25 years after the end of the conflict in Bosnia and Herzegovina, Somnambulism discusses the importance of culture and urban fabric in the construction-destruction-reconstruction of the country. In four different stages, the reader will experience a metaphorical wandering of night and day walking between the old and new infrastructures, buildings and monuments. Firstly, in a once-upon-a-time journey between Sarajevo and Belgrade, historical events unfold the Yugoslav intercultural nation born after the World War II. Then, landscapes still offended by the tragedy of the war and of the urbicide, reveal the collective amnesia of the 1992–1995 conflict. In the last two stages, the dualism between division and unity betoken the contemporary terrain of Bosnia and Herzegovina, marked both by the visible presence of religious monuments and by landscapes which uprise to avoid the oblivion of the multicultural common past. With her photographs, Lara Ciarabellini is able to show the change in the web of intertwining layers of the Yugoslav and Bosnian collective memory in the last decades, adding a new and personal point of view in the analysis of the aftermath of the war. Poems, texts, and archival pictures accompany her and reader's journey. Author: Lara Ciarabellini Texts: Š.Daupović Fiko, C. Elia, E. Forto, A Klemenčić, P. Lowe, S. Milio, T. Novosel, D. Pora Porović, F. Rolandi Publisher: Kehrer Year: 2015 Hardcopy Language: english Dimensions: 28 x 30 cm ISBN:978-3-86828-622-9    

Neo-avant-garde Trends in Hungarian Art Photography, 1965-1984 has been published with the support of Art+Text Budapest. The book, like its Hungarian version published in 2007, presents some 400 works of art by 32 Hungarian artists of the 1960s, 1970s and the early 1980s. It undertakes to collect the greatest photographers of this vibrant and fruitful era from Géza Perneczky to Tibor Hajas and János Vető. Among the presented artists we can find photographers who refused the anachronistic aesthetics of the official photography, and artists who used the camera accepting the conceptual approach of the period. Author: Sándor Szilágyi Foreword: Sarah Morthland Publisher: Art + Text Budapest Year: 2017 Hardcover, 377 pages Language: english (first english edition) Dimensions: 30 x 24 cm ISBN: 978-963-12-8293-1    

The beginning of the joint venture of diSTRUKTURA is marked by the Face to Face series of photographs as well as with the photograph, entitled Missing Hill I from 2005. The picture showcases the artists with their backs turned against the viewer while gazing in the devastated landscape in the vicinity of closed and deserted copper mine in Majdanpek, Serbia. This work characterised further creative production of the couple who focused on questioning extended notions of nature nowadays and on redefining landscape genre in the period after the industrial, technological and digital revolutions. Since then diSTRUKTURA has been consistently developing its art works across different artistic media, from photography and painting, to drawing, video and installation. This book is therefore the first extensive monographic publication where all the projects from the past ten years are documented, inventoried and analysed: Face to Face, Third Landscape, Cities: Psychogeographic Experiments, We are Living in a Beautiful wOURld, Mitteleuropäische Landschaft, Not so Far Away and The Best of Leisure. Author: diStruktura Text: Miha Colner, Aleksandra Estela Bjelica Mladenović, Catherine Hemelryk, Miroslav Karić, Sanja Kojić Mladenov, Jelena Krivokapić, Astrid Kury, Katarina Mitrović/Saša Janjić, Mirjana Peitler, Una Popović, Jelena Stojanović, Nikola Šuica, Predrag Terzić, Milanka Todić Publisher: ProArtOrg Year: 2015 Hardcover, 151 pages Print: Standard 2, Belgrade Language: english, serbian Dimensions: 23 x 28 cm ISBN: 978-86-80146-03-4    

In this book Anikó Robitz presents her photographs made between 2007 and 2020. Her works are based on modern and contemporary architecture. When taking pictures she uses only geometrical forms and elements to create her unique and minimalistic photos. While using the chosen details the composition can get far from the original and shows us something completely new. None of the photos were made in the studio but in the real world which surrounds us, in cities where titles refer to. Although Anikó Robitz is a photographer, her pictures are more appropriately approached as works of fine art. They are best understood by those who are familiar with 20th century visual art forms, primarily abstraction, Suprematism, and Minimalism – can be read in four languages in the foreword of the book. Text written by artist and art critic Bálint Szombathy.

Lara Štrumej / Geometry of Solitude: Some Modernist Works From the National Photography Collection at Moderna Galerija Among the numerous original languages employed by the individual photographers whose work features in Moderna galerija's photography collection, our attention was drawn to shots that reflect the creative responses of photographers either to an order existing in the external phenomenal world or to individual relationships arising in the urban world that establish a new conceptual order in created images when photographically transposed. The works featured in the catalogue were not created at one time — they span a period from the mid-1950s to the late 20th century. But apart from iconographic similarities and an austere narrative that stems from the modernist desire of the artists to retreat from noisy everyday life to the aesthetics of the silence of photographic images, they are marked by an exploration of the semantic issues of photography as a self-sufficient artistic entity. In every one of these images, the dialogue with the visible world is in its own special way removed from the dynamics of social life and takes place with respect to space and the state of things within this space. The perceived situations where man is present only through his absence are presented in ways not always new, since the artists built on the achievements of New Objectivity, a period that is regarded as the beginning of Slovene modernist photography. Text: Lara Štrumej  Publisher: The Museum of Modern Art Language: Slovene, English Year: 2002 softback, 54 pages Dimensions: 27 x 22 cm