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                <text>“When I visited my grandparents after I travelled back home to the Austrian Alps, we were looking at their family photo albums together; time well spent. There it was: a photograph of my father and my grandfather standing in front of the glacier, white blankets in the background and then my father’s voice in my ear ‘I can not believe how much these glaciers have changed already, I am sure they will soon disappear ‘ .&#13;
&#13;
As part of the upcoming International Day of Glaciers in March, I am launching my debut self-published photography book 'When White Blankets' and short film about vanishing glaciers; a dedication to the mountains, my family, and my home. The project is a collaboration between my grandfather, my father, and myself: a story told across three generations, reflecting on memory, loss, and our changing relationship with our natural world.&#13;
&#13;
Drawing on my grandfather’s Super 8mm films and photographs of Alpine glaciers from the early 1970s and my father’s writing alongside my own analogue images of the same locations today, the work bridges past and present while quietly documenting the realities of climate change. The project becomes a meditation on melting glaciers, mountain landscapes, and nature as a space for memory and mental respite.”  - Nina Allmoslechner.&#13;
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The book is accompanied by texts from Glaciologist Andrea Fischer as well as Writer, Senior Lecturer in Photography Dr. Jennifer Good. </text>
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                <text>“WILDPHOTOS” is a collection of almost 300 polaroid pictures that I took between 2017 and 2021. On a photography level, through the peculiarity of polaroids, I carried out a second creation, including painting, collage, film transfer and flame burning. From the content to its overall structure, these works are rebellion and subversion against the tradition. But what I want to clarify is that these pictures oppose the restraints of reality while cheering for the expression of freedom, embodying the Chinese philosophy of the Yin &amp; the Yang, or the philosophy of mutual enhancement and inhibition between the five elements. I sum that up with “the coexisting of water and fire”.&#13;
&#13;
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&#13;
As everyone knows, the imaging of Polaroid photos is inseparable from the liquid chemicals in the photographic paper, and the technology of secondary processing of "film transfer". Moreover, the photographic paper must be peeled off, and the picture immersed in the water; this way the water becomes the medium that will complete the transfer, leading its own characteristics to appear on the picture. That is how eventually water appears on the work. Thus, I wanted to take one more step, as I thought of the opposite of water, fire. Water represents Yin, fire Yang. It seems like paper-based Polaroids have never come in relation to fire, so during the development of an image, I tried to involve fire. Thereby, making water and fire, these antagonists create a new collision right on the same picture, consequently mixing into a new work of art. After testing relentlessly for a year, I put part of the resulting images in the second half of a book. It seems just like offering sacrifices in primitive religions, as the people in the Polaroids went through a baptism of water and fire, almost making me see God.&#13;
&#13;
 &#13;
&#13;
Following a timeline, the book “WILDPHOTOS” can be divided into three macro sections: the first part includes works from 2017 to 2020; the central part focuses on the collage of film transfer; the last part consists of the new trials made in 2021. The name of the book has two levels of meaning: one is the English name “WILDPHOTOS”, as this collection makes the body the main content of the book. My and the models’ common objective is to get rid of the false and retain the true, making the human body return to the natural state, making people human again, finding a freer, wild condition. The second one is the Chinese name “歪风”, as these works lack of a place to exist in the conservative, biased and narrow-minded atmosphere of the Chinese society. Being regarded as "unhealthy tendencies" of moral corruption, what we have to do is to let this unhealthy trend blowdown and let countless weeds grow again.&#13;
&#13;
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Martin Parr (1952-2025, UK) was one of the most influential documentary photographers of our time. Parr is celebrated for his witty, satirical, and often critical observations of contemporary life, leisure, and consumer culture.&#13;
&#13;
Essential reference for photography enthusiasts, collectors, and anyone interested in the evolution of the Photobook.&#13;
&#13;
The PhotoBookMuseum presents the first comprehensive photobook retrospective on Martin Parr at the Neues Museum Nuremberg from 24 October 2025 to 22 February 2026. Parr published over 200 books over a period of more than five decades. As a photographer, publisher, writer, collector and image editor, he was connected to the medium photobook like no other photographer of our era. GRAND HOTEL PARR explores and celebrates Parr’s books in all their richness and diversity. Including an illustrated catalogue of all publications of The PhotoBookMuseum Parr-Collection.</text>
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The work emerged through urgency rather than planning, an instinctive, almost automatic process of trying to keep up with life. Photographs, handwritten notes, and collected fragments accumulate throughout the book, forming a loose archive of moments that resist being neatly organised.&#13;
Traces of that time remain embedded in the work: diary entries, found materials, gestures of excess, alongside moments of intimacy and care. After a prolonged sense of invisibility, friendship appears as something grounding, a way of being seen again.&#13;
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At its core, Gone &amp; Leaving exists in an in-between state, holding the tension between leaving and becoming, without fully resolving either.</text>
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Covers printed in serigraphy at Suburbia, Barcelona.&#13;
Hand-bound with Luz Cubas.</text>
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                <text>In a way, Gulu's photography has always been forbidden. There has always been a desire amongst artists and photographers to use naked bodies as their subjects, as the perception of the body is universal. The contradictions, and resistance, in such works has always been there. The passion continues to collide until it fades, at the decisive moment of desire and fear, balance and imbalance. Thus, we need to consider the image produced by the camera and its true intention. The "Suddenly Retreating Desire" comes from the fragmented text of Blanchot, and an accidental glance at it has a strong connection with Gulu's photography. Its critical point is that it is both a creative state and a way of viewing. The card set includes a one-page text on the artist and 22 photocards of his wor</text>
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What happens after the after-hours? The rhythm of Glastonbury grows fuzzier, shaggier, totally unbound. This is the time of peak wandering, tripping through the lights and laughter with no particular destination in mind. Never mind your maps and watches, you’re in a liminal world, between here and there, night and day."&#13;
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Think you know Glastonbury? Welcome to the early morning hours world when the TV cameras have been turned off and photographer Mischa Haller chronicles the characters that emerge when night turns to day. </text>
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