Pelinu Books

ACCOUNTS by AE Foundation - https://aefoundation.co.uk; softcover, 16.5 x 23 x 2.1 cm // available at Pelinu Books (link in bio) //

Our 'bricks' in the Land of the Rising Sun, at .site in Aoyama. Thanks and .

RAPHAEL ZUBER FOUR PROJECTS explores spaces through a series of cinematic representations, counterbalanced by beautiful yet banal objects scanned in a 1:1 scale, a depiction as close as possible to reality. The virtual and the real are enhanced by a deep black background.

Funeral Chapel Steinhausen, animation still / Honey, scanned.



https://pelinubooks.com/

https://www.archdaily.com/952966/raphael-zuber-four-projects?ad_source=search&ad_medium=search_result_all

Thanks !

Thank you all for a very lovely evening last Friday ! ♥


https://pelinubooks.com

Photos Mihai Șom

Making a good book is not much different than making a good building. Thanks to (production) and Alin Cincă .bff (design).



Launching event:
https://fb.me/e/d9sx0s7c7

RAPHAEL ZUBER FOUR PROJECTS in the pipeline, carefully crafted.
bff

“…and all our competitors went for the very same interpretation of memory, openness and transparency. Our first thought was that this memory was extremely fragile and that it needed protection. So, we thought of the building as a safe. At the same time we understood that there was the need to convey this memory on the surface of the building, so the first thing that came into our mind were polyptych’s from the Middle Ages and early Renaissance, where there is an effort to present collectivity, a set of stories, all together, on a given surface. The Polyptych of the Madonna of Misericordia, by Piero della Francesca is a good example— FIGURE 1. Obviously the aesthetic is very different now, but luckily, Gerhard Richter is always there to help, not only in terms of aesthetic, but also in terms of how to tackle this set of memories related to such difficult events. There’s an impressive series of paintings by Richter. Portraits of the members of the Baader Meinhof terrorist group from Germany at the end of the ‘70s. What interested was that they are composed of small portraits, big collective scenes, and his signature blurring, for us was almost like saying that these memories were impossible to forget and impossible to remember, as if by blurring it made these memories more distant and at the same time terribly present.” Andrea Zanderigo p. 29, Accounts.
(photo of House of Memory by Stefano Graziani)

www.pelinubooks.com

August 2019
photo by Magda Juravlea