Landscapes Without Memory. Photographs by Joan Fontcuberta. Essay by Geoffrey Batchen. Aperture, New York, 2005. 96 pp. Quarto (11.75 x 8.75 in./29 x 22 cm) First edition. SIGNED on half title page. Hardbound with padded, photo-illustrated boards. No jacket as issued. 80 color reproductions.
Fauna. Photographs and text (in English) by Joan Fontcuberta and Pere Formiguera. Designed by Tuna Ciner and Joan Fontcuberta. PhotoVision, Sevilla, Spain, 1999. 136 pp. Small quarto. First edition thus. Hardbound with photo-illustrated boards. No jacket as issued. 99 black-and-white and 54 color illustrations
"[In Landscapes Without Memory] Fontcuberta subjects various imaginative landscapes--among them ones by Cezanne, Turner, and Weston in addition to Dalí, as well as photographs of his own body--to the manipulation of landscape-rendering software originally designed for the military and scientific communities. The limited visual vocabulary of the programs translates contours (like floppy clocks) into natural elements such as hills, rivers, clouds, and the like. The result, actually, looks far from real. As Fontcuberta says, 'In a typically surrealistic caper, introducing the critical-paranoid method in the technological heart of the computer, Dalí's dreams become equally impossible landscapes.' And, he might have added, gorgeous black-and-white ones."--the publisher
"Fauna is an exhibition [and book] documenting the (fictional) research of a German biologist, Dr. Peter Ameisenhaufen. The exhibition adopts the characteristic appearance of zoology and natural science museums, presenting photographs, radiographs, outdoor sketches, maps, zoological cards, texts, sound, video and more, as evidence of the existence of these (it seems to us) rather monstrous animals. Solenoglypha Polipodida is a snake-like creature with twelve feet that is supposed to be able to paralyse its prey with a high-pitched whistle. And there’s a squirrel with webbed feet and a snake tail – Myodorifera colubercauda. As one reviewer put it: 'This modern-day bestiary is every bit as fascinating as the strange illuminations of the medieval age, and all the more disconcerting as the camera seems to bear undeniable witness to the beasties’ meanderings.'" (Melissa Rombout, Boston)--reference, Presentation House Gallery, Vancouver