Jules Spinatsch: Temporary Discomfort, Chapter I-V [SIGNED]

SPINATSCH, Jules

ISBN 10: 3037780479 / ISBN 13: 9783037780473

Published by Lars Müller Publishers, Baden, Switzerland, 2005

About this Item

First edition, first printing. Signed in black marker on the last page by Spinatsch. Hardcover. Black leatherette-covered boards, with title stamped in white on front cover and spine and a four-color plate tipped in debossed rear cover, no dust jacket as issued. Photographs and notes (in English and German) by Jules Spinatsch. Texts (in English and German) by Jamie Shea and Martin Jaeggi. Includes a list of exhibitions of Temporary Discomfort, and a list of selected publication and awards. Also includes descriptions of the works and an installation (Live - Panorama Installation Pulver Gut, 2003). 192 pp. total (80 pages comprise the primary section of the book with color plates, including four 2-page gatefolds, and 32 additional pages of texts bound in the rear of the book), with numerous four-color plates and additional black and white reproductions (in the texts section of the book), printed by Ast & Jakob, Vetsch AG, CH-Köniz. The texts section is printed on heavy newsprint stock paper, in contrast to the glossy color plate section of the book. 13-1/8 x 9-5/8 inches. [Cited in Martin Parr and Gerry Badger, The Photobook: A History, Volume II. (London and New York: Phaidon, 2006).]. Near Fine (very small bump to boards at one corner, not affecting any pages, else As New, opened only for signature). Jules Spinatsch's recent installation in "New Photography 2006" at The Museum of Modern Art, New York, included a wall of photographs, with multiple video monitors (with looped video made at 2001-2003 WEF and G8 global economic summits) separating the viewers from the photographs, successfully capturing the essence of "surveillance" concurrently from the outsider and insider perspectives. a brilliant effect in addressing issues of political and economic power! From the publisher: "Temporary Discomfort is artist Jules Spinatsch's documentation of three cities in a transitory state of emergency lock-down during two global economic summits (WEF and G8). It combines different photographical genres: landscape photography of the site, photojournalism, and police photography, but with the camera lens turned, atypically, on the security forces. The photo series and videos aim to achieve a speculative reconstruction of the situations in Davos, New York, Genoa and Evian/Geneva, while they also ask questions about the conditions under which photography is and can be produced today. Spinatsch's position while working on the project was that of an informed outsider--his presence in the area around the meetings was acknowledged by the security forces but not really appreciated, which was one the factors that determined his work. Spinatsch's new approach to documentary photography is theorized here by essayist Martin Jaeggi and presented through beautiful photographs with strong political undertones." Signed by Author.

Seller Inventory # 101662

Bibliographic Details

• Title: Jules Spinatsch: Temporary Discomfort, Chapter I-V [SIGNED]
• Publisher: Lars Müller Publishers, Baden, Switzerland
• Publication Date: 2005
• Language: English
• ISBN 10: 3037780479
• ISBN 13: 9783037780473
• Binding: Hardcover
• Edition: 1st Edition.
• Condition: Near Fine
• Dust Jacket Condition: No dust jacket as issued
• Signed: Signed by Author(s)
• Seller catalogs:
  • Voyeurism/Surveillance
  • Europe (Other)
  • The State
  • Signed Books
  • Class

About this title

Synopsis

Temporary Discomfort is artist Jules Spinatsch's documentation of three cities in a transitory state of emergency lock-down during two global economic summits (WEF and G8). It comines different photographical genres: landscape photography of the site, photojournalism, and police photography, but with the camera lens turned, atypically, on the security forces. The photo series and videos aim to achieve a speculative reconstruction of the situations in Davos, New York, Genoa and Evian/Geneva, while they also ask questions about the conditions under which photography is and can be produced today. Spinatsch's position while working on the project was that of an informed outsider--his presence in the area around the meetings was acknowledged by the security forces but not really appreciated, which was one the factors that determined his work. Spinatsch's new approach to documentary photography is theorized here by essayist Martin Jaeggi and presented through beautiful photographs with strong political undertones.