What constitutes an unpublishable work? It could be many things: too long, too experimental, too dull; too exciting; it could be a work of juvenilia or a style you’ve long since discarded; it could be a work that falls far outside the range of what you’re best known for; it could be a guilty pleasure or it could simply be that the world judges it to be awful, but you think is quite good.

Like Kenneth Goldsmith says: We’ve all got a folder full of things that would otherwise never see the light of day. Yes, we do!

Invited authors were invited to ponder to that question on UbuWeb.com. The works available online are their responses, ranging from an 1018-page manuscript (unpublishable due to its length) to a volume of romantic high school poems written by a now-respected innovative poet.

Publishing The Unpublishable
Edited by Kenneth Goldsmith
2007

order here!

Galić’s and Gredig’s project reverses for once the asymmetrical power relation between the image producers and the depicted. A very enlightening venture! Goran Galić (1977) studied photography at the School of Art and Design Zurich. Gian-Reto Gredig (1976) studied Social Anthropology at the University of Zurich. Both live and work in Zurich. “PIC” is their first publication with Kodoji Press.

The publication “Photographers in Conflict” reveals those faces to us that are normally behind the camera and, therefore, responsible for our image of the world — concerned photojournalists. Goran Galić and Gian-Reto Gredig photographed and interviewed 32 professionals during the renowned festival “Visa pour l’Image” that resembles each year the world’s best photojournalists in Perpignan, France. The two young artists portrayed the journalists in the style of historical portraits and asked them questions about keywords related to their métier. The answers accompany the pictures in the publication and are ordered by the given keywords: Camera down — My kind of picture — Banging on people’s heads — The man on the street — Publish or perish — Hours in the darkroom. They expose the diverse layers of the job and how every individual copes differently with its horrors, with self-reflection, and manipulation. By publishing “Photographers in Conflict” as a newspaper a reference is made to the medium in which a lot of the images shot by photojournalists appear. The publication contains 16 portraits and a selection of transcripts of the video interviews, which will was released online in 2008. This is not merely a contemporary solution, but it reflects also the area of tension of today’s photojournalistic industry: on the one hand the classic reportages published in magazines and papers and on the other hand — in order to be able to be competitive with the emerging “citizen journalists” —
reportages that more frequently are published online — often interactively and multimedia-based (e.g. with the commentary of the photographer).

PHOTOGRAPHERS IN CONFLICT – BY GORAN GALIC & GIAN–RETO GREDIG
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32 X 47 CM, 20 PAGES, 105 COLOR PLATES, NEWSPAPER,
BADEN, 2008, FIRST EDITION, 1.000 COPIES, ISBN 978–3–03747–011–4
EUR 12,– / USD 20,– / CHF 18,–

order here!

Because he was drunk he did not speel well, only really slept for perhaps twenty minutes the whole entire night, and when the morning came he was feeling sick and drunk, and he had a headache, and his mouth tasted awful, and he was tired, but he remembered that someone would be arriving home that day, so he got up and washed himself and put on a clean shirt and brushed his teeth, and sat at the table and ate a banana and made art.

I can’t get tired of Matias Faldbakken’s 2008 canvas…

UNTITLED CANVAS, 2008
Canvas tape on Belgian linen / wooden stretcher
152,5 x 152,5 cm

As you might already know, his highly recommended monography “Not Made Visible”, was published in 2007 by Christoph Keller for Les Presses du Réel.

Bataille / Camus

Published in 2000 by Volksbühne am Rosa-Luxembourg-Platz

danke Bettina !

designed by Kasino A4’s very own Pekka Toivonen is a good book. And this text is and euphemism.

Jeffrey has been consistently and faithfully sending me images and contributing to sang bleu since day one. I still owe Benedetta Rossi for introducing us.
A massive subject and interview with jeffrey is coming soon in the soon-to-be-launched “Online Features” section.
But before that, you might wanna have a look at http://www.jeffreykilmer.com/, or even better, buy “23%”, the book he just released.

”The Front Door photos are a summation of everything I have ever learned. The photos are taken in front of the door at 161 Essex Street, which leads into Clayton Hats, Clayton Gallery and the Outlaw Art Museum. This also happens to be the place I live.

”The front door represented two things for me: It was the Wall of Fame where I played host to many of the local graffiti writers and it was the background for many of the shots from the Hall of Fame The period represented is from 1985 to 2002. The vast majority of the photographs were of Hispanics who lived on the Lower East Side. The L.E.S. in the ’80s and into the ’90s was not the hip place it is today. For the most part, the photos were representative of people who lived in the section that outsiders considered dangerous and that was normally out of bounds for those who had no business being there.” Clayton Patterson