18,4 x 22,7cm, 184pp
softcover, saddle stitched with belly band

During 2010, heavy rains left many families throughout homeless in Venezuela. For this reason, as an immediate measure, the Hippodrome “La Rinconada” in Caracas, as well as many other architectural jewels, became a temporary shelter, with the promise of a new house that would be granted to them through the Government’s housing construction project: “Gran Misión Vivienda Venezuela” (Great Housing Mission Venezuela). Around 2,400 people lived at the hippodrome until 2014, in parallel with regular activities of the racecourse.

The socio-cultural particularity that this project intent to evidence through this new scenario, apart from the contradictions inherent in the decontextualization of space, lies in the ambiguous relationship structured by the search for the fortune of chance and the vicious circle that this generates. As in any betting game, taking a leap into the void as a shortcut to get some material good, and the consequences of not succeeding can disproportionately worsen the initial situation; the “horse game” and the “search for a home” are in the same space created to test their own luck.

Edgar Martinez

11,5 x 1 5,5cm, 96pp
softcover, thread binding with fold outs

For several years, refugees have been crossing the Strait in the Mediterranean Sea between Libya and Italy, often in unseaworthy vessels. The passage is longer and more dangerous than more recent crossing points, such as those between Turkey and Greece.
According to the UN refugee agency, more than 2,500 people have died or gone missing while attempting to cross the Mediterranean to Europe in 2023. Approximately 186,000 people have arrived in European countries during the same period. This is a significant number but far fewer than in recent years, particularly between 2014 and 2017.

During my first year in Germany, I myself lived in several refugee camps. The stories of refugees coming to Germany were entrancing, and I often listened to their narratives. In December 2022, I had the opportunity to photograph refugees on their way to Europe. I joined an initiative with the organization SOS Humanity, searching for boats carrying refugees in the central Mediterranean. Our goal was to transfer them to Italy by ship.

Arez Ghaderi

Lorena Estrada-Quiroga & Futuro Moncada

23 x 30cm, 160pp
softcover, spiral bound

New Orleans has always been a place of extremes. At least since the destruction caused by Hurricane Katrina in 2005, people here have lived in an environment that is often dilapidated, always threatened, and in many ways defective. Perhaps that’s why those who don’t fit into the system of America find a home here. Queer travelers who have been through a lot in their young lives. Katrina has created gaps that offer shelter. Fueled by the warm spirit of the local population, a group of unique young people was able to flourish. A rebellious and unruly subculture has emerged, cobbling together its own enchanting cosmos of the here and now, where the lights are as bright as the shadows are dark.

Victoria Jung

14,8 x 21cm, 40pp
softcover, saddle stitched

Blurring fact and fiction, New Farmer (2023) questions the dominant narrative of the Green Agricultural Revolution through the use of AI-generated imagery. The project explores our extractive relationship to nature and the way history is made and perceived through images.

The photographs we’ve been shown in brochures and business reports of agricultural corporations suggest that the Green Revolution was a complete success: the abundant growth of new high-yielding corn varieties is contrasted with meagre harvests from traditional farming. Satisfied farmers sit on new machines that do all the hard work for them. No unwanted weeds in sight. The results are there for everyone to see. But is this the whole truth?

New Farmer poses as a historical document and seems to reiterate the success story of the Green Revolution: genetic manipulation results in new crop varieties which result in bigger and better harvests. As the story unfolds however, there are cracks. The images hover just slightly beyond believability until finally turning absurd. They are not documentary photographs from the 1960s as the pamphlet suggests, but AI-generated images. The story itself, while bearing some resemblance to actual events, is also made up: This alternative version doesn’t end in the giant fields of monocultures that surround us today, but instead brings about oversized vegetables. 

With absurdity and humour, New Farmer questions the dominant narrative of the Green Revolution and aims to highlight our oversimplification of nature, inviting viewers to take a critical look at our place within the biosphere and the ripple effects of our actions.

Bruce Eesly