Ønsker du å gjøre handelen av boken «Life in the New» på en enklere måte, kan den betales med Vipps.
Vipps til 45274422 og merk betalingen «Fotobok».
Pris for bok:
- 450 kroner uten frakt (hentes i Oslo)
- 520 kroner med frakt
Pris for bok og print:
- 950 kroner uten frakt (hentes i Oslo)
- 1020 kroner uten frakt
Boken sendes fortløpende med posten.
Dersom du kjøper signert print i tillegg til boken, får du ett av fem ulike motiver. Jeg velger ut et tilfeldig motiv. Størrelsen på bildene er 20×25 centimeter.
Hvert motiv har et opplag på 20 bilder. Det betyr at bildet aldri kommer til å reproduseres eller trykkes på nytt når opplaget er utsolgt.
Kjøp via nettbutikk:
Ønsker du å betale via vanlig nettbutikk, kan bestillingen gjøres med PayPal (du trenger ikke PayPal-konto). Bestill her:
Om boken (engelsk):
The book consists of images in the intersection of art and documentary photography and is split into two parts: In the booklet we meet 12 people working or living in the area, sharing their stories of life in Novi Beograd through captivating interviews and portraits. In the main part of the book, a collection of street, art, and architecture photography is collected. Whether you’re intrigued by urbanism and social anthropology in the shape of insightful (and often fun interviews), captivated by architecture, or simply enjoy immersing yourself in good photography, this project has something for every taste.
👉🏻 Hardcover
👉🏻 240 pages
👉🏻 24 × 30 cm
👉🏻 160 photos
👉🏻 Language: English
👉🏻 Swiss binding
Text and photos by Marius Svaleng Andresen
Design by Petter Torgersen Myhr
Excerpt from the preface by Vladimir Kulić, Professor of architectural history Iowa State University:
Marius Svaleng Andresen shifts our attention to see the city not as an abstract collection of monumental concrete forms, but precisely as a home of real, living people. His camera sympathetically records the signs of life as they sprout irrepressibly in every nook and cranny of the city’s residential neighborhoods: from windows and balconies to sidewalks and flowerbeds, a few of which were probably never intentionally planted. Impressive architectural forms and complex geometries still abound in these photographs, but they recede into the background to reveal everyday life in all its mundane glory: its little dramas, its melancholy, its discomforts, quirkiness, and humor. Every now and then, however, Andresen discovers moments of pure beauty, the fragile, unpremeditated poetry of the everyday that thrives amidst the formality of the architects’ grand visions.