Paulo Nozolino Makulatur

Makulator is an atmospheric and sincere response to the death of Nozolino's parents. Using simple but powerful symbolism, the photographs lead us on a dark journey through Nozolino's relationship to his parents' passing. Smashed and decrepit, burning and ripped, the subjects swell with nuance, providing an insight into Nozolino's outlook on the destructive yet poetic nature of death. Paulo Nozolino was born in Lisbon in 1955, and lived in London and Paris before settling again in Portugal. He has published numerous books, many of his photographs of travels in Europe, the Middle East, and North and South America. The best known of these are Penumbra (1996), including images made in Syria, Yemen, Jordan, Egypt and Mauritania, and Far Cry (2005).

A man stands in the middle of destruction, feeling lonely to an unbelievable point, bone lonely. He makes deaf images during his blind walks. Dwelling with thoughts about the loss in all conflicts, the feeling that all systems fail and the certainty that nothing lasts forever.

Taken between 2008 and 2013 in New York, Lisbon, Paris and Berlin as well as in the French and Portuguese countryside, these photographs by Paulo Nozolino bear his usual dark symbolic syntax. Still using 35mm film and occasionally a flash, this tight sequence of vertical pictures shows us, once again, his everlasting concern for the state of the world and his quest for the pure, true, non-manipulated analogic image. This is a bright obscure piece. The transparency of the black shows a world that is continually destroying itself. Closer to the certitude of an end. The decadence of the place. Life by a thread, leaving traces of light. This is where we came to. This is where we are. All we have left is putrefaction, garbage, claustral confinement, a quiet decay that embraces slow death. So slow that we still may believe it might never come. We see her, we feel her, we touch her with our own hands. Yet. We are responsible for the disease but we don't know how to escape from it. We were hungry and we ate. We are dreaming about the crumbs that we left behind. Unwise. Eyes on the floor, there is no redeeming act. Prisoners of a dirty and corrupted matter. Emptiness. Full of guilt inhabited by a depressing seediness, by careless negligence, by lazy weakness, by the violence of the spirit. Home is a forgotten word. And so are many others. Alexandra Carita

This publication assembles for the first time photographs from Nozolino's different projects over the years, from Bosnia and the Arab world to South America and Mauritania.

This is a stunning collection of images capturing the intensity and flamboyance of the unique Corrida Goyesca bullfighting festival. Goyescas is the new work of Spanish photographer Aitor Lara, documenting the spectacular 'Corrida Goyesca', a unique bullfighting and cultural event that takes place once a year in the Andalucian city of Ronda, the oldest bullfighting ring in Spain. Lara's images perfectly capture the atmosphere, intensity, and cultural significance of this fascinating event, where the public are as much a part of the spectacle as the bullfighters and the beasts.

Musician/performer, filmmaker, and photographer, Tav Falco guides us through the home towns and gravel roads of America s deep South, the backwoods spiritual sanctuary that he knows so well. AN ICONOGRAPHY OF CHANCE is a psycho-iconography in pictures, with a captioned intertext of the urban specters, rural fables and visual cliches that have made the gothic South a netherworld of dreams and a necropolis of terrors. Roadside icons in Arkansas, Louisana, Mississippi, and Tennessee evoke more than indexed/nuanced signs and meanings; they are infused with emotion, and through Falco s lens become living, breathing images. Whether overtly or discreetly conjured, these images resonate with the undercurrent of sentiment, of betrayal, of lost causes in which the photographer's pictures are soaked. The secret eye of Falco is drawn to that which was overlooked, thrown out and rejected by established norms of perception, whilst his decorticated compositional framing reveals the sadness and nakedness of America forlorn, adrift, and distracted with colliding identities. In Falco's hands the camera excavates an Orphic vision of the American South, penetrating like no other in his stated mission to agitate the dark waters of the unconscious. "

The author of Monkey Shines, Birthright, and Prodigy has crafted another dark tale of authentic science and unbearable terror--the electrifying story of a mother's anguish and her son's living nightmare. Stewart has been described as the "Master of the Dark Side of Modern Science".

Published to accompany the exhibition Michael Schmidt: U-NI-TY at the Museum of Modern Art, New York, January 18 - March 26 1996 and touring (Hannover and Dresden 1996 - 1997).