Authors: Moi Ver (Moišė Ravivas Vorobeičikas); Mindaugas Kvietkauskas (ed.)
Title: The Ghetto Lane in Wilna / Žydų gatvė
Publisher: The Institute of Lithuanian Literature and Folklore / Lietuvių literatūros ir tautosakos institutas
Subject: Periodicals & Reprints, Photography
‘The Ghetto Lane in Wilna’ was first published in Zürich and Leipzig in 1931. Written in four languages, for a long time already its first edition is considered a real bibliophile treasure, full of its legends and uncertain presumptions. The lovers of photography, Judaica or the history of Vilnius appreciate this mini-album as a remarkable publication where Vilnius – the Jerusalem of Lithuania – is turned into the space for the avant-garde photographical experiments.
Authors: Sonia Voss; Philippe Seclier (ed.)
Title: Freedom Within Us. East German Photography 1980-1989
Publisher: Walther Koenig
Subject: Art History, Photography
Nearly thirty years after the fall of the Berlin Wall (the Anniversary will be celebrated in 2019), what do we know about East German photography? This body of work - a territory, borne of a country that, since the 1920s has played a central role in the history of photography; a period spanning four decades, from 1949 to 1989 - should be brought to light. From the various perspectives possible, the book focusses on how, in an authoritarian state relying on the physical constraints of the body (denial of the individual in favour of the people , confinement within G.D.R. borders, normativity bodies regarded as tools of production and vectors of ideology, constant Stasi surveillance), photography was a medium where the individual asserts, resists and expresses its freedom. The photographs presented here represent the decade predating the fall of the Wall and were taken by 14 different photographers.
Authors: Giordano Bonora; Ilaria Bombelli (ed.)
Publisher: Mousse Publishing
Subject: Photography, Communities
This book is inspired by the pictures that Giordano Bonora, a young streetcar operator and aspiring photographer, took of Bologna’s small transgender community in 1980 (although it would be more correct to speak, in this case, of proto-Transgenderism). Reproduced here for the first time, these raw and gilded images reflect—during a period in Italy characterized by subversive movements and political revolts that were not just rooted in questions of identity—attempts made by T* people at a construction of the self outside the binary logic of the genotypically XY male/genotypically XX female. By people like Valerie—a woman’s face, a hairless chest with no breasts, a fleur-de-lis tattooed on the shoulder, and two pairs of pantyhose—for whom 'gender' is not determined biologically but something to be embraced depending on the circumstances. A box containing a jigsaw puzzle with a picture that is constantly changing. Bundled with the photographs, a handful of texts set out to explain how the question of gender involves two cultural levels of sexual difference, the normative and the dissident, and how the decision-making power over organs outside heteropatriarchal systems of sexuality and processes of disidentification are the stakes in the new 'somato-political' struggle against hegemonic regimes of oppression conducted by enchanting, allied, opaque, and vulnerable bodies.
Author: Claudia Heinermann
Subject: Photography, Artists' Books
When the Red Army conquered East Prussia in 1945, thousands of German children were left on their own, because their parents had been killed during bombing raids or during harsh winters without any food or shelter. Older children often tried to keep their siblings together, and survival—searching for food and shelter—became their number-one priority. Many went on food-scrounging trips into neighboring Lithuania and were adopted by the rural Lithuanian farmers, who often employed them. Most of these children made these trips back and forth many times to get food for their sick mothers or siblings. They were called 'Wolfskinder' because of their wolf-like wandering through the forests and along railroad tracks, sometimes catching rides on top or in between railroad cars, jumping off before reaching Soviet control stations. All who assisted the German children to survive had to hide their efforts from the Soviet occupation authorities in Lithuania. Therefore, many German childrens names were changed, and only after the collapse of the Soviet Union in 1990 could they reveal their true identities.
Some hundred Wolfskinder were discovered in Lithuania after the separation from Russia. Today almost 80 still live there. From the beginning of the 1990s on, Wolf children have fought for their German citizenship. They have their own association. The Federal Office of Administration within the Federal Ministry of the Interior (Germany) held for a long time to the standpoint that persons who left Konigsberg territory after World War II had renounced their German citizenship.
w/ a text by Sonya Winterberg
Author: Kristina Alijošiūtė
Title: Borrowed Sympathy
Subject: Artists' Books, Photography, Zines
Borrowed Sympathy is a collective diary containing 14 personal stories from different individuals. It's a call to share details acquainted by simpky living one's day-to-day life with irs brights and darks. It can be a feeling, self-criticism, random observation or anything we would usually find not significant enough to be shared on social media.
sympathy (noun): understanding between people; common feeling; support in the form of shared feelings or opinions; agreement with or an approval of an option or aim; a favourable attituted.
Contributions by Algė Ramanauskienė, Eglė Ožalaitė, Elisa Rodríguez, Demian Jacob, Justas Ambrizas, Kelly A. Berry, Kristina Alijošiūtė, Lisa-Mary Dickinson, Mariejem Tordjo, Robert Pantel, Stasys Mačiulskas, Vaiva Žemaitytė. All the photos were submitted by contributors.
Risography (printed by Drucken 3000, Berlin), limited edition of 75.
Cover picture and the color of a rubber band may vary.
Author: Algirdas Šeškus
Title: Archives (Pohulianka). Photographs 1975-1983
Publisher: Lithuanian Art Museum
The name of Algirdas Šeškus, a photographer from Vilnis, is often mentioned by art critics and historians of photography when marking a turning point in Lithuanian photography. Šeškus focuses on the nature of the visible, on the matching of the intention and the meaning with the fact (the event being the act of photographing itself), the de-contextualisation of the content. Developing his creation without a direction, without any topics, without artistic research into objects, without conceptual projects, and thus cultivating the aesthetics of "amateurishness", the artist has balanced between artistic nihilism and the fetishism of the creaive act, between the underground and the official, between collectivism and individualism (...) His position is expressed in indistintict, blurred snapshots, devoid of any order and messy from the point of view of composition, and the bleak, minimalist form of the print, lacking in contrast, as well as by the valueless and uninteresting choice of content.
The 1875-1983 archive of photographs reveals a (neo)avant-garde(anti)aesthetics, experimental expression, and original ideas, which found their expression beyond its limits of traditional Lithuanian photography. - Margarita Matulytė
*In the past Pohulianka (now it is Jono Basanavičiaus st.) was a well-known part of Vilnius. The name originated from Polish word pohulanka, and means "to have a drink, a pub crawl, a feast".
Author: Algirdas Šeškus, Gintaras Didžiapetris (ed.)
Publisher: Lietuvos nacionalinis radijas ir televizija / Lithuanian National Radio and Television
Subject: Artists' Books
What you might take in your hands, is a selection of photographs made by Algirdas Šeškus while at work as a camera operator at the National Television. All of the images were made between 1975 and 1985. The book is published on the occassion of the 60 year anniversary since the first television broadcast in Lithuania
Authors: Andrej Vasilenko; Gediminas G. Akstinas, Gerda Paliušytė (eds.)
Title: Tai yra Vilnius / This is Vilnius
Subject: Artists' Books
Andrej Vasilenko’s new photobook is a presentation of his ongoing project, started in 2014, and his first solo publication. ‘This is Vilnius’ draws a portrait of the Lithuanian capital as a diverse city in constant flux. It captures Vilnius’ multilayered history, laconically builds the storylines of its alternative versions, and test the possibilities of exposing the city’s chimeric identity through artistic and investigative documentary. According to Gerda Paliušytė, one of the book’s editors, in these photographs Vilnius, much like a drive around town without a definite aim, is just as personal as it is universal, and its definition, as well as the romanticism, humor or melancholy evoked thusly, rests not only on long-term social and cultural changes, but also on the daily individual experience of the city and the natural change of seasons.
Author: Maria Kapajeva
Title: You Can Call Him Another Man
Publisher: Kaunas Photography Gallery
Subject: Artists' Books
This summer the first artist book of Maria Kapajeva ‘You can call him another man’ was published in collaboration with Kaunas Photography Gallery and partial support by Estonian Cultural Endowment. The project started with a box of negatives the artist found at her parents’ house a few years ago. There were about 200 processed and unprocessed films, shot by her father. Kapajeva excavated their contents, delving deeper into the lost images of the father’s life, to create her own stories by using these photographs he took before his marriage to artist's mother and her birth. She let herself enter into the world of a young man she never knew, and find connections in what possibly cannot be connected being inspired by Italo Calvino’s words from his novel ‘If on a winter’s night a traveller’.
Shortlisted for the 2018 PhotoBook Awards (First PhotoBook category)
Author: Algirdas Šeškus
Title: Grey, But not Grey
Publisher: Kaunas photography gallery, Galerie du Château d'Eau
Subject: Artists' Books
Vilnius based artist Algirdas Šeškus (b. 1945) is often cited by the texts on art criticism and the history of photography to mark the breaking stage in Lithuanian photography.
The artist made his debut in 1980 during the young photographers’ exhibit in Vilnius, held by the Union of Lithuanian Art Photographers. The very first of his showcased photos revealed a new phenomenon challenging Soviet culture.
However, his art has not as of yet received a comprehensive analytical investigation and appraisal. A recent dialogue with the artist breaking the silence of nearly thirty years was inspired by his retrospective at the National Art Gallery in Vilnius, where the works of Algirdas Šeškus – the pioneer of Lithuanian photography avant-garde were on.
Authors: Margarita Matulytė, Tatjana Luckienė-Aldag (eds.)
Title: Vitas Luckus. Biography
Publisher: Duke UP
Subject: Lithuanian Art Museum, Kaunas Photography Gallery
'History is always written by the winners. The same applies to the history of photography. Without such a powerful tool as information sharing and communication through museums, galleries, the media and various publications, we would never have heard of such artists as Avedon, Newton, Cartier-Bresson, Cindy Sherman and Nan Goldin. But the artists who lived behind an iron curtain, never had an access to these powerful tools. Thus, this book brings Vitas Luckus back to the history of world photography into which, despite his exceptional talent he was not able to get in because of the political system of the time.' - K. Candrowicz
Vitas Luckus (1943-1987) is one of the most significant Lithuanian photography artists of the second half of the 20th century. In his work Luckus bridged tradition and the avant-garde, modernism and postmodernism. Along with Antanas Sutkus, Aleksandras Macijauskas, Romualdas Rakauskas, Algimantas Kunčius, and other peers Luckus founded the base for the Lithuanian photography school. In original expression he greatly expanded the boundaries of the prevailing aesthetics in photography. Luckus worked both in artistic and applied photography: he was one of the most innovative creators of fashion and advertising photography.