‘Deep Sea’ is a collection of eerie underwater images from the Lampaul Canyon in the Bay of Biscay, France. Made at depths of up to nearly 2,000 metres, these seascapes of otherworldly geologies seem rather barren at first sight, until a lone creature appears, caught by the camera’s flash. The bay’s canyons were formed as the continents drifted apart 120 million years ago, opening up the Atlantic Ocean. These bathyal visions by Nicolas Floc’h are filled with rocky outcrops, cliffs, falls, and folds, where marine particulate “snow” merges with living things, the unseen denizens of the ocean depths. With a text by Michel Poivert.

La photographe franco-dominicaine Karla Hiraldo Voleau a grandi avec un avertissement constant: «Ne sort jamais avec un dominicain». Dans Hola Mi Amol, Hiraldo Voleau retourne en République dominicaine pour jeter un regard sur les corps de nombreux hommes qu’elle rencontre, principalement des travailleurs dans le secteur du tourisme. Là-bas, elle explore le désir, le sexe et l’amour dans ses débuts succulents, tendres et sexy. Ses photos sensuelles, non mises en scène, principalement nues, des hommes avec lesquels elle se connecte sont ponctuées d’auto-portraits vulnérables de leurs rencontres intimes. Accompagné de courts textes, Hola Mi Amol se déroule dans une histoire à la fois féroce, drôle et compatissante. En République dominicaine sans sa mère, sa tante ou sa grand-mère (qui étaient toutes tombées amoureuses, mariées ou avaient eu un enfant là-bas), et à l’abri du regard de ses parents de sexe masculin, Voleau se libère des frontières de ce qui semble «permis» dans l’amour, la sexualité et l’amitié. Inévitablement, son document sur ce bord porte la trace de la solitude souvent brutale de notre époque. La curiosité de Hiraldo Voleau sur l’érotisme, la virilité, les identités culturelles et raciales, ainsi que sur le statut du regard féminin vibre à travers les pages de ce début sournois et renversant.

"The Palaces of Memory" is a journey into India through the Indian Coffee Houses, a national network of worker-owned cafés which can be found in cities throughout the sub-continent. The Coffee Houses simultaneously speak of a Post-Independence optimism and a now-faded grandeur. Buried deep within the country’s collective memory they have for decades acted simultaneously as political and artistic salons as well as simple eating places.

Stuart Freedman has visited more than thirty of the most significant and beautiful Coffee Houses throughout India. Away from the stereotypes of poverty and exotica they have allowed him to enter an ‘ordinary’ India, a familiar but distant echo of the long disappeared greasy-spoon cafes of the London of his own youth. In that sense, the Coffee Houses have become a familiar sanctuary for him during his time in India.

A photographer and writer, Freedman is based between London and New Delhi. A member of Panos Pictures, he has, over more than two decades, covered stories from Albania to Zambia and his work has featured internationally including in "Life", "Geo", "Time", "Der Spiegel", "Newsweek"," The Sunday Times Magazine", "Paris Match", "Smithsonian", "Condé Nast Traveller". In his essay for the book he presents his experience of the coffee houses as well as providing a fascinating insight into their history.

Born in India, Amit Chaudhuri has written numerous novels, short stories, poems and critical essays. He has won several major awards and has received international critical acclaim. In 2002 he was awarded India’s highest literary honour, the Sahitya Akademi Award, for his novel "A New World". He is currently Professor of Contemporary Literature at the University of East Anglia.

In Brazil, soccer is more than just a sport. It is hope for a better future, a distraction from everyday life, creator of identity and community. If there is no ball around, people kick fruit or cans; when there is no field, they make one. Soccer marks the soul of the Brazilian people, as well as the image of city and landscape. Any land that is somewhat level and not overgrown or built up becomes a soccer field. Even though there may be a lack of meeting places, parks, or village centers, there is always a campo de pelada. In this volume, two Brazilian photographers seek and find soccer in places where one might not expect to find it.
Leonardo Finotti creates a kind of inventory, showing pictures from his series Campos Sagrados, for which he traveled through all of Brazil, to neighborhoods rich and poor, to industrial zones, urban peripheries, and to the country, to take photographs from an elevated standpoint of temporary and “real” soccer fields and their surroundings.
In his photo series Brasilieiros Futebol Clube Ed Viggiani accompanies his fellow countrymen everywhere where soccer is played or a team followed.

Just what is it that catches the eye, and why? What’s the significance of a broken flowerpot, a pair of identical tables side by side, a garden hose wrapped around an old car wheel? In this collection of photo essays, the famous designer Jasper Morrison examines and imagines the life behind a series of seemingly ordinary situations.

By what means did so much beauty and ingenuity appear in articles of everyday rural life in Portugal? How did the shape of these objects balance necessity and formal perfection so skillfully? The Hard Life by Jasper Morrison is a book of photographs taken by Morrison of objects in the collection of the National Museum of Ethnology in Lisbon, Portugal.

This book explores the effect that generations of trial and error, individual craftsmanship and an instinct to carve out the essential with the slenderest of means brought to objects that made life both livable and meaningful to a pre-industrial society. The objects photographed and described by designer Jasper Morrison may be appreciated both for their beauty and for the example they set of design at its purest.

The Hard Life is a continuation of Morrison’s celebration of the ordinary and offers a new perspective on his design philosophy. It’s an homage to the beauty of ancient commodities.

Spring ’22 starts with Issue nº 25 – and it’s a honey. Natasha Lyonne, the actor-writer-smoker and dazzling showrunner of Russian Doll, photographed by Inez and Vinoodh and profiled by Matthew Schneier, fronts this freewheeling edition. Inside, Zandra Rhodes entertains, the American Irish dancer Morgan Bullock leaps for the stars, Edie Campbell shows off her Friday night moves, and the artist Sonia Boyce prepares to take Venice. And wait, there’s more: Ann Friedman has trust issues, the botanist Rebecca Yahr finds life in lichen, and the cheerful undertaker Becky Perry gives a send-off to die for.

Hilltop villages, pristine coves, lavender, vineyards, and a balmy sun. The smell of herbs in the air. Drawn-out apéritifs on terraces. Provence is a feast for the senses that epitomises the French art of slow living. At the heart of it, there is always a table.

In this book, cook Pauline Chardin shares her delicious, healthy, and—best of all—easy recipes. Using seasonal fruit and veg from her local market and her garden, Chardin’s cuisine is rooted in the Mediterranean, yet flavored by her travels around the world. This is more than just a cookbook. With a keen sense for design, Chardin knows that the eye takes the first bite.

"A Spoonful of Sun" lavishes us with aesthetic pleasures too, taking us around the house Chardin designed for herself, into the irresistible surrounds of her Provençal home, and back to what matters most: the food on the table.

Pablo Picasso, Andy Warhol, Frida Kahlo . . . so many great artists have shared one very special love: the companionship of cats. Gathered here for the first time are behind-thescenes stories of more than 50 famous artists and their feline friends...