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September

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‘A Fever for Images’ — my text on Farah Al Qasimi @frequentlyaskedquestion for ‘Map of Maps’, the inaugural issue of @september_projects I wrote about the ways Farah’s work moves between places, tracing how taste, aspiration and belonging find expression in everyday spaces. Beauty salons, living rooms and shop fronts become places where histories meet, and where decoration tells stories of its own. An excerpt: “In her pictures, geography blurs. An image might appear to belong to Abu Dhabi but was taken in Brooklyn, or vice versa. That confusion is the point: it unsettles the idea that place, and by extension identity, can be neatly located. Al Qasimi’s world operates through slippage and echo, where traces of colonial taste and global consumer culture meet in unpredictable ways.” Having co-curated Farah’s display at Tate Modern with Nabila Abdel Nabi @nabilaanabi it was lovely to return to her work through writing, and to think further about the personal archives she brings into public view. Thank you to the September team for the invitation and for bringing this issue together. Works pictured, in order, all by Farah Al Qasimi: Lunch, 2018. Installation view, Abort, Retry, Fail, 2023. Courtesy of Delfina Foundation. Photo by Tim Bowditch. Living Room Vape, 2017. A’s Reflection, 2019.
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I wrote about @aminyosefi ‘s ‘Eyes Dazzle as They Search for the Truth’ for ‘Map of Maps’, the inaugural issue of @september_projects - which we’ve just received advance copies for and is beginning to make its way out into the world after a year and a half of work alongside my co-editors @andrea_orejarena @rain.ykc and designer @brianpaullamotte . Amin re-photographed images made by other photographers in the 1979 Iranian revolution, using a magnifying loupe to hone in on the people in the crowds who were looking directly at the photographers. I wrote: To magnify an image is to walk straight into Michelangelo Antonioni’s Blow-Up. In the 1966 film, a photographer wanders through a park, photographs a couple, and later suspects his negatives contain evidence of a murder. In his darkroom, he rephotographs and enlarges the prints again and again. As the details become larger, the photographer doubts himself, until he no longer knows what he has seen. One might expect magnification would reveal more than what the naked eye can see; in reality, it exposes strangeness. At close range, the familiar turns uncanny. It’s like repeating the word ‘looking’ until it ceases to be language and becomes sound. It was a pleasure to spend time looking carefully at this work, which was also just published by @luhz.press @zoelem with a text by @davidcampany and will be included in @sascha_ray ‘s ‘Fever Dream’ group show - also all about archives - opening @palogallery on October 9th from 6-8pm.
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I wrote about @raf_fellner ‘s pictures of Robert Frank for the first issue of @september_projects , just published!: It was Raf Fellner’s idea. He asked Robert Frank to take selfies using animal filters. Not to parody himself or make a statement, just to see what would happen - and Frank, grinning, frowning, deadpan, did it. These are late-life images: strange, tender, human. Frank in pajamas under a crown of cartoonish pink flowers. Frank in spa-mode, cucumber eyes and a towel turban - a moment of zen self-care. Frank underwater in a Uniqlo puffer, staring into the lens. Some of the images are silly, some of them feel loaded, some of them carry a good measure of rugged warmth. Raf’s presence is felt in these photographs. Raf is the kind of artist who loves photography but never quite trusts it, who makes zines, drawings, documentaries, collages, photographs. Ten cameras in rotation, no allegiance to any single mode, perhaps because he’s allergic to canon, suspicious of purity, and invested in what images can still do when you loosen your grip. The fact that this project exists at all says something about Raf’s sensibility: irreverent, curious, unpretentious. And something about Frank, too, whose life’s work was about looking at things askew to see them clearly. You sense he’s doing that again here, but with himself. Frank’s ‘The Americans’ entered the archive, and, in time, became one. These images arrive from a very different technological moment, trading grain for pixels, but they extend the same sideways way of seeing, soft but sharp, intimate without sentimentality. Now, with both Frank and June Leaf gone, Raf Fellner’s pictures of Frank at home and in his studio feel different. The playfulness is palpable, but they read now more like a parting gesture.
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See you at the NYABF 🤍🤍🤍 In addition to our books, zines and goodies, we have invited a fun group of special guests to our table across the fair days. Friday @september_projects @yuhanch3ng @oioioyster @ying_fffff Sunday @ninetynin.e @yomnamemad
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‘Eyes Dazzle as They Search for the Truth’ by @aminyosefi reviewed by @cjbstein in the inaugural issue of @september_projects 🤍 September is an artist-run annual print publication, edited by @andrea_orejarena, @cjbstein and @rain.ykc and designed by @brianpaullamotte @lamotte_studios. The first issue, Map of Maps, is launching this weekend at @printedmatter_artbookfairs NYABF, Floor 2 (T66). Friends in NYC, don’t miss it ❕ 📖 Eyes Dazzle as They Search for the Truth by Amin Yousefi is now available via @luhz.press. Follow the link in bio to order your copy today. With a text by @davidcampany and @aminyosefi Published by @luhz.press Design by @zoelem Printing @faenzaprinting_italy Distributed internationally by @ideabooksnl #eyesdazzleastheysearchforthetruth #aminyousefi #davidcampany #luhzpress
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