Published by La Fábrica. Text by Sema D'Acosta, Josep Ramoneda, Joan Fontcuberta, Emmanuelle Waeckerle.
Imago Ergo Sum brings together the most important milestones in the career of conceptual artist Joan Fontcuberta (born 1955), through three approaches: the work itself; the book as an object; and the exhibition. Trained in advertising and raised in Franco’s Spain, Fontcuberta has been creating postmodern works of photography since the mid-80s, co-opting all forms of media and public communication to breed distrust in the truth of the image. Edited and created under the supervision of Fontcuberta himself, this is a book of his books, as well as a compendium of the work and the semantic and visual games of this master of Spanish photography. The volume includes a text by one of the key figures of Catalan contemporary culture, Josep Ramoneda, and by the curator of the exhibition, Sema D`Acosta, as well as an interview with the photographer.
This new artist's sketchbook, accompanying volume Q of Matador, presents an unpublished work by Joan Fontcuberta (born 1955) composed of 13 photographs showing museum and art gallery invitations (compiled by the author) which were physically transformed by voracious wild snails.
The provocative and otherworldly images in this new book from the PHotoBolsillo collection represent the earlier work of Catalan artist, writer, teacher and curator Joan Fontcuberta (born 1955), recent winner of the Hasselblad photography award.
Joan Fontcuberta tries to put the “real” into Dalí's Surrealism. In this first major monograph to be published in the United States by one of Spain's most prominent and innovative artists, Fontcuberta subjects various imaginative landscapes--among them ones by Cézanne, Turner and Weston in addition to Dalí, as well as photographs of his own body--to the manipulation of landscape-rendering software originally designed for the military and scientific communities. The limited visual vocabulary of the programs translates contours (like floppy clocks) into natural elements such as hills, rivers, clouds and the like. The result, actually, looks far from real. As Fontcuberta says, “In a typically surrealistic caper, introducing the critical-paranoid method in the technological heart of the computer, Dalí's dreams become equally impossible landscapes.” And, he might have added, gorgeous black-and-white ones.