Paralaxe Editions

Rut Panusé

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In today’s hyperconnected and technology accelerated condition, Rut Panusé aimed to disconnect. To do so, she moved into a small and inhabited Swedish island where she was able to glimpse the most primary technological processes that link both trees and human beings.

Once the hierarchies between these elements were eliminated, Panusé collected materials, drew sketches and made images and sculptures in which both physical and digital work processes converged. In her series,the idea of the dazzling sun is interlaced with that of psychedelic dancefloors where the dancers, either alone or in a couple, hold their gestures while a solitary spotlight binds them.Babá Khumu Ta Tá looks into a particular universe of lights and formsthat stems not only from her study of the light’s material qualities but also from the relationship between technology and nature.

Rut Panusé Feijóo is a Spanish visual artist and an oral storyteller. Graduated in Photography at the IEFC, Barcelona, she has participated in international projects such as Signs of the City, coordinated by the Factory of Creació in Hangar, Barcelona. Her artwork has been exhibited in Lanzadera programme, curated by Iñaki Domingo in Centro-Centro, Madrid (2016). She has participated in collective exhibitions such as La Mostra Striparts (2008, 2011) and international festivals such as Sarajevo Winter Festival (2012) and Clic ’09 in the Visa Off festival at Visa Pour l’Image, Perpignan. She has been invited to present her creative process at the Le Bal photography centre, Paris (2013). Currently, along with Albert Gusi and Jaume C. Pons Alorda, she is working on Terra-Lab, a collaborative project led by Román Yñan, Ignasi López, Vicenç Altayó and Sergi Opisso, which aims to update the visual imagery of the Catalan territory. She often collaborates in multidisciplinary collective projects such as Chronica Mobilis organized by Hangar, Barcelona.

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Rut Panusé : www.rutpanuse.com
Widephoto: www.widephotobcn.com
Wer-Haus: www.wer-haus.com

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Twilight Zone: Arnau Blanch

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Twilight Zone

Arnau Blanch

Opening at Wer-Haus 15.09.16  20:00

Interested in the psychological effects of opium in dreams, Arnau Blanch’s research runs towards the different states of consciousness, and unconsciousness from the use of this substance.“It’s like being suspended in a twilight zone between sleep and wakefulness. Nothing matters, and everything is fine.”

This project explores the non-figurative expression of the form and materials of the photographic image and of the imagination, playing between the limits of what is pictorial and what is photography. The altered state of perception resulting from the use of analgesic and narcotic substances like opium and the use of experimental camera-less processes has allowed Arnau to make this series of complex abstract images.

This is why these large format pieces that shape the artwork are presented emulating the construction of the origin of material photography: the negative. Different translucent layers overlap over the emulsion diffracting visible light beams in different ranges of tones. This finish allows us to add a certain formal investigation over the different stratums that compose each image to the expressive abstraction of the process.

In the search of bringing my sensitive experience to a tangible and visible world. I have made a series of large format pieces where the materials, tones, forms and supports of the photographic medium gain the whole limelight.

 

If we perceive photography as an experience and expression, as a shape and a colour, as a tool to transport the reader to emotional states altered by the repeated use of opium. If we are capable of internalizing surfaces varying between the aquatic and the geological, the microscopical and the stratospheric. If we substitute the logics and aesthetics of Euclidean geometry for the apparently random patterns of Fractal geometry, where we find no beginning or end. But it doesn’t even matter.

If we immerse ourselves in the expressiveness of abstraction and lose ourselves in emotions aroused by human intervention in the raw supports and materials of the image when it acts beyond the frontiers of reason.

If we free ourselves from everything we take for granted, from the barriers between sleep and wakefulness, between consciousness and lethargy. If we rethink the margins of visuals as porous spaces where the canons of photography and paint mingle freely.

If we travel where the camera does not reach, where narcotics take us, where the content is not described but reached, only then, will we enter the Twilight Zone.

Jon Uriarte, 2016

 

 

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Broshuda WIP

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Broshuda forthcoming ‘Ooze Vector’ WIP.

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Alien Jams

Listen here

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Live audio excerpt from Berlin Label Night

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Paralaxe Label Night: Berlin

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Label night at Echo Bücher 01.06.2016

Paralaxe Editions is an independent record label and publishing house. Based in Barcelona, its ethos stems from the concept of the parallax view, a phenomenon in which an object’s appearance is affected by the perspective of the person observing it. As such, the Paralaxe catalog is particularly diverse and unpredictable, its offerings often only tied together by a shared affinity for the slightly askew. Focusing on limited-run books, records and tapes, the latest release is a collaborative LP by Beatrice Dillon and Rupert Clervaux, and the imprint has previously published SSV: Fieldwork, First term, a collection of photographs by Cameron Stallones (Sun Araw) that was broken into five chapters with accompanying music. In May, Paralaxe Editions was invited to take part in the Offprint Projects art book fair at the Tate Modern in London. On this night in Berlin, three Paralaxe artists – Ondness (Lisbon), Manta (Berlin) and Broshuda (Berlin) – will come together for a night of textured soundscapes and manicured distortion in celebration of Ooze Vector, our forthcoming tape release from Broshuda.

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Offprint

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Beatrice Dillon and Rupert Clervaux LP
APRIL 29th

dillion dyptchBEATRICE DILLON – Drum programming, electronics, synthesizer, bass guitar, field recordings

RUPERT CLERVAUX – Vibraphone, drums, percussion, field recordings, additional drum programming
and EBEN BULL – Pocket trumpet and zither on The Same River Twice

Written, performed, produced and mixed by Beatrice Dillon and Rupert Clervaux in London between December 2014 and March 2015.  Mastered by Rupert Clervaux at Grays Inn Road.
Photography by Anne Tetzlaff, artwork by Paralaxe Editions and Oficina de disseny.

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Forthcoming on Paralaxe : Broshuda

 

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Paralaxe Label Night Barcelona

paralaxe editions event

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Bro Shuda On ResonanceFM Spools Out

Spool's Out Radio – 23rd November 2015 by Resonance Fm on Mixcloud

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Tokyo Art Book Fair

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SSV available now

SECOND SYSTEM VISION, FIELDWORK: FIRST-TERM available now for purchase online. Pleased to announce a special AV edition.

Special AV Edition includes 5 CD set:
Parallel Desires, Now We’re Getting Somewhere, We Got Telephones, All your Heart, Forget our Fates.
 
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Second System Vision Launch at Offprint London Tate Modern

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AVAILABLE AT TATE MODERN OFFPRINT LONDON

MAY 22 – 25

ONLINE ORDERS AVAILABLE MAY 26

Paralaxe Editions is pleased to announce the launch today of Cameron Stallones´ book Second System Vision, at the Offprint London, May 22nd to 25th, at the Tate Modern.

Second System Vision is a project of the NEW VISION INITIATIVE, became active in early 2012 primarily as a reflective surface upon which to examine certain types of experience. The project includes photographs and a parallel series of videos by LA based artist Cameron Stallones aka Sun Araw, that represent an experiment in ¨nascent digital vision.¨, self-determination, or as one fellow explorer put it, ¨TV TO THE INTERNET (DIOR PAINT).¨Collected here in five volumes are the photographic works.

Offprint Launch Price 40€
29.7cm x 21cm, portrait
364 pages colour offset perfect bound
First Edition of 200
Interior paper 135g cover 350g

 

 

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Offprint London: Tate Modern: 22—25 May

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See you here! We will be sharing a table with our friends from Where to Now?

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Melbourne: Art Book Fair 2015

We will be at the Melbourne Art Book Fair at the National Gallery of Victoria.

1–3 May
NGV International
180 St Kilda Road

ngv art book fair

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Libros Mutantes: 2015

24, 25, 26 April

We will have some books a the Loring art bookshop table. libros mutantes

 

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Takahiro Mukai and Ondness Tapes — Available now

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Takahiro Mukai — SomosanSeppa

Osaka’s Takahiro Mukai’s music writhes with energy, all ring modulated beeps and metallic percussions. It harkens back to a time when music served a very clear spiritual purpose, as catalyst for ritual and enlightenment. Tinges of Acid House abound but the tracks possess a different kind of purity and focus, closer to Hypnobeat’s drum machine Onslaught than to Phuture’s anthems.

His new release on Paralaxe Editions, SomosanSeppa is an incursion into lively jungle scenes, a soundtrack to an even more feverish Conrad, like Rainforest Spiritual Enslavement’s club minded cousin.The tracks are alive with shimmering detail and behave like a well tuned macro organism, each element occupying it’s position on the ecosystem.The Jungle drums and acid bleeps are enveloped in pristine ambience and frequently disintegrate or get swarmed with small nocturnal beast calls, always guided by the ubiquitous tribal drum machine pounding, not unlike Black Dice’s creature comforts, if that record was more firmly steeped in dance floor preoccupations.

Takahiro Mukai has only been active for a couple of years now, but he has already produced some of the most confoundingly rhythmic and alluringly mutilated works for modular, left-field electronics. – Adhoc : Full review.
 

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Ondness — Them Corja

Listening to Lisbon based Bruno Silva’s work as Ondness is like getting sucked into one of Max Ernst’s decalcomanias. Steeped in Pychon’s dense paranoia, Bruno builds his compositions from blurry sonic objects, imprinting them on loose structures.

His newest release for Paralaxe Editions, Them Corja, a 4 track hovercraft cruise through swampy waters sounds distinctly metallic at times, mouldy mechanisms spring to life on ghost Traffic and a forgotten piston engine pounds in the distance on Rod Serling’s predator whilst Skaters Pulses with vibrant ritualistic vibes.

Echoes of leftfield techno of the likes of Gas loom over his music but Silva manages to twist and bend them beyond recognition, creating his very own textural ooze, filled with pointillist detail and primal propulsion.

He has an extensive discography on labels like Where To Now? Metaphysical Circuits and Phinery.

The sweetest hook comes in the middle of opening cut “Rod Serling’s Predator,” where minimal bass-and-beat touches lead morph into nearly danceable mechanical transgressions. From here, the tape descends into abstract territories, but the listener is already hooked at the sugary opening track. – Decoder. Full review.

 

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Reviews: Let us Now Praise Infamous Men

Two recent reviews:

 
Josef Chaldek: This is a “destroyed” book, a book in which a bullet has been shot through the pages. There are portraits in the book. These heads within the book are of Disney comic characters paired with the heads of multi-national arms corporations and they are all rent asunder by a gunshot – that would be the summary of Brad Feuerhelm’s latest work. It’s not a classical photobook, more of an artist’s book. The images used are all pixelated and from different sources, the reason could be to disguise the persons shot in order to make the “shooting” more bearable or maybe more banal. Or perhaps, the images were not available in sufficent quality. Flipping through the book is an aggravated adventure due to the sticking together of the pages from tthe damage of the bullet , which in the end justifies the repulsive “content”.
While so many photobooks these days drown themselves in gimmickry, superficially seen you could be tempted to put this one there as well – but to be honest, except mean this one is mean and evil only – and brilliant! Feuerhelm makes a strong statement here, without any words (ok, there is a booklet – but you don’t need that really to get the point), this is a rare thing.
 
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Colin Pantall: So then, here’s Brad Feuerhelm’s new book, Let us Now Praise Infamous Men.
The book is a bunch of screenshots of multi-national arms dealers. What are they like?
Nasty is what Feuerhelm thinks. So nasty he gives them a taste of their own medicine. He shoots them in the head.
Not really in the head, but their pictures in the book – he shoots the whole edition of 200 in the head with a glock .45. It’s “possibly the first book” to be shot in such a manner it says in the blurb.
Yep, I’ll give you that.
So there’s another new gimmick. It’s the shot book, the book of people who sell things that shoot people getting shot in the head.
A lot of people are down on gimmicks but I’m not. Not when it fits so well with the concept and the content of the book. There’s a glorious symmetry to it that is both fun and a bit disturbing. It’s like photobook slapstick, cartoon violence (and Mickey, Snow White and half of Disney get it too). Cartoons aside, who these people are, I have no idea (there are no captions identifying them and maybe that’s half the point) so I’ll take it all at face value.
I’m placing Let us Now Praise Infamous Men with Chris Anderson’s Stump. The one should be merged with the other.chaldek-photos
 
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