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The Dummy Award Winners 2024


We are pleased to announce the 5 winners of the Dummy Award 2024. Out of 51 shortlisted books, the winning titles were selected, taking into account public votes from the 12 international venues where the shortlist has been exhibited and the votes from the 2024 shortlist jury. 

All 5 winning books will receive a 25% production grant for printing their books at MAS printing house, Istanbul and our full promotion support. 

“fever dream” by Victoria Jung wins the PBM/MAS Prize 2024!
It will be produced and published by MAS Matbaa in cooperation with the PhotoBookMuseum later this year. Stay tuned!

Congratulations to the five artists whose photobooks stood out and convinced both the jury and the visitors! 

Lucky

by Edgar Martinez, VE

Info

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

Hello Italy

by Arez Ghaderi, IR

Info

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

The Book of the Four Actions

by Colectivo Estética Unisex, MX/ CO

Info

12 x 17cm, 208pp
softcover, open spine

The disappearance of Fundidora Monterrey marked a milestone in the history of contemporary Mexico. Founded in 1900, the organization was for many years a paradigm of the iron and steel industry in the north of the country. Turned into a public company in 1977, it was eventually declared bankrupted and was closed in 1986. Based on initiatives generated in 1989 to transform it into a cultural and recreational center, it reopened to the public in 2001 and declared a Museo de Sitio de Arqueología Industrial [Industrial Archeological Site Museum] that also housed the Historic Archive of Fundidora. It is based on this archive that the Colectivo Estética Unisex—formed by Colombian artist Futuro Moncada and Mexican artist Lorena Estrada-Quiroga—performed an investigation of its cultural heritage in order to select, organize and classify it to develop the highly ambitious work titled Fundidora S.A. Ciudad Invisible (Foundry Inc. Invisible City), conceived as a model to examine and criticize the general guidelines and approaches that defined the ethic and aesthetic of Ibero American capitalism.
A selection of a number of photographs from the archive were arranged into four different categories that reflected the actions alluded to in the title of the installation and that broadly described the characteristics of social interaction and power relations among the political, business, and working classes that defined the company during the 1970s, when it was rescued by the government. According to what the artists were able to discover in the photographic documents, “The Four Actions” were: 1) Ascend/Descend, 2) Look/Point, 3) Greet, and 4) Give/Receive.

Lorena Estrada-Quiroga & Futuro Moncada

fever dream

by Victoria Jung, DE

PBM/MAS Prize

Info

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

New Farmer

by Bruce Eesly, DE

Info

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

Winners 24

420 books from 44 countries were submitted for the 2024 Dummy Award. The shortlist selection resulted in 51 photobooks.

Shortlist 2024

Browse all shortlisted books on our Youtube channel 

Lea Greub, DE

No Georgian Dream

19,5 x 24,5cm, 127pp
hardcover, open spine

leagreub.com
@greuble

Ellen Smeets, BE

Reconstructions as fundamental methods

23 x 27cm, 112pp
softcover, Swiss brochure, open spine

ellensmeets.com 
@smeets.ellen

Simon Deppe, DE

Nichts, nichts …

23,5 x 23,5cm, 164pp
hardcover

@simon_deppe

Aimilia A. Theofilopoulos, DE

Die Wand ist nicht tragend

22,5 x 31,5cm, 70pp
softcover with little saddle stitched booklet

aimiliat.de 
@aimiliatheofilopoulos

Yoshikatsu Fujii, JP

Nagi

21 × 27cm, 130pp
softcover, Japanese fold with Japanese binding

reminders-project.org 
@yoshikatsufujii

Samuel Henne, DE

cosmos

23 x 30cm, 240pp
softcover, perfect bound

@samuelhenne

MAryam Touzani, NL/MA

Maktub

18 x 25cm, 64pp
softcover, two saddle stitched booklets in cardboard fold

maryamtouzani.com 
@maryam.touzani

Noga Shragai, IL/PS

APPETITE

15 x 22cm, 75pp
hardcover, open spine

@nogashragai

Ulises Lozano, CH

Coming in

21,5 x 26,4cm, 148pp
hardcover, painted linen

@ul.y

Emanuele Occhipinti, IT

A’ Muntagna

16 x 21cm, 200pp
hardcover with canvas, thread binding

emanueleocchipinti.com 
@emanuele.occhipinti

Debora Mabel Caro Reyes, CL

Unterwegs

13 x 9cm, 88pp
3 softcover booklets with a saddle stitch binding, enclosed in a folder

deboracaro.com
@debora_caro.r

Vixtoria Salomonsen, DK

Your Eyes

14,5 x 19cm, 160pp
softcover, Swiss brochure, open spine

vixtoriasalomonsen.com 
@vixtoriasalomonsen

Oleg Savunov, RU

Nostalgia for Ruins

29,7 x 41,6cm, 22pp
soft cover, saddle stitched

olegsavunov.com 
@somthing_happened

Marika Kochiashvili, GE/ UK

Peeping Dyke

10 x 21,7cm, 30pp
softcover, accordion fold

marikakochiashvili.com
@marika_kochiashvili

Edith Geuppert, DE

The Procedure

16,5 x 24,0cm, 136pp
softcover with open spine in a plastic bag

edithgeuppert.de 
@edithgeuppert

Taisuke Nakano, JP

Phantom/Vibration

18,2 × 25,7cm, 192pp
softcover, Japanese fold with Japanese binding

taisukenakano.com
@taisuke_nkano

Kazuhei Kimura, JP

counterpoint

12,8 × 21cm, 80pp
hardcover, with 3 glued in saddle stitched booklets

@kazuheikimura

Teona Mskhvilidze, GE

miːəm (me/them)

29,4 x 20,8cm, 56pp
hardcover, thread binding

@teona_mskhv

Federico Possati, IT

Almanac of Forgotten Memories

14,8 x 20cm, 368pp
softcover, perfect bound

federicopossati.com 
@federizio

Edgar Martinez, VE

Lucky

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

edgarmartinez.xyz 
@edgarmartinez.xyz

Amanda Sauer, US

Giant Willow Oak

27 x 40,7cm, 68pp
softcover, Swiss brochure, bound to cover

amandasauer.com
@amandajsauer

Tim Gassauer, DE

Lüderitz

20 x 26cm, 150pp
hardcover

timgassauer.com
@timgassauer

Martin de Crignis, DE

The Beauty & The Boys

18cm x 24cm, 200pp
softcover, wire-o-binding


martindecrignis.com
@martindecrignis

Byron Co, PH/DE

MOMENTOUS

23 x 31,5cm, 168pp
hardcover, thread binding, with glassine inserts

byronchris.co 
@byronchrisco

Teresa Pistorius, DE

Like the Waves Appear and Disappear and Appear Again

21 x 27cm, 72pp
hardcover, Swiss brochure, open spine

teresapistorius.com 
@teresapistorius

Yulia Skogoreva, RU

SALT AND TEARS

21 x 24cm, 128pp
softcover, Japanese binding in a traditional Japanese box


yuliasko.com
@yuliasko.ph

Victoria Jung, DE

fever dream

23 x 30cm, 160pp
softcover, spiral bound

victoriajung.de
@victoria.jung_

Francesca Bergamini, IT

Beauty is a currency

17 x 24cm, 151pp
softcover, perfect bound

francescabergamini.com
@frau_bergamini

Bruce Eesly, DE

New Farmer

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

eesly.xyz
@bruceeesly

Leonard Mann, DE

Dancing Stallions

10,1 x 14,1cm, 96pp
hardcover

@mann_leonard

Hayun Chun, KR

/imagine prompt: a swimming pool for artist

15 x 15cm, 104 pp
hardcover in a miniature pool

iamhay.online 
@iamhay

Kyosei Yoshiike, JP

Salvage

70 × 40cm, 92pp
Bradel Allemand,cardboard

4ck-hendrix.studio.site
@4ck_hendrix

Arez Ghaderi, IR

Hello Italy

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

arezghaderi.com
@arez.ghaderi

Patrik Fica, CZ

Rave in The Grave

20 x 27,4cm, 111pp
softcover, perfect bound, risograph printed

arf.works
@patrik_fica

Colectivo Estética Unisex, MX/ CO

The Book of the Four Actions

12 x 17cm, 208pp
softcover, open spine

editorialuniversitariauanl.publica.la
@futuromoncada

Keiji Fujimoto, JP

equals zero

21 x 14.5cm, 222pp
9 saddle stitched booklets tied together in a slipcase

keijifujimoto.net

Laila Nahar, US

Will you come to Rome with me?

14 x 20,3cm, 128pp
hardcover, Swiss brochure, open spine

lailanahar.com
@naharlaila

Amparo Baquerizas, AR/ ES

Gauchito Querido

18,5 x 23,5cm, 502pp
hardcover Swiss brochure, ribbon page markers

cargocollective.com/abaq
@a.baq

Louis Roth, DE

Fata Morgana

23 x 32cm, 62pp
softcover, saddle stitched

louis-roth.de
@louisroth_

Chloé Nicosia, FR

ONE HUNDRED TRILLION DOLLARS

17 x 24cm, 106pp
softcover, perfect bound

chloenicosia.com
@nicosiachloe

Lin Wei-Lun, TW

Mazu,

10,5 x 14,8cm, 48pp
hardcover, handmade single stitch binding

linweilun.com
@linweilunlin

Cynthia Ruf, DE

creating something leads to nothing

18,5 x 25cm, 144pp
hardcover, open spine

cynthia-ruf.com
@cynthiarufphotography

Carolin Klemm, DE

Bantam rot

15 x 21cm, 96pp
hardcover, thread binding with saddle stitched appendix booklet

@carolinklemm

Dhika Prabowo, ID

ADHA

25 x 35,3cm, 118pp
double sided Japanese Binding wrapped in goat leather jacket

@satriandhika_

Moe Suzuki, JP

Aabuku

27,4mm x 21,4cm, 278pp
hardcover

banyan-b-i.com/
@moesuzuki.bbi

Luisa Maria Stagno, CO/LU

Flip Standard

18 x 18cm, 224pp
softcover, perfect bound

luisamariastagno.com
@luisamariastagno

Alexey Yurenev, RU

Seeing Against Seeing

18 x 11cm, 406pp
softcover, open spine in metal case

yurenev.com
@yurenev

Julia Bohle, DE

SOLSTICE

21 x 29,7cm, 40pp
softcover, open spine, saddle stitched, red acetate cover

juliabohle.com
@jubohlephoto

Anique Jordan, CA

Underbelly

22cm x 32cm, 172pp
hardcover

aniquejjordan.com
@aniquejordan

Onnis Luque, MX

(H)

21,5 x 14,5cm, 69pp
softcover, wire-o-binding

onnisluque.com
@onnisluque_fotografia

Guillaume Holzer, FR

Territoire Nomade

14×21 cm, 96pp
hardcover, Swiss brochure, open spine

gholzer.com
@gholzer_

The Dummy Award Catalogue 2024

For the second edition of our catalogue presenting the 50 shortlisted books we were able to get photobook-design maestro Ramon Pez on board. The result is amazing! Thank you Ramon! 

Distributed for free at all exhibiting events and venues, to design/photography faculties and of course at Rencontres d’Arles and Paris Photo. 

Best seen in print – but alternatively as a download. Have a look!

generously supported by:

“These dummies are amazingly thought of and very well printed: many of them are ready to stop being dummies!”

Nina Strand
Jury Member

Meet the 2024 Jury*


The shortlist jury of the Dummy Award 2024 is made up of an interesting and diverse group of experts of different areas in the photobook field – ranging from a curator to a designer, from an editor to a photographer and from a museum director to a printer. The jury met in Cologne on March 9th 2024.

is co-head of program and curator at C/O Berlin. As a doctoral candidate at the Folkwang University of the Arts her focus is on the research-based-photobook. She worked as a graduate research assistant in the Visual Journalism and Documentary Photography program at Hanover University of Applied Sciences and Arts. Previously, Sophia co-curated the Fotodoks Festival for Contemporary Documentary Photography for many years. 

is the founder of 20Fotógrafos and Colectivo+1 and Editor at Raya Editorial. Santiago curated the collective exhibition “Conflict and Peace” of the Commission for the Clarification of the Truth, Colombia and had his projects exhibited in over 100 solo and group exhibitions, such as Trasatlántica-PhotoEspaña, Fototeca de Cuba and Unseen-Amsterdam.

is a photographer, writer and founder of Objektiv Press. Nina holds a BA in project management, and a MA in creative writing. She works with image and text and uses the book as her gallery. Most recently, she’s published the photo-novel Current Condition (Journal, 2023).

© Kate Stanworth

is a creative director & curator. His studio practice is based in London and focuses on stories and narrative experiments within editorial & Art projects that blend different platforms. As well as that, Pez is currently Art Director at Thames & Hudson Publishing and creating experimental workshops on books.

is a documentary photographer using collaborative practices and long term research to challenge traditional documentary perspectives. She is the co-founder of Friendzone.Studio and The Journal, a global photography collective of several hundred women and non-binary photographers and she is the first recipient of the »FotoEvidence W Award« with her book La Puente, published in 2019.

studied photography at Hofstra University, NY. Since 2007, he has been part of the core team at MAS printing house as the second-generation manager and partner. In 2010, he founded MASA, a publishing house specializing in facsimiles, photobooks and art-books; which has since published more than 40 books. He is a photography enthusiast and an avid photobook collector.

is a photographer, designer and photobook curator. He is artistic director of The PhotoBookMuseum in Cologne, wich he co-founded together with Markus Schaden in 2014. Frederic teaches photobook design at various universities and faculties in Germany (FH Dortmund, FH Hannover and DHBW Ravensburg).

Jury Statement: 


TREES, HOLES & MIRRORS

From my studies in architecture, I remember that the first and most important step before building a real-size monstrosity in concrete was to construct a scale model that is precisely scaled to test its thickness and the image it will promise in the future streets. It was therefore very interesting to hear Markus Schaden, director of the PhotoBookMuseum, talk to Ramón Pez about how the term ‘dummy’ was applied to books in the early days. New photocopying technology and simple hand-binding techniques were used to create simple mock-ups, with prints glued directly onto blank paper. Photographers and publishers began to use dummies as models to project the anticipated reality of what was yet to be printed in larger editions.

For me, a dummy is the opportunity to experiment with different materials, the rhythm, the forms. But also with the theme, the meaning, the atmosphere, and of course the design, the fonts, the layout of the pages. Sophia Greiff thinks it’s important that a dummy is understood and seen as a prototype, a maquette, and that “no publisher or gallerist can tell you how to do it”. Charlotte Schmitz agrees, adding that she looks for the artists’ personal visions and that “the books don’t have to be completely perfect yet”.

For Ufuk Şahin, a dummy is a test object, but one that is only one or two steps away from being published. For a dummy award, the books should be almost ready to be printed, as the binding and the sequence won’t be changed. “It has to be a publishable book, close to the finish line,” he says. Ramon Péz agrees. As a designer, he is particularly interested in how the binding, design and choice of paper suggest the story the authors want to tell. Looking at the final selection of dummies, Nina Strand says: “These dummies are amazingly thought of and very well printed: many of them are ready to stop being dummies! The quality is very high!”

Each year, the Dummy Award acts as a “barometer” of what is happening in photography around the world. This year, many books focused on authors looking at themselves, delving into their own personal dreams, fears, struggles. There are projects that focus on self-introspection and identity and memoirs that observe the past or try to recover what has been lost. We also saw many projects about – and made by – non-binary, LGBTIQ+ and women photographers. They made up more than half of the submissions, which is reflected in the selection of fifty finalists. However, statements about social and political tensions, wars and social injustice didn’t take up as much space as in previous years. The judges also hope to see even more books from Latin America, the Middle East and Africa next year.

“Trees, holes and mirrors” were often seen during the judging process. Perhaps it’s a reflection of our self-awareness and our connection to nature. In this sense, a hole is not an endless vacuum to dig into, but a portal that connects us to the other side of the pond; to ourselves. 

Santiago Escobar-Jaramillo & the jurors of the Dummy Award ’24.

The World Tour 2024

Two boxes with the 51 shortlisted dummy travel the world! Worldwide dummy exposure guaranteed!

The PhotoBookMuseum, Cologne → 16.03. – 25.04.2024
The PhotoBookMuseum, Cologne → 16.03. – 25.04.2024
The PhotoBookMuseum, Cologne → 16.03. – 25.04.2024
The PhotoBookMuseum, Cologne → 16.03. – 25.04.2024
The PhotoBookMuseum, Cologne → 16.03. – 25.04.2024
The PhotoBookMuseum, Cologne → 16.03. – 25.04.2024
Istituto Italiano di Fotografia, Milano → 15.05. – 15.06.2024
Istituto Italiano di Fotografia, Milano → 15.05. – 15.06.2024
Istituto Italiano di Fotografia, Milano → 15.05. – 15.06.2024
Grisart, Barcelona, Spain → 2.05.-28.05.2024
Grisart, Barcelona, Spain → 2.05.-28.05.2024
Grisart, Barcelona, Spain → 2.05.-28.05.2024
Grisart, Barcelona, Spain → 2.05.-28.05.2024
Grisart, Barcelona, Spain → 2.05.-28.05.2024
Fotofestiwal, Łódź, Poland → 13.06.-23.06.2024
Fotofestiwal, Łódź, Poland → 13.06.-23.06.2024
Fotofestiwal, Łódź, Poland → 13.06.-23.06.2024
Rencontres Arles, France → 01.07.-6.07.2024
Rencontres Arles, France → 01.07.-6.07.2024
Rencontres Arles, France → 01.07.-6.07.2024
Rencontres Arles, France → 01.07.-6.07.2024
Rencontres Arles, France → 01.07.-6.07.2024
Lovely House, São Paulo, Brazil → 24.08.-26.08.2024
Lovely House, São Paulo, Brazil → 24.08.-26.08.2024
Lovely House, São Paulo, Brazil → 24.08.-26.08.2024
Lovely House, São Paulo, Brazil → 24.08.-26.08.2024
FELIFA, Buenos Aires, Argentina → 27.09.-29.09.2024
FELIFA, Buenos Aires, Argentina → 27.09.-29.09.2024
FELIFA, Buenos Aires, Argentina → 27.09.-29.09.2024
FELIFA, Buenos Aires, Argentina → 27.09.-29.09.2024
FELIFA, Buenos Aires, Argentina → 27.09.-29.09.2024
FELIFA, Buenos Aires, Argentina → 27.09.-29.09.2024
FELIFA, Buenos Aires, Argentina → 27.09.-29.09.2024

Tour dates

The PhotoBookMuseum, Cologne, Germany → 16.03. – 25.04.2024 

Grisart, Barcelona, Spain → 2.05.-28.05.2024

Istituto Italiano di Fotografia, Milano, Italy → 15.05.–15.06.2024

Fotofestiwal, Łódź, Poland → 13.06.-23.06.2024

Rencontres Arles – Pop-Up , France → 01.07.-6.07.2024

Lovely House, São Paulo, Brazil → 24.08.-26.08.2024

FELIFA, Buenos Aires, Argentina → 27.09.-29.09.2024

Hong Kong Photobook Festival, Hong Kong  → 4.10.-10.11.2024

Library of Universidad Diego Portales, Santiago, Chile → 17.01.-24.01.2025

Library of the Goethe Institute, Santiago, Chile  → 28.01.-16.02.2025

Pentas Buku @ Matawaktu Foundation, Jakarta, Indonesia  → 17.01.-17.02.2025 + Dummy Road-Tour to Bandung & Yogjakarta


Subject to change – check latest tour dates on Instagram

If you are organising a festival or run an institution or art space and you are interested in hosting the Dummy Award Shortlist please get in touch with . We are especially looking forward to add locations in Africa and North/South America to our world tour.

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