Jaakko Kahilaniemi: 100 hectares of understanding (Kehrer, 2021)

Finland is one of the most forested countries in the world. Almost 75 percent of the country is covered by forests – that’s over 26 million hectares of which Jaakko Kahilaniemi owns 100 hectares. His conceptual project 100 Hectares of Understanding is his attempt to understand the forest area he inherited.

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Ana Núñez Rodríguez: Flor de Roca (Simulacro Ediciones, 2021)

Flor de Roca proposes an exercise in the search for (the life around) emeralds, tracing a journey through the mystery that surrounds the stone, focusing on the guaquería as a mining practice on the way to extinction.

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Al J Thompson: Remnants of an Exodus (Gnomic Book, 2021)

Remnants of an Exodus is Al J Thompson’s first monograph, a love letter to his second home of Spring Valley, a once thriving Caribbean immigrant community under threat of gentrification, just 40 minutes from New York City.

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Kiluanji Kia Henda: Travelling to the Sun through the Night (Steidl, 2018)

Travelling to the Sun through the Night assembles photographs predominantly of Angola and its elusive capital, Luanda, from 2005 to 2013.

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Gøneja: Rituals (Self Published, 2021)

In his second photo-book Rituals, Berlin-based photographer Gøneja presents an entirely new portfolio of portraits and nudes, exploring deeply subjective and spiritually-charged thematics.

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Sjoerd Knibbeler: In Elements (Hatje Cantz, 2021)

In his work the Dutch visual artist Sjoerd Knibbeler (*1981) explores the scientific view of the world through the means of photography, using strategies such as observation, experimentation, and model making.

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Vincent Kohlbecher: Its Flower Is Hard To Find (Hartmann Books, 2021)

Over a period of four years Vincent Kohlbecher visited Poland numerous times. He found motifs that took him back to his childhood, to the Catholic faith, to German history, in Gdańsk, Warsaw, Kraków, Płaszów, Majdanek, and Auschwitz.

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John Divola: Terminus – (Mack Books, 2021)

New work by renowned Californian artist John Divola, celebrated for his idiosyncratic combination of photography, installation, and visual arts. These photographs made in a disused air force base continue Divola’s alternative vision of California, as seen in Zuma (1977) and Vandalism (2018).

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