Aglaia Konrad uses film and photography to visually extend her interest in urban development, cityscapes and architecture. In this artist book she presents photographs taken in the Carrara region in Italy between 2008 and 2010, along with the 16mm film 'Concrete * Samples III -

After photographing metropolises such as Tokyo, Sao Paolo, Cairo, Paris and Mexico City, Aglaia Konrad manipulates these images by mirroring, enlarging, collaging and copying them. In her two- and three-dimensional installations she not only plays with the phenomena and the representation of the city but also toys with questions concerning ambiguity, identity, and perception. An ambitious and substantial tome, Elasticity offers insight into the characteristics and images of the metropolis. In Konrad's highly individual image manipulations, a fascinating topography of urban fabrics, facades, infrastructure, architectural forms, and surfaces is revealed. This 248-page visual essay presents her personal photographic archive "installed" in book form in a unique sequence and rhythm. Elasticity also offers a reflection on Konrad's work through essays by critic and curator Daniel Kurjakovic, artist Eran Schaerf, and Antonio Guzman, director of art space L'Aquarium in Valenciennes. Published in conjunction with L'Aquarium, Valcenciennes and Argos, Brussels.

Structured and typeset like an encyclopedia, Aglaia Konrad from A to K draws out and explores the plastic and aesthetic possibilities of the reference book format. It indulges in a certain fascination for lists and their cumulative force while seizing upon the fact that alphabetic organization is extremely orderly, but also, upon reflection, entirely random. The book explores this in-between space and thwarts the self-evident integration of component parts in the reference work. Aglaia Konrad from A to K features a sizeable selection of color and black-and-white photographs, which appear here for the first time. Reflected in the images, and in the list that serves as their space of representation, is the artist's longstanding engagement with architecture, urbanism, cityscapes, and the shifting dimensions and shapes of our public and private environments.

G1710 is the result of a cooperation between our architecture office, two artists, a critic and a graphic designer.0This book contains four contributions.0The first contribution is a text written by architecture critic Maarten Van Den Driessche about the work of GAFPA of the last ten years. The second contribution contains pictures of our studio made by Aglaia Konrad including fragments of the making process. The third contribution is from Bert Huyghe. As a painter he contributed a text, illustrated by some of his paintings. The fourth contribution is a selection of research done over the past three years by students in the PRIMARY STRUCTURE studio which we teach with Olivier Goethals at the KU Leuven Faculty of architecture Ghent. Printed from the blog primarystructure.net.0The work of GAFPA runs throughout the blind pages of this publication.

Published alongside an exhibition at DeSingel international arts centre, Antwerp, these photographs examine urban border zones - the periphery, urban infrastructure, construction sites, and anonymous buildings. The photographs of numerous metropolises around the world testify that modernism is a global system.

"As digital technologies continue to impact photography, there are those image-makers who rise above the fray to produce compelling work. Photo Art: Photography in the 21st Century features 120 of the latest, greatest, and newly up-and-coming artists in a luscious compendium, each showcased in a four-page spread, with texts by sixteen top curators and theorists, and a glossary of important terms. More than a coffee-table book, Photo Art reads like an international art fair between covers."--Publisher's website.

An exciting change is currently taking place in architecture photography: apparently neutral, realistic illustrations are giving way to the creation of an individual reality. New techniques permit unusual angles and perspectives, and digital processing allows for the manipulation of reality. Fine artists have long discovered the formal language of architecture as a subject. By means of a wide range of contemporary artworks this volume shows the visual bandwidth which architecture photography demonstrates in our post-digital age. With works by: Doug Aitken, Thomas Demand, Filip Dujardin, Roland Fischer, Andreas Gursky, Edgar Martins, Erwin Olaf, Hans Op de Beeck, Bas Princen, Thomas Ruff, Philipp Schaerer, Hiroshi Sugimoto, Wolfgang Tillmans, Jeff Wall and many more.

In today's world, the Asian megapolis is a reality that is reconfiguring both East and West, old world and new, and is as much a cultural phenomena as a demographic or architectural one. It is currently predicted that in the year 2000 there will be 15 cities in Asia with more than 15 million people each, and that more than 50 million will be living in the Tokyo-Osaka corridor. Cities on the Move is the first publication to confront this rapidly changing social, urban, and suburban landscape primarily from the point of view of those Asian artists, architects, and intellectuals who are currently already part of this emerging world. The result is a massive, kaleidoscopic volume which presents a multitude and variety of projects, plans, ideas, artworks, and observations which are not easily summarized. Like a documenta of the East, this book attempts nothing less than an expansive, inclusive forum and interchange -- an avant-garde symposium -- for those figures whose work by its very nature requires the contemplation of urban Asia.

Inspired by the work of an earlier generation of Japanese photographers, especially by Shomei Tomatsu, and by William Klein's seminal photographic book on New York, Daido Moriyama moved from Osaka to Tokyo in the early sixties to become a photographer. He became the leading exponent of a fierce new photographic style that corresponded perfectly to the abrasive and intense climate of Tokyo during a period of great social upheaval. His black and white pictures were marked by fierce contrast and fragmentary, even scratched, frames, which concealed his virtuoso printing. Between June 1972 and July 1973 he produced his own magazine publication, Kiroku, which was then referred to as Record. It became a diaristic journal of his work as it developed. Ten years ago he was able to resume publication of Record, which gradually expanded in extent. To date he has published thirty issues, a number of them including colour. The publication of Record as a book enables work from all thirty issues to be edited into a single sequence, punctuated by Moriyama's own text as it appeared in the magazines. It used to be assumed that Moriyama's peculiarly Japanese style was tied to his Tokyo roots. The evidence of the last ten years demonstrates that Moriyama, a restless world traveller, has been able to apply his unique vision to northern Europe, southern France, the cities of Florence, London, Barcelona, Taipei, Hong Kong, New York and Los Angeles as well as to the alleys of Osaka, and the landscape of Hokkaido. The book ends in Afghanistan.