“‘Chelsea Reach’ was a Merseyside disco in which Wood photographed two or three nights per week between 1985 and 1987. The resultant images provide a rare and illuminating document of a nightly ritual performed by young people everywhere” (Press release).

Photographs in and around two nuclear power plants.

Text engl. - Other edition: Berlin, Heidelberg: Kehrer 2011 - In 2001, Rinko Kawauchi launched her career with the simultaneous publication of three astonishing photobooks (Utatane, Hanabi and Hanako), firmly establishing herself as one of the most innovative newcomers to contemporary photography, not just in Japan, but across the globe. In the years that followed, she published other notable monographs, including Aila (2004), The Eyes, the Ear (2005) and Semear (2007). And now, ten years after her precipitous entry onto the international stage, Aperture has published Illuminance, the latest volume of Kawauchi's work and the first to be published outside of Japan. Kawauchi's photography has frequently been lauded for its nuanced palette and offhand compositional mastery, as well as its ability to incite wonder via careful attention to tiny gestures and the incidental details of her everyday environment. As Sean O'Hagan, writing in The Guardian in 2006, noted, "there is always some glimmer of hope and humanity, some sense of wonder at work in the rendering of the intimate and fragile." In Illuminance, Kawauchi continues her exploration of the extraordinary in the mundane, drawn to the fundamental cycles of life and the seemingly inadvertent, fractal-like organization of the natural world into formal patterns. Gorgeously produced as a clothbound volume with Japanese binding, this impressive compilation of previously unpublished images is proof of Kawauchi's unique sensibility and her ongoing appeal to lovers of photography.

Text dt. - Other edition: New York, NY: Aperture 2011.

Text engl. - „Unzufrieden mit der wohlgefälligen Ausrichtung zeitgenössischer Fotografie entwarf Clare Strand eine Reihe von Arbeiten, die sich zugleich subversiv und feierlich mit den Konventionen der Fotografie auseinandersetzen. Dabei bediente sie sich an den Stilmitteln der verschiedensten Genres, vom viktorianischen Porträt, über Tatortfotografie bis zu forensischen Aufnahmen. Das Ergebnis könnte einfach skurril und fremd sein, aber Strand's Bilder sind von einer beeindrucken Qualität und Authentizität, die sie in unserer von Bildern gesättigten Welt einzigartig machen.“ (Kat. Frölich & Kaufmann, Berlin 02.2012).