{"title":"Perimeter Editions","description":null,"products":[{"product_id":"enough-artists-and-writers-on-gendered-violence-vendor","title":"Enough: Artists and writers on gendered violence Vendor","description":"\u003cp\u003e2021年3月15日、オーストラリア全土で10万人以上の人々が男女平等と性的暴行被害者のための一連の抗議デモを行った際に構想された作品集『Enough: Artists and writers on gendered violence』。これらの抗議行動は、現在および歴史的な性加害疑惑に対するオーストラリア連邦政府の対応の欠如に対する怒りをきっかけに始まりながら、同時に世界的な抗議活動の一部でもあった。本書は、これらの問題に反応してつくられた、オーストラリアの作家らによる様々な作品がキュレーションされており、その反応は主観的で、詩的で、政治的であり、彼らが取り組む問題と同様に深く個人的である。\u003c\/p\u003e\n\u003cp\u003e本作は、メルボルン大学ビジュアル・アート・センターと独立系出版社Perimeter Editionsがキュレーションする共同出版プロジェクト「CoVA x Perimeter」の一環として刊行されたもの。このプロジェクトは、「ポストナショナル美術史」「フェミニズムとインターセクショナリティ」「アート＋サイエンス」という3つの探求を主題とし、リサーチ・イン・プログレス、アカデミックな対話、アーティストの反応、エッセイにまたがり、多様な新しい視点やレンズを通して学術研究を再構築することに取り組んでいる。\u003c\/p\u003e\n\u003cp\u003eContributors:\u003cbr\u003eAnjella Roessler, Anna Ricciardi, Claire Bridge, Darcey Bella Arnold, Deborah Eddy, Freda Drakopoulos, Helen Grogan, Iona Mackenzie Cant, Isabelle Sully, Jordan Wood, Josephine Mead, Julie Vinci, June Miskell, Katie Paine, Katie Sfetkidis, Louise R Mayhew, Makeda Duong, Michelle Hamer, Natalie King, Natasha Rai, Nell, Nur Shkembi, Philipa Rothfield, Sandra Minchin-Delohery, Sophia Cai, Tina Stefanou, Wendy Catling, and Zoë Bastin.\u003cbr\u003e\u003cbr\u003eCoVA x Perimeter is a collaborative publishing initiative curated by the Centre of Visual Art at the University of Melbourne and independent publishing house Perimeter Editions. Foregrounding experimental and otherwise innovative discursive outputs from three key streams of enquiry – Postnational Art Histories, Feminism and Intersectionality, and Art + Science – the program spans research-in-progress, academic dialogues, artist responses, and essays, working to reframe scholarly research via a multiplicity of new perspectives and lenses. The Feminism and Intersectionality series explores discourse and practices that challenge dominant narratives and ideologies, proposing new frameworks through which to continue making and legitimising forms of knowledge and cultural production that are otherwise rendered invisible or deemed untenable. The series aims to address relations of difference, heterogeneity, and hierarchy, enriching our understanding of inequality and global power relations and interactions.\u003c\/p\u003e\n\u003cp\u003eThis publication was conceived on March 15, 2021, when more than one hundred thousand people marched across Australia in a series of March 4 Justice protests calling for gender equality and justice for victims of sexual assault. While these protests were motivated by anger at the lack of response by the Australian federal government to current and historic rape allegations, they were part a larger global movement that was gathering momentum. Edited by Vikki McInnes and designed by Kim Mumm Hansen, Enough: Artists and writers on gendered violence comprises creative responses to the issues highlighted in these protests. Responses are subjective, poetic, cathartic, and as fiercely political and deeply personal as the issues they address.\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003ePages: 224\u003cbr\u003eSize: 220 x 145 mm\u003cbr\u003esoftcover \u003cbr\u003ecolor\u003cbr\u003e\u003cbr\u003ePerimeter Editions x CoVA, 2023\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":49055960367401,"sku":"","price":5500.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0716\/7790\/3145\/files\/ENOUGHArtistsandwritersongenderedviolence.jpg?v=1722154819"},{"product_id":"fruiting-bodies-ying-ang","title":"Fruiting Bodies \/ Ying Ang","description":"\u003cdiv itemprop=\"description\" class=\"product-detail-description-text\"\u003e\n\u003cp\u003eメルボルンを拠点に活動する写真家、イン・アン（Ying Ang）による作品集。前作『The Quickening』（2021年）において、妊娠から産後うつに至るまでの「母親になる過程」の経験を深く掘り下げたアンが、本作ではキノコをモチーフに、女性の身体と豊かさをめぐる支配的な言説を問い直します。\u003c\/p\u003e\n\u003cp\u003e本書でアンは、キノコを単なる生物学的形態としてではなく、フェミニスト的なメタファーとして捉えます。都市公園で撮影されたキノコたちは、直立し、群生し、あるいは朽ちて胞子を拡散する姿を見せます。その柔らかくも強靭なフォルムは、官能的で謎めいた女性の身体の代役のようです。しかし、伝統的な豊穣のシンボルが女性性を「生殖（production）」のための器として枠付けてきたのに対し、アンが捉えるキノコは「朽ちと再生（decay and renewal）」のサイクルの中で繁栄し、誕生と死、変容の境界を曖昧にします。エコフェミニズムの視点に根ざした本書は、家父長制が地球と女性の身体に等しく課してきた「絶え間ない生産性と実用性」という論理に抵抗します。森の床下で見えなくとも生態系全体を支える菌糸体の比喩を用いながら、子育ての時期を終えた女性がコミュニティで果たす役割のように、「生殖的ではない」人生の段階にある力を見出します。階層的ではなくリゾーム的に広がる、知的で共同体的な新しい豊かさのあり方を提示する、静かながら力強い一冊です。\u003cbr\u003e\u003cbr\u003eYing Ang’s Fruiting Bodies reimagines the mushroom as both a biological form and a feminist metaphor – an emergent, generative force that challenges dominant narratives of fertility and the female body. Photographed while walking through inner-city parks close to the artist’s home in Melbourne, the series examines how the fetishisation of fertility has shaped cultural perceptions of women, nature and reproduction, questioning whether growth and abundance must always serve a reproductive imperative.\u003c\/p\u003e\n\u003cp\u003eAng’s photographs capture mushrooms in various states of emergence: solitary and erect; clustered in intimate pairs; decaying and dispersing spores. In these images, the fruiting body becomes an uncanny stand-in for the female form – soft yet resilient, sensuous, and categorically enigmatic. The undulating stems and textured caps – the act of pushing through and returning to the earth – evoke the eroticised, reproductive framing of the female body in art and culture, yet they also resist it. Unlike traditional fertility symbols that reinforce womanhood as a vessel for production, these mushrooms thrive in cycles of decay and renewal, blurring the boundaries between birth, death, and transformation.\u003c\/p\u003e\n\u003cp\u003eCertain schools of evolutionary theory discuss the role of postmenopausal women, by reframing aging not as biological redundancy but as a vital stage of life that sustains and enriches communities, arguing that their continued existence beyond childbearing years serves a critical function: to pass on knowledge, wisdom,and cultural memory. Similarly, Fruiting Bodies – Ang’s first book for Perimeter Editions – finds power in the non-reproductive phases of life. Just as mycelium persists unseen beneath the forest floor, feeding, connecting, and shaping ecosystems, women beyond fertility continue to shape society in profound ways.\u003c\/p\u003e\n\u003cp\u003eEcofeminist scholars have long argued that patriarchal systems exploit both the earth and the female body through the same logic – one that demands constant output, control, and utility. Fruiting Bodies responds to this by embracing the fungal model: a form of fertility that is rhizomatic rather than hierarchical; collective rather than possessive; disruptive rather than obedient. Here, Ang challenges the fetishisation of fertility and proposes a different kind of reproductive power – one that is intellectual, communal, and ever-evolving.\u003c\/p\u003e\n\u003cp\u003eBased in Melbourne, Australia, Ying Ang is a photographer and author with an extensive exhibition history and client base, having lived and worked in Singapore, Sydney and New York City. She is part of the teaching faculty at the International Center of Photography (NY), the Director of Reflexions 2.0, and a board member of the Centre for Contemporary Photography (Melbourne). Ying was also the co-founder and head curator of Le Space Gallery 2019–2024. Her two self- published artist books, Gold Coast (2014) and The Quickening (2021) garnered international critical acclaim, and were awarded and shortlisted for various high-profile prizes, including the New York Photo Festival and Encontros Da Imagem book prize, the Belfast Photo Festival 2021 book prize, the Tokyo International Foto Awards and the Prix Pictet award. Ying was a commissioned artist for PHOTO2022 International Festival of Photography and will exhibit at the 2025 Rencontres d’Arles festival in Arles, France.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n-\u003cbr\u003ePages: 160\u003cbr\u003eSize: 230 x 270 mm\u003cbr\u003eSoftcover\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eOTA bind\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eColor, black and white\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003ePublished by \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ePerimeter Editions\u003c\/span\u003e, 2025\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":51429243093289,"sku":null,"price":9900.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0716\/7790\/3145\/files\/YingAng_FruitingBodies.jpg?v=1762237221"},{"product_id":"louis-porter-search-engine","title":"Search Engine \/ Louis Porter","description":"\u003cdiv class=\"product__description rte\" itemprop=\"description\"\u003e\n\u003cdiv itemprop=\"description\" class=\"product__description rte\"\u003e\n\u003cp\u003eロンドンを拠点に活動するアーティスト、写真家のルイス・ポーター（Louis Porter）の作品集。本書は、世界最大級の独立系貸出図書館であるロンドン図書館（London Library）の蔵書から採集したイメージを、ある書架の配列に基づき再構築した一冊。\u003c\/p\u003e\n\u003cp\u003e作者がリサーチを行ったのは、ロンドン図書館の中でも1841年創設時のヴィクトリア朝的価値観を色濃く残す「科学・その他」カテゴリの書架です。独自の主題分類によるA-Z順で並べられたこの書架は、「Advertising（広告）」「Aeronautics（航空学）」「Agriculture（農業）」「Alchemy（錬金術）」など、異なるジャンルが隣り合わせながら、作者はこれらに合理主義が構築した「世界の秩序」そのものの枠組みを見出します。AIやアルゴリズムというブラックボックスが情報を支配する現代において、これらの知的分類がいかなる地層の上に組み立てられたのかを、考古学的な視点から問い直しています。\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e以下、本書よりー\u003cbr\u003e本書の元となった「Search Engine」は、世界最大級の独立系貸出図書館であるロンドン図書館（London Library）から収集された写真を掲載した一連の「図書目録カード」です。作者が遭遇した順、すなわち主題別のアルファベット順に並べられたこれらのイメージは、書棚において「Sleep（睡眠）」と「Smuggling（密輸）」が隣り合い、また「Pleasure（快楽）」「Poaching（密猟）」「Poisons（毒）」をひとつの場所に集結させます。その並びは、私たちが当たり前だと思っている知識体系に対する、考古学的な探求の形を形成しています。\u003c\/p\u003e\n\u003cp\u003e『Search Engine』の制作は、2021年11月から2022年5月にかけて、同図書館の「Science \u0026amp; Miscellaneous（科学およびその他）」部門の書架で行われました。英数字による分類法を採用する多くの図書館とは異なり、ロンドン図書館は部門と主題見出し（主に人文学に焦点を当てたもの）によって整理されています。「Science \u0026amp; Miscellaneous」セクションは、多種多様な主題が集まる受け皿となっており、その多くは1841年に図書館を創設したヴィクトリア朝時代の富裕層の関心を反映しています。例えば、このセクションに入って左側の列を進むと、「Advertising（広告）」「Aeronautics（航空学）」「Agriculture（農業）」「Alchemy（錬金術）」「Anatomy（解剖学）」「Animal Lore（動物の伝承）」「Arbitration（仲裁）」「Archery（弓術）」「Arms \u0026amp; Armour（武器と甲冑）」「Artillery（砲兵）」「Astrology（占星術）」「Astronomy（天文学）」といった項目に遭遇することになるのです。\u003cbr\u003e\u003cbr\u003e『Search Engine』は「Cats（猫）」「Famine（飢饉）」「Rubber（ゴム）」といった一見ばらばらな主題を提示しますが、それらを繋ぎ止める枠組みには、合理主義的な世界秩序から生まれた視覚的な権威が響き渡っています。私たちに対するこのような権威の支配力は、「写真的なもの」がAIやアルゴリズムといったブラックボックスによって消費され、確率論的に吐き出される現代において、消え去るどころかむしろ強まっているように見えます。それはまるで、テーブルの上で回転する硬貨が、止まる直前に速度を上げ、激しく回転し続けるかのようです。本書は、私たちが現実の未来を経験するための知覚モデルを組み立てようとしている、その「写真の精神」に対する考古学的な夢として理解することができます。\u003cbr\u003e\u003cbr\u003eSearch Engine – of which this book is a reproduction – is a series of ‘catalogue cards’ featuring photographs sourced from the London Library, one of the world’s largest independent lending libraries. These images are ordered as the London-based artist, Louis Porter, encountered them – alphabetically by subject – on shelves that make neighbours of Sleep and Smuggling and bring together Pleasure, Poaching, and Poisons. The result forms an archaeological exploration of the systems of knowledge that we often take for granted.\u003cbr\u003e\u003cbr\u003eThe construction of Search Engine took place between November 2021 and May 2022 amongst the stacks of the library’s Science \u0026amp; Miscellaneous section. Unlike most libraries, which use alphanumeric classification systems, the London Library is organised by sections and subject headings – primarily focusing on the humanities – with Science \u0026amp; Miscellaneous providing the overflow for an eclectic group of subjects, many of which echo the interests of the Victorian men of wealth who founded the library in 1841. For example, when entering the section, on the left-hand row one would encounter: Advertising, Aeronautics, Agriculture, Alchemy, Anatomy, Animal Lore, Arbitration, Archery, Arms \u0026amp; Armour, Artillery, Astrology, and Astronomy.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eWhilst Search Engine presents disparate subjects – Cats, Famine, Rubber, and so on – the frame upon which they are tethered resonates with an optical authority born of a rationalist world order. This hold on us not only lingers, as the ‘photographic’ is consumed and stochastically regurgitated by black boxes, but seems to be intensifying; much like a coin as it spins on a table, moving faster and faster, approaching the point where, suddenly, it stops. Taken as a whole, this book – Porter’s first for Perimeter Editions – could be understood as an archaeological dream of the photographic spirit from which we are assembling many of the perceptual models of our future experience of reality.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e-\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003ePages: 416\u003cbr\u003eSize: 105 x 155 mm\u003cbr\u003eSoftcover\u003cbr\u003eBlack and white\u003cbr\u003e\u003cbr\u003ePublished by Perimeter Editions, \u003cspan\u003e2025\u003c\/span\u003e\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":52622883782953,"sku":null,"price":8250.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0716\/7790\/3145\/files\/SEARCHENGINEbyLouisPorter.jpg?v=1770785076"},{"product_id":"amid-david-thomas","title":"Amid \/  David Thomas","description":"\u003cdiv itemprop=\"description\" class=\"product-detail-description-text\"\u003e\n\u003cp\u003eオーストラリアを拠点に活動するアーティスト、デヴィッド・トーマス（David Thomas）の作品集。作者は、40年にわたるキャリアのなかで、色彩理論、モノクローム絵画、インスタレーション、そしてフォト・ペインティングに、きわめて人間味あふれる詩的なジェスチャーを刻み込む視覚言語を構築してきました。本書では、絵画、テキスト、そして写真を融合させ、一冊の本という形で表現しています。\u003cbr\u003e\u003cbr\u003e彼の実践は抽象表現に確固たる軸を置きながらも、内省、時間と空間の知覚、複雑性、無常、知ること、そして感じることといった概念を掘り下げており、そこには明確に個人的な背景が存在します。美術史、スタジオ、家庭、そしてそれらの外にある生活が、静かな感性、ユーモア、そして痛切さを伴って重なり合っています。\u003cbr\u003e\u003cbr\u003e本書は、長年の友人でありクリエイティブパートナーのグラフィックデザイナー、スチュアート・ゲデス（Stuart Geddes）との協力で制作されました。本作において、絵画、写真、テキストは並置され、揺れ動き、やがてひとつの複合体へと変化していきます。作者は、自身が「単純な複雑さ（simple complexities）」と呼ぶ空間を作り出し、単色の絵画、ユーモラスな観察、タイトル、そして家族や公共の場での偶然の出来事、愛犬Jimmyの写真などが響き合い、私たちの目の前にあるジェスチャーへの解釈を変化させていきます。\u003cbr\u003e\u003cbr\u003e作者は、「この本は、芸術と生、そしてシンプルな事物の素晴らしさの複雑さを祝うものである。アイルランドの詩人シェイマス・ヒーニー（Seamus Heaney）の言葉を借りれば、これは「微細さと寛容（subtleties and tolerances）」の本である。黙考のための空間と時間を提供する……私たちが黙考するとき、結論を出す必要はなく、ただそこにあるものをその開放性のなかでありのままに受け入れることができるのだ」と記しています。\u003cbr\u003e\u003cbr\u003eIn a career spanning four decades, Naarm\/Melbourne-based artist David Thomas has built a visual language that punctuates colour theory, monochromatic painting, installation, and photo-painting with decidedly humanistic and poetic gestures. While positioned firmly in abstraction, his practice has decidedly personal underpinnings, exploring notions of contemplation, perceptions of time and space, complexity, impermanence, knowing, and feeling. Art history, the studio, the home, and life outside of them fold in on one another with a quiet sensitivity, humour, and poignancy.\u003c\/p\u003e\n\u003cp\u003eMade in close cooperation with longtime friend and creative collaborator, graphic designer Stuart Geddes, Thomas’s latest book Amid is a quietly unabashed meander through Thomas’s world. Here, painting, photography, and text juxtapose, oscillate, and in time, become a composite. He creates a space where, as he puts it, ‘simple complexities’ alter our reading of the gestures at hand – monochrome paintings, humorous observations, titles, and photographs of family, public happenstance, and his dog Jimmy, echo and coalesce.\u003c\/p\u003e\n\u003cp\u003eAs Thomas writes, ‘This publication is a celebration of the complexity of art, life, and of the wonder of simple things, [It is a] book, to paraphrase the Irish poet Seamus Heaney, of “subtleties and tolerances”. [It] offers a space\/time for musing … when we muse, we don’t have to conclude but can accept what is there in all its openness.\u003c\/p\u003e\n-\u003cbr\u003ePages: 128\u003cbr\u003eSize: 170 x 240 mm\u003cbr\u003eSoftcover\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eColor, black and white\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003ePublished by Perimeter Editions, 2026\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":53231070380329,"sku":null,"price":7480.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0716\/7790\/3145\/files\/Amid_DavidThomas.jpg?v=1780810160"},{"product_id":"hells-gates-ii-retribution-tim-3-00-coghlan","title":"Hell's Gates II: Retribution \/ Tim Coghlan","description":"\u003cdiv itemprop=\"description\" class=\"product-detail-description-text\"\u003e\n\u003cp\u003eメルボルンを拠点に活動するデザイナー・出版者のティム・コフラン（Tim Coghlan）の作品集。本書は2018年の初版以降継続して補遺版が発表されてきた「Hell’s Gates」シリーズの最新作で、教会が炎に包まれ、焼け落ちる様子が掲載されています。Google画像検索を駆使し、世界中のアマチュア写真やパブリックドメインの写真をインターネット上から収集していた過去の版とは異なり、本作ではアメリカ合衆国内での火事に焦点を当て、その様子を捉えたニュース映像や動画からキャプチャされたイメージを収録しています。イコノグラフィー、類型学、そして画像が持つ意味やその民主性に深く切り込む1冊。\u003cbr\u003e\u003cbr\u003eChurches burning. Hundreds of them. Flames ripping through cavernous interiors; tearing holes through stained glass; felling steeples, bell towers, and domes. An abundance of fire. Firefighters battle in vain. Vast arcs of water appear as if trickles against the towering walls of flame. Locals, members of the congregation, and passersby look on in shock, the inferno illuminating their faces a sickly red. News crews rush to the scene to secure the most dramatic angle. In time, the structures tumble to the ground. The rubble smoulders for days.\u003c\/p\u003e\n\u003cp\u003eTim Coghlan’s Hell’s Gates II: Retribution is the second complete volume of the Hell’s Gates series, following the 2018 original (co-published by Knowledge Editions and Perimeter Editions in an edition of 666 copies), and its supplement editions Hell’s Gates: Notre Damned, An Act of God (Knowledge Editions\/Perimeter Editions, 2019) and Hell’s Gates Redux (Knowledge Editions, 2022). Like its previous iterations, this pulp novel of images – a sequel in cinematic terms – sees the Melbourne-based designer and publisher delve into the realms of iconography, typology, and the implications and democracy of images. But where earlier editions used strategic Google Images searches to scour the internet for lo-res, amateur, and public domain photographs of burning houses of worship the world over, in Retribution, Coghlan focuses his gaze on a particular medium and place. Here, he utilises the moving image, creating a syntax of video stills and vignettes, picturing churches burning to the ground exclusively within the borders of the United States post-2018, the year the original Hell’s Gates was published.\u003c\/p\u003e\n\u003cp\u003eIt feels fitting. Like the epic Hollywood sequel – think Terminator 2: Judgement Day, Aliens, and Bad Boys II – Hell’s Gates II: Retribution doubles down on its premise. At a juncture in history where the myth of American exceptionalism has devolved and where rightwing zealotry, extreme violence, and rabid evangelicalism have filled the vacuum, Coghlan depicts the iconographic as both deeply fallible and inherently fragile. Both church and state are broken. In Hell’s Gates II: Retribution, we’re invited to take a seat in the comfy chair and watch them burn.\u003c\/p\u003e\n-\u003cbr\u003ePages: 224\u003cbr\u003eSize: 192 x 120 mm\u003cbr\u003eSoftcover\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eColor\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003ePublished by Perimeter Editions, Knowledge Editions, 2024\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":53231081881897,"sku":null,"price":5500.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0716\/7790\/3145\/files\/Hell_sGatesII-Retribution_Tim3.00Coghlan_411b4ce7-2b10-45d3-a777-df176171961b.jpg?v=1780811282"},{"product_id":"windows-patrick-pound","title":"Windows \/ Patrick Pound","description":"\u003cdiv itemprop=\"description\" class=\"product-detail-description-text\"\u003e\n\u003cp\u003e廃棄されたアマチュアのスナップ写真や、現在は機能していない画像ライブラリー、新聞社、映画アーカイブのプリントなど、eBayやその他のオンラインプラットフォームで販売されていた「建物の外側から見た窓」の写真をまとめた本。\u003c\/p\u003e\n\u003cp\u003eニュージーランド生まれ、オーストラリアを拠点に活動するパトリック・パウンド（Patrick Pound）は、およそ30年間にわたり、他人が撮影した膨大なファウンド・フォトを収集し、それらをユニークなカテゴリーへと分類し続けてきました。本書は、作者の7万点を超えるコレクションの中から、「建物の外側から見た窓」というモチーフを抽出し、構成しています。作者はインターネットを「広大で、秩序を失ったアルバム」と呼び、何年もの間、その混沌の中からつながりを見出してきました。本来の文脈から切り離されたこれらのイメージ群は、一方では写真の物質的な変化を示唆しながら、小さな記号となって私たちにそれぞれの解釈を促しています。\u003cbr\u003e\u003cbr\u003ePatrick Pound collects photographs as if on a dare. For thirty years, the New Zealand-born, Australian artist has been collecting other people’s photographs and placing them in his own peculiar categories. To photograph the world is to collect it in the form of images. Pound’s work seems to propose: ‘If only we could find all the pieces, we might solve the puzzle.’ It is a folly, of course.\u003c\/p\u003e\n\u003cp\u003eIn Windows, Pound’s first photobook with Perimeter Editions, we find a cross-section of images lifted from a single category in Pound’s vast collection of 70,000 photographs. Each of the ‘found’ photographs in this new book features a window seen from the outside. We are allowed to look through them, from the privacy of our own homes. We see ghostly figures and happy families; we see actors acting, and everyday folks acting up; we see real and imagined worlds. Every scene is one of a kind. Page after page, we look through other people’s photographs and other people’s windows. Here, Pound reminds us that the photograph is a window posing as a mirror. Surprisingly, through its single constraint, Windows offers a little history of photography – its evolving material qualities and its practical and expressive uses.\u003c\/p\u003e\n\u003cp\u003ePound finds almost all of his photographs – discarded amateur snaps and photographic prints from now-defunct picture libraries, newspaper and cinema archives – for sale on eBay and other online platforms. He calls the internet a vast, unhinged album, and for years he has spent countless hours sorting through the morass, finding or inventing connections. The recently redundant images that feature in this book extend beyond the nostalgic or sentimental; they speak to us directly about our present. Photographs that have been taken from their context, and which have lost their initial reason for ‘living’, are remarkably pliable little signs.\u003c\/p\u003e\n\u003cp\u003eIn 2023, these photographs – and this book – remind us of anything from the nuances of human interconnection to the separation of domestic dwellings, with the offering of sanctuary and entrapment nestled together. These images have lost their utility, only to find another more important one. Just when we thought they were past their use-by date, we are pressed to think again.\u003c\/p\u003e\n\u003cp\u003eWindows is a book of photographs worth looking through. It is a sampler of life as it is, was, and might be lived.\u003c\/p\u003e\n-\u003cbr\u003ePages: 112\u003cbr\u003eSize: 200 x 280 mm\u003cbr\u003eSoftcover\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eColor\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003ePublished by Perimeter Editions, 2024\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":53231083716905,"sku":null,"price":7700.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0716\/7790\/3145\/files\/Windows_PatrickPound_49831ecd-0e9f-4ea6-a66c-da4621a95fb0.jpg?v=1783427667"},{"product_id":"2-3-peter-rauch","title":"2, 3 \/ Peter Rauch","description":"\u003cdiv class=\"product-detail-description-text\" itemprop=\"description\"\u003e\n\u003cp\u003eスロベニアを拠点とするアーティスト、ピーター・ラウチ（Peter Rauch）の作品集。本書は、作者の代表的な作品「Objects」シリーズをはじめとする、作者の10年にわたる実践をまとめています。「Objects」シリーズの糸口を手繰り寄せ、カメラがインスタレーションへと滑り込み、再び戻っていくような、その後のプロジェクトを折り重ねた、カタログというよりはむしろ一種の再編集版のような構成となっています。\u003cbr\u003e\u003cbr\u003eThis book gathers a decade (and a bit) of Peter Rauch’s practice into one sequence – photographs, small exhibitions, objects that became images and images that started behaving like objects. It pulls threads from the Objects series (Some Objects and More Objects) and folds in later projects where the camera slips into installation and back again. It’s n\u003cimg\u003eot a catalogue but a re-cut of sorts.\u003c\/p\u003e\n\u003cp\u003ePeter’s work sits between thinking and making – the architecture of bones; photography in the hands; and theory in the air. He sees ‘objects’ where most people see none: mundane debris, modernist fragments, surfaces and seams; the way a small thing can tilt an entire space; the slight unease when attention locks onto what we usually ignore.\u003c\/p\u003e\n\u003cp\u003ePeter and I grew up just three years apart in Llubljana, Slovenia, where he lives and works – and, more to the point, in that crack between Yogslavia and Slovenia, between late socialism and late capitalism. The grey, dusty, yet vital capital of a socialist republic, now turned into a tourist periphery of Europe. This atmosphere seeps into the pictures – patched asphalt, provisional repairs, leftover structures, thing that feel both temporary and stubborn, suggesting something bygone but hanging on relentlessly as objects and not just in my memory.\u003c\/p\u003e\n\u003cp\u003eAcross the decade, Peter’s camera starts staging objects – a pavilion that is also a proposition; cuts into gallery walls; matter moved, stacked, stored, performed (Pavilion, Cross-section, Manipulation). Then there’s the thud and thump of Metalec, where forces and weights become the subject. This book lets those modes talk to each other without polishing the edges, without trying to sort them in any indexical manner. So the sequence here is deliberately intuitive: views turn into objects, objects into images, and back again.\u003c\/p\u003e\n\u003cp\u003eThe writing under-explains, but that’s deliberate – the logic is in the cuts, the pivots, the returns. For this presentation, for this book, the loose arrangement and the ‘atmosphere’ (for lack of a better word – surely one should exist in 2025?) simply felt right. – Žiga Testen\u003c\/p\u003e\n-\u003cbr\u003ePages: 176\u003cbr\u003eSize: 195 x 275 mm\u003cbr\u003eSoftcover\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eColor, black and white\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003ePublished by Perimeter Editions, 2025\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":53231094235433,"sku":null,"price":8250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0716\/7790\/3145\/files\/2_3_PeterRauch.jpg?v=1780812641"},{"product_id":"takashi-homma-this-is-not-my-cat","title":"This Is Not My Cat \/ Takashi Homma [Signed]","description":"\u003cdiv class=\"product-detail-description-text\" itemprop=\"description\"\u003e\n\u003cp\u003e写真家、ホンマタカシの作品集。東京のとあるアパートの一室で、一匹の猫が歩き回り、たたずみ、まどろいでいる。バルコニーの鉢植えに囲まれて穏やかに横たわり、朝の光に目を細めている。額装された写真に寄りかかり、エフェクターに囲まれてくつろぎ、布団の中に潜り込んでいる。本作は、作家とともに過ごす猫を主題に、日常を記録した一冊です。タイトルの『This Is Not My Cat』は、ある少女を実の娘のように捉えた『Tokyo and My Daughter』（Nieves, 2006）への応答とも、あるいは誰にも飼い慣らされることのない猫の独立性を描いているようにも読むことができます。サイン入。\u003cbr\u003e\u003c\/p\u003e\nA photobook by photographer Takashi Homma. In a room of a Tokyo apartment, a cat wanders, perches, and slumbers. It lies peacefully amidst potted plants on the balcony, squinting in the morning light. It leans against framed photographs, lounges surrounded by effects pedals, and snuggles beneath a duvet. This volume documents daily life, focusing on the cat that shares the artist's space. The title, This Is Not My Cat, can be read as a response to Tokyo and My Daughter (Nieves, 2006)—in which a young girl was depicted as if she were his own—or as a reflection on the inherent independence of a cat that can never be truly tamed.\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003ePages: 80\u003cbr\u003eSize: 112x 178 mm\u003cbr\u003eSoftcover\u003cbr\u003eBlack and white\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003ePublished by Perimeter Editions, \u003cmeta charset=\"utf-8\"\u003eNieves, 2026\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":53231094563113,"sku":null,"price":3960.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0716\/7790\/3145\/files\/TakashiHomma_ThisIsNotMyCat.jpg?v=1780817740"},{"product_id":"walking-in-place-1-new-orleans-3-00-mike-slack-third-edition","title":"Walking in Place 1: New Orleans \/ Mike Slack [Third Edition]","description":"\u003cdiv itemprop=\"description\" class=\"product-detail-description-text\"\u003e\n\u003cp\u003eロサンゼルスを拠点に活動する写真家であり、インディペンデント写真集レーベル〈The Ice Plant〉の共同設立者としても知られるマイク・スラック（Mike Slack）の作品集。本書は、作者が特定の都市や地域を歩きながら制作を続ける「Walking in Place」シリーズの記念すべき第1作であり、その第3版です。舞台となるのは、特異な音楽文化や歴史背景を持つアメリカ南部の都市ニューオーリンズ。作者は、この地を歩いた5日間で、建物の陰影や路上に生い茂る植物、誰かが残していった物といった、都市の余白を構成するごく些細な断片を記録しています。何気ない散策から始まった「見る」という行為が、無意識のうちに記録され、蓄積していくことで、瞑想的で遊び心に満ちた内省的なジャーナルとなっています。手の中に収まる小ぶりなペーパーバックも軽やかで気持ちのいいシリーズです。\u003c\/p\u003e\n\u003cp\u003eA monograph by Los Angeles-based photographer Mike Slack, who is also widely recognised as the co-founder of the independent photobook label, The Ice Plant. This volume marks the inaugural release—now in its third edition (3.00)—of the artist's ongoing 'Walking in Place' series, which charts his wanderings through specific cities and geographical locales. The setting is New Orleans, a city in the American South steeped in a distinct musical culture and historical complexity. Over the course of a five-day stroll, Slack recorded the most minute fragments that inhabit the city's margins: the geometric shadows on architecture, resilient flora encroaching on the streets, and the ephemeral objects left behind by collective life. What began as a casual meander transforms into a meditative, playful, and introspective journal, shaped by an almost subconscious process of seeing and accumulation. The compact, pocket-sized paperback format lends a refreshing lightness and tactile pleasure to this enduring series.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMore from the series:\u003cbr\u003e\u003ca href=\"https:\/\/aohatabooks.com\/products\/mike-slack-walking-in-place-2-berlin\"\u003eWalking in Place 2: Berlin\u003c\/a\u003e\u003cbr\u003e\u003ca href=\"https:\/\/aohatabooks.com\/products\/mike-slack-walking-in-place-3-tokyo\"\u003eWalking in Place 3: Tokyo\u003c\/a\u003e\u003c\/p\u003e\n-\u003cbr\u003ePages: 84\u003cbr\u003eSize: 110 x 185 mm\u003cbr\u003eSoftcover\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eColor\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003ePublished by Perimeter Editions, \u003cmeta charset=\"utf-8\"\u003eThe Ice Plant, 2026(2016)\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":53231094792489,"sku":null,"price":4950.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0716\/7790\/3145\/files\/WalkinginPlace1-NewOrleans3.00_MikeSlack_ThirdEdition.jpg?v=1780820196"},{"product_id":"mike-slack-walking-in-place-2-berlin","title":"Walking in Place 2: Berlin \/ Mike Slack","description":"\u003cdiv class=\"product-detail-description-text\" itemprop=\"description\"\u003e\n\u003cp\u003eロサンゼルスを拠点に活動する写真家であり、インディペンデント写真集レーベル〈The Ice Plant〉の共同設立者としても知られるマイク・スラック（Mike Slack）の作品集。\u003c\/p\u003e\n\u003cp\u003e特定の都市を歩きながら捉えるプロジェクト「Walking in Place」シリーズ。本作『Walking in Place 2: Berlin』は、前作のニューオーリンズ編から一転し、ドイツの首都ベルリンへと舞台を移しています。本書に収められるのは、都市の歴史的なランドマークや観光的な風景ではなく、コンクリートの隙間に繁茂する植物や菌類、ブルータリズム建築の即物的な肌触り、あるいは路上のありふれた落とし物といった、都市の断片的な記録です。\u003c\/p\u003e\n\u003cp\u003eヨーロッパの柔らかく屈折した光のなかで、無機質な人工物と有機的な自然物が静かに融和していく様は、まるで壮大な風景画の概念を手のひらサイズに凝縮したかのような、親密で深い詩情を湛えています。本作の本質は被写体そのものの記録ではなく、「見る」という行為がもたらす純粋な意識の探求にあります。外なる世界を静かに観察することが、いつしか内なる自己の静けさと結びついていく――。忙しない日常のなかで見失いがちな「ただ存在し、見つめること」の豊かさを静かに問いかける一冊です。\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e‘His situation, insofar as he was a machine, was complex, and laughable. But the sacred part of him, his awareness, remained an unwavering band of light… At the core of each person who reads this book is an unwavering band of light.’\u003cbr\u003e— Kurt Vonnegut, Jr., Breakfast of Champions\u003c\/p\u003e\n\u003cp\u003eIn Walking in Place 2: Berlin, Los Angeles-based photographer Mike Slack offers a meditative, if not psychic, expansion on the threads underpinning the first title in his series of standalone books, Walking in Place 1: New Orleans. While his meanderings through the Big Easy saw him piece together a playful dialogue of architectural gestures, cats, flora and street ephemera – all rendered in the almost impossibly vibrant hues unique to the famed city – his strolls through the German capital shimmer with a very different palette, syntax and philosophic hue. Here, deep foliage, fungus and soft, refracted European light assuage concrete, steel and geometrics – as if the grand themes of the picturesque and the sublime were shrunken to microcosmic proportions. But this sequence of images defies its individual referents; this is not a book about bike seats, brutalist buildings, leaves and ladybugs. Rather, Walking in Place 2, like its predecessor, is about the simple act of seeing, and its relationship to both our outer and inner selves. Amidst the golden light, greenery and oblique built environment of Berlin, Slack – led by little but the specificity of awareness – renders a world that is uniquely his own. From a sea of background noise, a quality of light and a sensibility of mind awaken us to moments bordering on reverie.\u003cbr\u003e\u003cbr\u003eMore from the series:\u003cbr\u003e\u003ca href=\"https:\/\/aohatabooks.com\/products\/walking-in-place-1-new-orleans-3-00-mike-slack-third-edition\"\u003eWalking in Place 1: New Orleans\u003c\/a\u003e\u003cbr\u003e\u003ca href=\"https:\/\/aohatabooks.com\/products\/mike-slack-walking-in-place-3-tokyo\"\u003eWalking in Place 3: Tokyo\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n-\u003cbr\u003ePages: 84\u003cbr\u003eSize: 110 x 185 mm\u003cbr\u003eSoftcover\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eColor\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003ePublished by Perimeter Editions,  The Ice Plant, 2026(2019)\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":53231095087401,"sku":null,"price":4950.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0716\/7790\/3145\/files\/WalkinginPlace2-Berlin_MikeSlack.jpg?v=1780885183"},{"product_id":"mike-slack-walking-in-place-3-tokyo","title":"Walking in Place 3: Tokyo \/ Mike Slack","description":"\u003cdiv class=\"product-detail-description-text\" itemprop=\"description\"\u003e\n\u003cp\u003eアメリカを拠点に活動する写真家であり、インディペンデント写真集レーベル〈The Ice Plant〉の共同設立者としても知られるマイク・スラック（Mike Slack）。特定の都市を歩きながら、その土地のコードと自身の内省的な意識を交差させる「Walking in Place」シリーズの第3作は、東京を舞台にした一冊です。本作で捉えられているのは、思いがけない曲線や階段、タイル、猫、影など、東京の奇妙でユニークな情緒から、標識や生活様式、仮説的な光景まで。東京という都市の地形を客観的に捉えながら、同時にきわめて主観的で断片的な東京を描き出します。本シリーズの最初の2冊と同様に、小ぶりで柔らかなペーパーバックも気持ちのいいシリーズです。\u003c\/p\u003e\n\u003cp\u003eA monograph by US-based photographer Mike Slack, who is also widely recognised as the co-founder of the independent photobook label, The Ice Plant. This third volume in his 'Walking in Place' series—where the artist intersects the codes of a specific city with his own introspective awareness—focuses on Tokyo. Captured within are the strange and utterly unique atmospheres of the city, from unexpected curves, stairwells, tile-work, cats, and shadow play, to signs, lifestyles, and hypothetical vistas. While objectively surveying Tokyo’s urban topography, Slack simultaneously renders a highly subjective and fragmented portrait of the city. As with the first two books in the series, this volume is presented as a compact, soft paperback, contributing to the tactile and refreshing nature of the series.\u003c\/p\u003e\n\u003cp\u003eMore from the series:\u003cbr\u003e\u003ca href=\"https:\/\/aohatabooks.com\/products\/mike-slack-walking-in-place-2-berlin\"\u003eWalking in Place 2: Berlin\u003c\/a\u003e\u003cbr\u003e\u003ca href=\"https:\/\/aohatabooks.com\/products\/walking-in-place-1-new-orleans-3-00-mike-slack-third-edition\"\u003eWalking in Place 1: New Orleans\u003c\/a\u003e\u003c\/p\u003e\n\u003cbr\u003e-\u003cbr\u003ePages: 84\u003cbr\u003eSize: 110 x 185 mm\u003cbr\u003eSoftcover\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eColor\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003ePublished by Perimeter Editions, The Ice Plant, 2026\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":53231095251241,"sku":null,"price":4950.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0716\/7790\/3145\/files\/WalkinginPlace3-Tokyo.jpg?v=1780891286"},{"product_id":"simone-gooch-flowers-in-the-front-seat","title":"Flowers in the Front Seat \/ Simone Gooch","description":"\u003cdiv itemprop=\"description\" class=\"product-detail-description-text\"\u003e\n\u003cp\u003eシドニーでキャリアをスタートさせ、現在はロンドンを拠点に「Fjura」の名で活動するフローリスト、シモーネ・グーチ（Simone Gooch）の作品集。エルメスやシャネルといったメゾンとの協働をはじめ、その彫刻的で洗練されたフラワーアレンジメントで知られる作者ですが、本書『Flowers in the Front Seat』が焦点を当てるのは、完成された華やかな舞台の裏側——配達というフローリストの日常的な労働風景です。\u003c\/p\u003e\n\u003cp\u003eメルボルンの出版社「Perimeter Editions」から刊行された本作は、ニュージーランドの写真家デレク・ヘンダーソン（Derek Henderson）との共作『Rosa』（2021年）に続く2冊目の作品集です。本作では、配送用バンの無機質な車内の助手席に座らされた花々が記録されています。大切にシートベルトを締められたり、カップホルダーに収まったりするモクレンやクチナシ、アジサイ。iPhoneによる何気ないスナップ写真の連続は、日常ゆえの不完全さと、洗練された花の美しさとの間に心地よいコントラストを生み出しています。作者の職業な日々の実践におけるカジュアルなアーカイブであると同時に、フローリストにとって忘れられがちでありながら不可欠な「労働」そのものを讃えた一冊です。\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eKnown professionally as Fjura – the Maltese word for ‘flower’ – Simone Gooch has always maintained a delightful tension between imperfection and splendour. Beginning her floristry practice in 2005 in Sydney, before establishing herself in London for several years, Gooch’s work ranges from hand-delivered gift flowers to large installations for major clients in fashion and design. Her second publication with Perimeter Editions – following the much loved collaboration with photographer Derek Henderson, Rosa, published in 2021 – Flowers in the Front Seat restages the beauty of Gooch’s arrangements against a backdrop that is firmly in the everyday.\u003c\/p\u003e\n\u003cp\u003eIntricate and spontaneous in equal measure, these flowers appear lovingly buckled in, precariously propped up in cup holders, or occasionally, held steady by anonymous hands. Magnolias, gardenias, hydrangeas, and violas – all snapped colloquially on an iPhone – fill the grey, utilitarian interior of the delivery van, an occasional passerby punctuating the otherwise private images. Spanning more than ten years of work, this book elicits the informality of the camera roll, as different takes on the same image appear alongside each other; a new angle tried, better lighting captured. The image itself becomes an arrangement, tweaked and revisited, but never entirely perfected.\u003c\/p\u003e\n\u003cp\u003eFlowers in the Front Seat acts as both a casual archive of Simone Gooch’s professional practice and an ode to the forgotten – but required – labour of florists. They are the couriers of precious cargo.\u003c\/p\u003e\n\u003cbr\u003e-\u003cbr\u003ePages: \u003cmeta charset=\"utf-8\"\u003e144\u003cbr\u003eSize: 150 x 205 mm\u003cbr\u003eSoftcover\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eColor\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003ePublished by Perimeter Editions, 2026\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":53231096725801,"sku":null,"price":7700.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0716\/7790\/3145\/files\/SimoneGooch_FlowersintheFrontSeat.jpg?v=1780894113"},{"product_id":"liss-fenwick-the-colony","title":"The Colony \/ Liss Fenwick","description":"\u003cdiv class=\"product-detail-description-text\" itemprop=\"description\"\u003e\n\u003cp\u003eオーストラリア出身のアーティスト、リス・フェンウィック（Liss Fenwick）の作品集。本作は、作者が生まれ育ったノーザンテリトリーを舞台に制作されたもの。フェンウィックは、実家や教室に残されていた開拓時代の神話や先住民文化の抹消が記された蔵書を集め、それらをシロアリに与え、その残骸を撮影しました。シロアリによって侵食された書物の残骸は、トンネルや空洞からなる彫刻的な造形物へと変貌し、アーティストはそれらを写真に収めています。このプロセスにおいて、シロアリは単なる破壊者ではなく、西洋中心の支配的な物語を解体し、知識を土へと還す共著者として位置付けられています。ページの間には巨大なシロアリの塚の写真が差し込まれており、自然界の有機的なプロセスが人間の構造的ヒエラルキーを静かに凌駕していく様を示唆しています。これは、現代のオーストラリアに深く絡みついたままの入植者の精神構造を、能動的に脱学習（unlearning）する試みです。写真というメディアを用いて歴史と生態系の交差を提示したコンセプチュアルな一冊。\u003cbr\u003e\u003cbr\u003eLiss Fenwick’s The Colony is a book about books – and what happens when their authority is quietly and actively undone. Set in the distant north of the Australian continent, The Colony – Fenwick’s first photobook with Perimeter Editions – reflects on the book as a dominant form of human knowledge, and its role in a long, often destructive relationship with other forms of intelligence and history.\u003c\/p\u003e\n\u003cp\u003eMade on Larrakia and Wulna Country, the project sees Fenwick return to the region depicted in their acclaimed debut book Humpty Doom (Bad News Books, 2023), which was photographed around the artist’s hometown of Humpty Doo, Northern Territory, where they grew up on unceded land in a settler family. But where Humpty Doom swayed closer to the documentary genre, here Fenwick shifts positions, enlisting an unlikely team of co-authors – a termite colony living beneath their childhood home. Gathering books inherited from schoolrooms and family shelves – texts steeped in frontier myths, one-sided histories, and the erasure of First Nations cultures – Fenwick fed the selection of colonial volumes to the termites and then photographed the remains: a dense, sculptural language of tunnels, voids, and clay scaffolds.\u003c\/p\u003e\n\u003cp\u003eUsing photography as both witness and collaborator, Fenwick allows collapse and digestion to reshape the dominant narrative, reversing these books’ presumed authority. The termites’ act of destruction becomes a generative act, dismantling certainty and returning knowledge to the soil, altered and unfinished. Woven amongst the pages of The Colony are photographs of colossal termite mounds, which appear as ancient, ghostly, monoliths piercing the landscape – their immense forms giving little indication of the assiduous, living commune within.\u003c\/p\u003e\n\u003cp\u003eFenwick’s photographs give precedence to native ecology and organic process over the hierarchy of structure and control; an active unlearning of the settler mindset that remains deeply entangled in contemporary Australia. In this book, the colonial fantasy is eaten away, hollowed out from within.\u003c\/p\u003e\n-\u003cbr\u003ePages: 128\u003cbr\u003eSize: 170 x 240 mm\u003cbr\u003eSoftcover\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eColor, black and white\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003ePublished by Perimeter Editions, 2026\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":53231097119017,"sku":null,"price":8800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0716\/7790\/3145\/files\/LissFenwick_TheColony.jpg?v=1780999162"},{"product_id":"you-have-a-new-memory-kate-rhodes-rory-hyde-eds","title":"You Have a New Memory \/ Kate Rhodes, Rory Hyde","description":"\u003cp\u003eオーストラリア最古の公立図書館であるビクトリア州立図書館（State Library Victoria）にて、2026年8月から2027年6月まで開催されている同名展覧会に伴い刊行された作品集。本書は、同館が所蔵する450万点超の膨大なコレクションから、未分類の断片的な記録や画像を引き出し、現代における記憶と記録のあり方を根本から問い直します。\u003c\/p\u003e\n\u003cp\u003eタイトル『You Have a New Memory』は、スマートフォンの写真アプリが自動的に表示する通知に由来しています。アルゴリズムが過去の断片を勝手に選別し、あるいはAIが虚像すら交えて情報を立ち上げる現代において、私たちは「何が事実で、何が虚構か」という不確実な情報環境に直面しています。編集を手がけたキュレーターのケイト・ローズ（Kate Rhodes）とローリー・ハイド（Rory Hyde）は、この過剰で受動的なデジタルキュレーションに対し、批評的な視点を投げかけます。\u003c\/p\u003e\n\u003cp\u003e本書では、中世の写本からストリートフォト、インフラ整備の記録、ファッションショーまで、ジャンルも時代も異なるイメージがインデックスなしに並べられ、また書架や保管箱、サーバーラックといった図書館の風景とともに、現場で資料を整理し保護する司書や専門家たちの作業風景も記録されています。玉石混淆のイメージが氾濫する現代において、歴史や文化が正しく継承される背景には、検証された情報を日々とどめ、ケアし続ける人々と機関の存在があります。本書は、受動的に提示される「新しい思い出」から一度立ち止まり、私たちの記憶がどのように構築され、他者の記憶と交錯していくのか、その本来の構造を静かに指し示す一冊です。\u003cbr\u003e\u003cbr\u003ePublished in conjunction with the eponymous exhibition held at State Library Victoria—Australia's oldest public library—from August 2026 to June 2027, this volume extracts uncatalogued, fragmentary records and images from the institution's vast collection of over 4.5 million items, fundamentally questioning the nature of memory and the archive in the contemporary era.  The title, You Have a New Memory, derives from the automated notifications generated by smartphone photo apps. In an age where algorithms arbitrarily curate fragments of the past, and AI generates information that even includes fabrications, we are confronted with an uncertain information environment of 'what is fact and what is fiction'. Editors and curators Kate Rhodes and Rory Hyde cast a critical eye over this excessive and passive digital curation.The book juxtaposes disparate images across different genres and eras—from medieval manuscripts and street photography to civil infrastructure records and fashion shows—without traditional indexing. Furthermore, it documents the physical environment of the library, such as shelves, archival boxes, and server racks, alongside the daily working scenes of the librarians and specialists who organise and protect these materials on-site. In an era inundated with a chaotic mixture of images, the accurate transmission of history and culture is underpinned by the people and institutions that daily preserve and care for verified information. Stepping back from passively presented 'new memories', this publication quietly points towards the true structure of how our memories are constructed and how they intersect with those of others.  \u003cbr\u003e\u003cbr\u003eCo-published by Perimeter Editions and State Library Victoria, and designed by Stuart Geddes and Žiga Testen, You Have a New Memory is an invitation to wander through the architecture of the collective mind, thinking with memories from the past and pointing them towards the future.\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003ePages: 304\u003cbr\u003eSize: \u003cmeta charset=\"utf-8\"\u003e220 x 170 mm\u003cbr\u003eSoftcover\u003cbr\u003eColor, black and white\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003ePublished by Perimeter Editions, State Library Victoria, 2026\u003c\/p\u003e","brand":"Perimeter Editions","offers":[{"title":"Default Title","offer_id":53464307532073,"sku":null,"price":8250.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0716\/7790\/3145\/files\/youhaveanewmemory.jpg?v=1788427561"}],"url":"https:\/\/aohatabooks.com\/en\/collections\/perimeter-editions.oembed","provider":"本屋青旗 Ao-Hata Bookstore","version":"1.0","type":"link"}