"Avec "Une Histoire Parallèle" (2022), Brodbeck & de Barbuat mettent l'intelligence artificielle à l'épreuve de la mémoire collective. En partant de descriptions minutieuses de plus de deux cents images emblématiques - de Man Ray à Dorothea Lange, de Guy Bourdin à Jeff Wall - ils confrontent MidJourney aux mythologies de l'histoire de la photographie. Les images générées ressemblent aux originaux mais laissent affleurer des anomalies : mains difformes, motifs récurrents, détails déplacés. Elles révèlent les enjeux brûlants de l'IA : appropriation, dilution d'un patrimoine visuel, standardisation esthétique. Inscrit dans la longue histoire des manipulations d'images, du pré-numérique aux générateurs actuels, le projet montre comment chaque innovation reconfigure notre perception du réel. Entre enquête, critique et poésie visuelle, "Une Histoire Parallèle" interroge la fabrication d'une mémoire collective factice et ce qui, irréductiblement, fait l'âme d'une photographie."

"The sleepy North Macedonian town of Veles put itself on the world map as the epicenter of fake news production during the 2016 US election. Tech-savvy local youth created hundreds of clickbait websites posing as American news portals, making quick cash as the sites were spread to millions of people via social media algorithms. International media crews flocked to Veles to report on this unlikely hub of disinformation, and I followed suit. During my travels I discovered that Veles is also the name of a shapeshifting, Slavic bear- god known for spreading chaos, mischief and lies. The myth of Veles is also told in a purported ancient manuscript, which after having fooled people for decades, is now considered a forgery. Using these stories as a backdrop, I created The Book of Veles; a 2021 photobook which was widely praised by the documentary photography community, until a mysterious social media profile named Chloe Miskin eventually revealed it as something very different from what it appeared to be. The Book of Veles is both a reckoning with my own history as a classical photojournalist as well as an experiment to see where technology might lead photography in the immediate future. The work is a quagmire of fake photo reportages, AI generated material, avatars and Facebook trolls, with which I aimed to probe our ability to spot synthetic images."

"Since the 1980s, Parr has been an unparalleled chronicler of the absurdities of our global consumer and leisure culture, translating them into a distinctive visual idiom. With an unerring eye and a keen sense of humour, his photobooks capture a bizarre world between ostentatious display and kitsch, four-star luxury and “all inclusive”, spanning all social classes and national peculiarities. The exhibition is staged in a British grand hotel where visitors can peruse Parr’s fascinating photobooks. From the reception, a red carpet leads to the “Reading Lounge” with classics including The Last Resort (1986), Small World (1995) and Common Sense (1999). Parr’s book projects are presented on walls of fake wood panelling, but also in vitrines. In all their diversity and rich detail, these works helped to shape the history of photography. Themed sections like the “Billard Room”, the “Dining Room”, a “Fashion-Boutique” and a terrace of astroturf invite visitors to relax and browse. The visitors follow a parcours where they can stroll and chill, marvel, rummage and leaf through books. In keeping with Parr's motto: ‘The books have won.’ "

"Graciela Iturbide (b. 1942, Mexico City) is one of Latin America's most acclaimed photographers and the only Latin American woman to have received the prestigious Hasselblad Award.< p>""This successful volume is reprinted to coincide with three significant exhibitions of Iturbide's work in the United States including ICP (International Center of Photography) and SF MoMA (San Francisco Museum of Modern Art) With over 180 photographs, this book presents one of the most comprehensive explorations of Iturbide's career.This monographic volume, published jointly by RM and Fundación MAPFRE, brings together a stunning selection of Iturbide's work, curated by Marta Dahó. Offering a rich visual experience, it features many of her most iconic photographs alongside some lesser-known images, spanning her earliest works to her most recent creations, with a particular focus on her most celebrated image"

"This book is a critical forensic visual research project investigating the IDF dating-app culture reflected in profiles that potentially are connected to violations of international humanitarian law. The individuals depicted have been intentionally censored by the author for legal considerations and personal safety, in accordance with expert advice. The publisher respects this decision and believes it does not affect the context and integrity of the book Short-term, but long-term, is an archive of over 300 images compiled, redacted, and appropriated via dating apps by Federico Vespignani. Heterosexual male combatants of the Israel Defence Force (IDF) took the photographs and shared them while they were operating in the Gaza Strip in 2024. During the ongoing pulverization of Gaza conducted by the IDF in the wake of the attack of October 7, 2023, there has been a widespread online presence of videos and images recorded by members of the IDF documenting themselves, often committing various degrees of crimes. Social media has changed the way the Western audience perceives wars. There has been a movement from professional media operators towards more intimate raw footage captured and published by individual soldiers on the ground. This trend has enabled social media platforms to be a new venue for the image of war. Therefore, these visual narratives serve as legitimization tools for military practices. In this context, combatants have always prioritized war reality over civilians. In popular belief, the military term "ground truths, " which refers to soldiers' experiences near violence, is the most truthful account of the realities of war. The diffuse trend by IDF male soldiers to publish war imagery on dating apps reflects, above all, a kind of cultural militarism within Israeli society and a process of erotic militarization. The images, often in the form of environmental portraits, have a sense of truth and immediacy. The male soldiers appear morally good and masculine. Sometimes, they frame their weaponry, and we see the result of their use in Gaza as a scorched-earth landscape. When they pose inside civilian homes, we see traces of what these houses used to be among the debris. This narrative illustrates how they wield violence to protect their homeland, with the symbolic importance of their bodies serving to legitimize this violence to female viewers. This dynamic appeals to a shared sense of identity and emotion, deepening the connection between the characters and their audience. Within this supremacist worldview, the glorification of some bodies depends on the destruction of others."

With an essay by Adam Broomberg & Ido Nahari

"Kill For Points examines the Russia–Ukraine war through the rise of FPV drone warfare, where small, improvised aerial weapons deliver point-blank violence and carry the camera into the final moments before impact. It follows how these strikes are recorded, edited, and rapidly shared online, branded with unit identities and circulated like highlight reels, collapsing the boundary between combat, documentation, and performance. It then traces how this visibility hardens into structure. In the drone war, kills are scored, tallied, and exchanged for equipment, turning violence into measurable output and sustained incentive. What began as improvisation has become a gamified system. ''Kill for points'' is no longer a metaphor, but the language the drone war now speaks. Disclaimer: This book contains sensitive and potentially disturbing material depicting real acts of violence. It is included not for spectacle, but to examine how warfare is mediated, aestheticized, and normalized through contemporary circulation. By reproducing what combatants, states, and online audiences openly share and glorify, the book documents this transformation rather than endorsing it."

"Cuatro Letras is a rare look inside the CJNG (Cártel de Jalisco Nueva Generación), built from two perspectives that rarely meet. On the ground, Juan José Estrada Serafín, the only fixer to secure media access to the group, risked his life in a series of attempts, failed handoffs, and tense encounters to bring back images and artifacts from cartel territory. In parallel, Pouria Khojastehpay gathered and organized the cartel’s self-produced social media presence, creating a living archive of its visual identity. Together, their work forms a contemporary narrative of how one of the world’s most powerful cartels performs power through uniforms, symbols, vehicles, and spectacle. Includes a field story essay by Keegan Hamilton. One of the journalists who received media access through Serafín in the past."

"From June 13 to September 22, 2025, the Centre Pompidou is giving carte blanche to the artist Wolfgang Tillmans, who has come up with an original project to round off the programming of the Paris building. Occupying the entire second floor of the Public Information Library (Bpi), Tillmans’s experimental installation transforms the space, establishing a dialogue with the former library and questioning it both as architecture and as a locus for the transmission of knowledge. The exhibition explores over thirty-five years of artistic practice through various photographic genres and constitutes another, very personal representation of his universe, whose order and logic are activated in response to the library space. The catalog traces this unique project. On the spreads of the section featuring the plates, images of the works alternate with numerous installation shots that show how the artist has made this space his own. A varied selection of essays by a younger generation of authors sheds new light on the various aspects of Tillmans’s work."

"Die Agentur OSTKREUZ gründete sich inmitten der Umbruchszeit 1990 im Berliner Osten. Für Träum Weiter — Berlin, die 90er haben neun OSTKREUZ-Fotograf·innen in Zusammenarbeit mit den Kurator·innen Annette Hauschild (OSTKREUZ) und Boaz Levin (C/O Berlin Foundation) einen heutigen Blick in ihre umfangreichen Archive geworfen. Als Dokumentarist·innen verfolgten sie zur Hochphase des Bildjournalismus genau, wo sich die Veränderungen in der Stadt vollzogen. Sie beobachteten den gesellschaftlichen Wandel und die Herausforderungen des Zusammenwachsens der ehemaligen Mauerstadt. Die Essays spiegeln das auf verschiedenen Ebenen wider: Zum einen wird die Veränderung des Stadtraums (Janos Frecot) beleuchtet, zum anderen werden die kreativen und kulturellen Potenziale Berlins beschrieben (Jens Balzer), während Anne Rabe als junge ostdeutsche Stimme in einem sehr persönlichen Essay ihren Blick auf das heutige Berlin wiedergibt."

"The Lure of the Image explores the seductive powers of contemporary digital forms of photography: How do images bait or beguile us, capture and control us as they circulate online? The artistic positions and essays assembled in this book engage with visual phenomena that serve as vehicles for online communication, criticism, and humor, highlighting the crucial role images play in shaping our digital social, cultural, and political landscapes. From Tinder profiles to beauty filters, from ASMR to memes and emoji, and from “cute” to “cursed” images, the book navigates the complex mechanisms of the lure exerted by networked visual culture. It sheds light on how images and their underlying structures—from algorithms to datasets—direct our attention, provoke emotions, and influence opinion, significantly impacting how we perceive, interpret, and move through both our online and our offline worlds. james taylor-foster is a writer and curator of design and digital culture with a training in architecture."