The book’s space interviews: Presentiment

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Presentiment 3
Presentiment 4
Presentiment 5
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11 dic The book’s space interviews: Presentiment

Book: Presentiment
Photographs: Yulia Krivich
Book design: Ania Nalecka
Editor: Fundacja Sztuk Wizualnych / Foundation for Visual Arts
Date of publishing: 2015
N° of copies: 300
Dimensions: 17×24 cm
Binding: Hard-cover + zine
Paper: Stella Press 70 gr

THE BOOK AS A PROJECT


What is the framed structure of this book?

Book Designer: For me the core word for the way the project is translated into the book would be oxymoron. Underlining contrast and duality: visual language vs topic (unbearable lightness of being vs “hidden” war on Ukraine) – combination of archetypical cloth hard cover with physically destroyed zine inside it.

How did you choose the book designer?

Photographer: My collaboration with Ania Nalecka happened thanks to the festival Photomonth in Krakow on which contest I had sent my photo-project. My project was selected for Show OFF Section and I got an opportunity to publish Presentiment in a form of book. I’m glad that I have got a possibility to make my first photobook with Ania.

What was your approach to get into the photographic project?

BD: I try to ask as many as possible question to the Photographer, but mostly observe and synchronize with her/him. The story/project origin comes from the author which was 100% in case of Yulia project. The story is based on her visual dairy/reflections on her own feelings and state of mind while witnessing the war. War which officially is not there.

How did you develop the work on the book?

P: Presentiment is the series about young generation in Ukraine. I consider it as a part of the bigger project on which I’ve started in 2011, and it’s still ongoing project. My home country Ukraine is in actual state of undeclared war. Young people, who are not involved directly in hostilities, are trying to live normal life with awareness of the fact that there is a war going in 200km. Materiality of the book is supposed to show feeling of that duality. Even though our work with Ania was quite fast, we managed to discuss a lot. As a result of such talks, we found solutions.

BD: We decided to focus on duality and subsurface conflict, oxymoronic intimacy. Also to focus on smaller amount of pictures – the project is still in progress and the book was meant to be rather prologue than final book. It was very quick and intensive process, but thanks to Yulia’s amazing self-awareness was a dream team-work.

THE BOOK AS A STORY


Which narrative slant did you choose for this book and why?

BD: On Sequencing I worked with Rafal Milach – photo narrations we led counter-wise to the physical destruction of pages, so it goes from idyllic and pristine through aggression/oppression to duality/schizophrenic.

What’s the difference between the book and the photographic project slant?

P: The sequence of the narrative is playing the crucial role in the book. Each story has its beginning, upshot and end. In my case the end stays open.

THE BOOK AS AN OBJECT


How did you choose the materials and the kind of printing?

BD: Materiality/objectiveness became the key for reading Yulia’s story in the book. Thin newspaper-like paper, easy to crush and crushed in purposed is juxtaposed with linen, emboss and classical hard-cover. The gesture of folding out the zine after opening the book (zine is twice size of the cover) and turning pages gives the feeling of keeping in hand something raw, but fragile and complicated.

How the materials’ choices are connected to the photographic project?

P: Thanks to Ania the book turned to an art-object. Since we choose only 20 pictures, design and materials became the extremely important components. Such solutions as blank hardcover, newspaper format, choice of four languages became conceptual gestures revealing the essence of the photographic project.



You can also find all the interview archive on 3/3 blog: www.treterzi.org