Books published by Kehrer Verlag

The small coastal village of Torekov, Sweden, is known for both its local pier, ''Morgonbryggan'', and for the associated daily ritual of a morning dip in the sea. Locals and summer guests are avid disciples of this sacred ritual which can be both solitary and social. There are unwritten codes of behavior related with this activity, including the most visually obvious, the selection of one''s bathrobe. Through the slow and repetitive process of working with a large format film camera, the photographer Peggy Anderson has gained insight into this community, her native country and her own place within it.

Spa¿testens seit dem großen Erfolg seines Buches "At the Edge of the World" (Kehrer 2015) ist der Franzose Alain Laboile Kennern der Schwarz-Weiß-Fotografie weltweit ein Begriff. In seinem neuen Bildband Summer of the Fawn (Sommer des Rehkitzes) zeigt er erneut das freie, beinahe ma¿rchenhaft wirkende Leben seiner Familie in einem kleinen Dorf im Su¿dwesten Frankreichs. Fernab von gesellschaftlichen Zwa¿ngen, Schulstress, Facebook & Co. scheint hier immer Sommer zu sein, und seine sechs Kinder tummeln sich barfuß in einem verwunschenen Garten, in dem Katzen, Ringelnattern und sogar ein Rehkitz anzutreffen sind. Doch selbst im Ma¿rchen gibt es Regeln und so sehen wir auch, wie die Kinder zuhause unterrichtet werden: sinn- und liebevoll und oft im Freien. Summer of the Fawn ist eine wunderscho¿ne, lebensfrohe und gleichzeitig melancholische Ode an die Kindheit und das Leben.

Das Buch zeigt Mansudae Master Class, ein Dokumentarprojekt von CHE Onejoon, in dessen Rahmen er die Statuen, Denkmäler und Bauwerke erfasste, die das nordkoreanische Mansudae Art Studio seit den 1970er-Jahren in 18 afrikanischen Ländern errichtet hatte. Etwa die Hälfte dieser Länder bekam diese Bauten von Kim Il-sung geschenkt.Der Fotokünstler und Filmemacher CHE One-joon (*1979 in Seoul) war anfangs als Beweismittel-Fotograf tätig. Seine Werke wurden weltweit ausgestellt, u.a. auf der Taipei Biennale, im Palais de Tokyo, im Musée du quai Branly, auf der SeMA Biennale Mediacity Seoul, auf der Architekturbiennale Venedig, im New Museum Triennial, im Louisiana Museum of Modern Art, auf der Busan Biennale.

In early 2017, photographer Janet Holmes met a hen suffering from reproductive illness at the Wild Bird Fund in New York City, where she volunteered as a caregiver. During her search to find a permanent home for the hen after she was discharged from the Fund''s clinic, Janet Holmes discovered a network of people (primarily women) who turn their homes into sanctuaries for rescued chickens. She decided to make portraits of the chickens and their rescuers to honour both the birds who had suffered so much before their rescue and the people who invested so much love, time, and money caring for them.

Susan Hefuna embraces a wide range of media, including drawing, sculpture, and installation as well as video, photography, and performance. Her textile works are exploring the visual and cultural signifiers that have come to embody her unique inter-cultural identity. The striking graffiti-like textile series Be One triggers varying emotions and feelings and reminds us that all is connected on this planet. This publication presents new textile works, drawings and films such as Angst Eats Soul, Munich, 2016, and Times Square, 2019.

The publication takes a closer look at amateur photography and its potential for innovation. Ever since the invention of photography, the amateur has played a key role in its development, with artists at the Bauhaus in particular recognizing the creative freedom afforded by the casual use of the camera. The catalogue compares the pictorial worlds of historical and contemporary amateur photographers, shedding light on their motivations and goals, and examining whether and how the digital amateur photography practiced today on a massive scale differs from its historical precursors.

Petrus reflects on a certain rhetoric of masculinity in Western culture. It is about the human drive to define ourselves and the world through a definite form. Form is never stable though. It is the ever-changing result of a never-ending tension between forces pushing from within and pressures coming from without. Through a cynical, tender, and arbitrary analysis of what probably cannot be sliced and diced Francesca Catastini plays with archetypes and images considering the way they sculpt ourselves and shape our views.

I like you, I like you a lot is a personal work about family and the experience of death and mourning. It responds to the tragic loss of the photographer''s 13-year-old brother Maks, who drowned while on a scout''s trip in 2008 in Poland. The pictures reveal the sequence of events in the aftermath of the tragedy. Alicja Dobrucka''s camera became a protecting shield from the brutal reality of a helpless situation. Maks and his friends were also first generation to grow up under an increasingly Westernised culture, and the camera witnesses how they were enthralled by Western - and especially American -archetypes.