The Nord-Pas-de-Calais mining region, bordering on Belgium, is part of northern Europe’s historical centre of heavy industry, which extends as far as the Ruhr area in Germany. With the end of coal mining in the 1980s, the Lille region transitioned to new economic activities, particularly within the cultural and creative industries, taking advantage of its strategic location midway between Paris, London and Brussels. After de-industrialisation and the 1984 opening of the Lewarde Mining Museu...

In this thick coffee table book, you will be taken on a revolutionary journey through the past with photography and poetry. Allow the enclosed pictures and poems to escort you to a forgotten time in history; a time that goes beyond our present-day architecture. Let your imagination have mastery over your senses so that you don't just flip through these pages, but instead, you see, hear, smell, feel and experience the worlds these pages introduce.

Will you walk with me through these corridors ...

Parliaments of the European Union van de Nederlandse fotograaf Nico Bick (1964) biedt een unieke fotografische kijk op de ruimten voor plenaire vergaderingen waarin de Europese democratie daadwerkelijk wordt gerealiseerd. Het boek bevat foto's van de ruimten waar de parlementen van de 28 lidstaten van de Europese Unie en de twee Europese parlementen in Brussel en Straatsburg hun voltallige vergaderingen houden. Elk van deze ruimten is in drie of vier foto's gefotografeerd vanuit een enkel sta...

“Disassembled” Images takes as a point of departure Allan Sekula’s productive approach of disassembling elements in order to reassemble them in alternative constellations. Some of the most pressing issues of our time, such as human labor in a globalized economy or the claim for radical democracy, are recurrent themes in Sekula’s oeuvre and are investigated by a wide range of experts in this book. Addressing a variety of artworks, both by Sekula and other artists, the collected essays ...

From careful brushes to jealous scribbles, the stylistic range of how figures are censored is quite diverse. But the defacements here seem more concerned with the censor’s own feelings rather than enhancing the overall aesthetic. In these images it is easy to deduce that the censored figures are women – snippets of purses or high heels, the blobs’ lingering feminine form. The censor’s hand lends them an eerie quality, whether by accident or not. Yet the pictures are also very romantic...