabriel Orozco, Damián Ortega, Rodrigo Ortiz Monasterio, Francesco Pedraglio, Tania Pérez Córdova, Eduardo Rabasa, Cristina Rivera Garza, María Rivera, Mauricio Rocha, Yvonne Venegas and Karen Villeda. The cover was designed by Gabriel Orozco.

The itinerary of Roger Grasas through the countries of the Persian Gulf region has something of a nineteenth-century journey of exploration. Min Turab -the title means "of the earth" in Arabic- shows how a landscape can be torn, fractured, and swept away, with a new one imposed in its place.

Surrounding ourselves with more or less complex rituals, we all seek to evade the ineluctable fact that, sooner or later, we will hear Death whispering the words nemini parco (`I spare no one') in our ear.

Barraquitas is a Venezuelan fishing village on the shores of Lake Maracaibo marked by alarming poverty and genetic illness: the village is a major focus of Huntington's Disease.Venezuelan documentary photographer Vladimir Marcano (born 1971) captures the ravages of this neurodegenerative disease in an environment of appalling poverty.

The book A chupar del bote -whose title, a phrase that translates roughly as "living off the public teat," comes from a show performed at the popular Barcelona cabaret El Molino in the mid-1970s- constitutes a rediscovery of Ximo Berenguer (1946-1977), a virtually unknown figure in Spanish photography.

French-Mexican photographer Colette Urbajtel (born 1934) captures scenes in tranquil places, small events--occasionally the amusing or ironical--plants, animals and insects. This artist's book gathers 52 images selected by the photographer herself, a testament to the atypical conversion of a Parisian economics student to Mexico-based photographer.

Controversial Mexican photographer Josae Luis Cueva's (born 1973) New Era evokes a time of spiritual darkness: full of symbolic echoes, the series suggests the coming of the apocalypse. In images of mystical objects, landscapes burn to ashes and suffering, and Cuevas progresses through concepts of expiation, purification and rebirth.

This book was published on the occasion of the exhibition "Alicia Penalba, escultora" held at MALBA - Museo de Arte Latinoamericano de Buenos Aires, October 2016 - February 2017, curated by Victoria Giraudo.

Includes essay: Esa suerte que tiene olor a muerte (= That fate that smells like death) by Cuauhtâemoc Medina.

B constitutes the second stage in Spanish photographer Alejandro Marote's (born 1978) study of the plastic transformation of matter. In it, Marote seeks out two fundamental coast planes: the vertical one of the palm trees and the horizontal of the line of the sea.

This volume highlights the value of the photobook in contemporary visual culture and proposes a reinterpretation of the history of photography through the photobook and photographs printed in books. Nine curators, key figures in the photobook movement, share their various visions.

In Fordlandia, British video artist Melanie Smith (born 1965) explores the tensions between industrial and natural landscapes in a factory town situated within the Amazon rainforest. The book is organized as an illustrated conversation log between the artist and the curator.

The capital of the 20th century in photobooks, from Berenice Abbott to Thomas RomaNew York in Photobooks gathers and studies a selection of images of the capital of the 20th century, one of the most photogenic and most photographed cities in history. Through a wealth of gorgeous reproductions of photobook spreads, the city of skyscrapers is captured from the zenith of its construction in the 1930s to the destruction of the World Trade Center in 2001, alongside the urban life of the New Yorkers themselves, in images that epitomize the very genre of street photography. Many of these books are the work of European and Japanese photographers, who discovered multiple perspectives--cultural, social, economic--from which to view the city that shaped the 20th century. Alongside texts by numerous photography scholars, classics of the photobook canon by photographers such as Berenice Abbott, Nobuyoshi Araki, Cecil Beaton, Mario Bucovich, Roy DeCarava, Bruce Davidson, Raymond Depardon, Juan Fresán, Bruce Gilden, György Lörinczy, Lewis Hine, Evelyn Hofer, Karol Kallay, André Kertész, William Klein, Helen Levitt, Danny Lyon, Daido Moriyama, Ugo Mulas, Robert Rauschenberg, Kees Scherer, Aaron Siskind, Weegee, Kojima Yasutaka and Ruiko Yoshida are included.

El Tío Sam con las manos cortadas; la cabeza de la Estatua de la Libertad atravesada por una bayoneta; un basurero decorado con las barras y estrellas: estas son algunas de las llamativas imágenes con las que la propaganda cubana ha representado a Estados Unidos durante el último medio siglo y más. Desde la llegada al poder de Fidel Castro, cientos de vallas publicitarias y carteles han aludido al enemigo de la revolución: el gobierno de Estados Unidos con su poderío militar y la CIA a su servicio. Mi Tío no se llama Sam reúne por primera vez una selección de estos trabajos, la mayoría de los cuales nunca antes habían sido publicados en forma de libro. Ofrece un recorrido por las imágenes que la propaganda cubana ha utilizado para hacer referencia a distintos temas y episodios que han marcado las relaciones cubano-estadounidenses desde 1959. Uncle Sam with his hands cut off; the head of the Statue of Liberty impaled on a bayonet; a trash can decorated with the Stars and Stripes: these are some of the striking images with which Cuban propaganda has represented the United States over the past half-century and more. Ever since Fidel Castro came to power, hundreds of billboards and posters have alluded to the enemy of the revolution: the US government, with its military might and the CIA at its service. Sam Is Not My Uncle gathers for the first time a selection of these works, most of which have never before been published in book form. It offers an overview of the images that Cuban propaganda has used to reference different issues and episodes that have marked US-Cuban relations since 1959.

RM's new Other Literature series highlights the importance of libraries as structures of knowledge and as architectural entities. This volume explores the theme in works by leading Mexican artist Jorge Méndez Blake (born 1974), with essays by renowned art critics and architects.

Erik Kessels' multivolume In Almost Every Picture has long been a coveted and revered classic of vernacular photography. In Erik Kessels: Image Tsunami the Dutch art director has turned his attention to the abundance of images available for finding on the Internet, shared in their millions on websites like Flickr. In a world where everyone produces and edits photography, where, as Kessels says, "the average kid today gets photographed more than a celebrity of 50 years ago," what does a single image mean, and what is its status in the overwhelming flood of images? In Kessels' words: "Image Tsunami holds an enormous collection of images that I live with, that I remix and edit. It's a representation of the overload of imagery that is in my head. My hope is that the book will inspire others to make their own remixes of these images."

The iconic images of Che Guevara and Coca-Cola--representations of revolution and capitalism, respectively--both play substantial roles in the Latin American landscape. The photographs in this publication, taken by Swiss photographer Luc Chessex (born 1936) from 1960 to 1975, juxtapose these conflicting icons.

This book explores the contemporary monochrome in Latin America. The monochrome is one of the most elusive and complex art forms of modern and contemporary art, and if we consider its origins or meaning, we soon find that the monochrome as a form contains many contradictions: the monochrome is neither a movement nor a category, neither an "ism" nor a thing. It may indicate the painting as object; the material surface of the work itself; or the denial of perspective, narrative or representation; the impossibility of interpretation; the transcendental or the absolute; or it may constitute the ultimate critique of painting.

Founded in 1958, Akadem Gorodok was the principal educational and scientific center of Siberia (in the former USSR), with 65,000 scientists and more than 25 miles of underground rooms. This book by Mexican photographer Pablo Ortiz Monasterio (born 1952) reveals the lab's secret interiors.