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Sasha Kulak. 10 YEARS OF NOT BEING HOME
SOYA PRESS 2020
12
р.
68 pages
Size: 210×297mm (8.3×11.7 in.)
Perfect bound binding
BLOCK: Maestro Print Syktyvkar 115g/m2
COVER: white color Letterpress print on Keaykolour Navy Blue 300g/m2 Digital print HP Indigo 12000 (oil ink)
EDITION: 250
www.sashakulak.com
Instagram @sashakulak
The intimate artist book by our friend and film director Sasha Kulak.
"My mother and I went on a trip together to get to know each other. We did not share any mutual interests or rituals of the type that would normally connect us as family. No traditions have ever existed between us — or have we forgotten them as well? So we made one up. My mother took pictures while I took pictures of my mother: this book is a portrait of her and the things that she took pictures of. The object turns into the subject. This essay involves three generations of women from one family tree. With my nephews we painted on these photographs."
Size: 210×297mm (8.3×11.7 in.)
Perfect bound binding
BLOCK: Maestro Print Syktyvkar 115g/m2
COVER: white color Letterpress print on Keaykolour Navy Blue 300g/m2 Digital print HP Indigo 12000 (oil ink)
EDITION: 250
www.sashakulak.com
Instagram @sashakulak
The intimate artist book by our friend and film director Sasha Kulak.
"My mother and I went on a trip together to get to know each other. We did not share any mutual interests or rituals of the type that would normally connect us as family. No traditions have ever existed between us — or have we forgotten them as well? So we made one up. My mother took pictures while I took pictures of my mother: this book is a portrait of her and the things that she took pictures of. The object turns into the subject. This essay involves three generations of women from one family tree. With my nephews we painted on these photographs."
Masha Demianova. KAI
SOYA PRESS 2021
20
р.
52 pages
Size: 180×240mm (7.1×9.4 in.)
Perfect bound binding
BLOCK: Sappi Magno Volume 150g/m2
COVER: white color Letterpress print on Keaykolour Royal Blue 300g/m2. Digital print HP Indigo 12000 (oil ink)
EDITION: 100
www.mashademianova.com
Instagram @mashagohome
“KAI” book weaves together a series of intimate, mostly black-and-white photos of Masha’s ex-boyfriend shot and produced during the 6-year relationship period (and after). Through intimate documentary images that reveal the symbolism of the everyday, the book becomes an exploration of the bind between the artist and her muse — both in terms of their respective age (9 years apart) and gender.
The book comprises photos shot on film and iPhone, video stills from a related installation and the author’s text in English and French. Some of the images were on display at Atelier Milleffeuilles (Nantes, France) in 2018.
Size: 180×240mm (7.1×9.4 in.)
Perfect bound binding
BLOCK: Sappi Magno Volume 150g/m2
COVER: white color Letterpress print on Keaykolour Royal Blue 300g/m2. Digital print HP Indigo 12000 (oil ink)
EDITION: 100
www.mashademianova.com
Instagram @mashagohome
“KAI” book weaves together a series of intimate, mostly black-and-white photos of Masha’s ex-boyfriend shot and produced during the 6-year relationship period (and after). Through intimate documentary images that reveal the symbolism of the everyday, the book becomes an exploration of the bind between the artist and her muse — both in terms of their respective age (9 years apart) and gender.
The book comprises photos shot on film and iPhone, video stills from a related installation and the author’s text in English and French. Some of the images were on display at Atelier Milleffeuilles (Nantes, France) in 2018.
Sergey Kostromin. A LAND WITH NO NAME
SOYA PRESS 2021
25
р.
108 pages
Size: 180×240mm (7.1×9.4 in.)
Perfect bound binding
BLOCK: Sappi Magno Volume 150g/m2
COVER: black color Letterpress print on Keaykolour Pumkin 300g/m2 350lpi LE-UV offset print
EDITION: 250
www.sergeykostromin.com
Instagram @sergeykostromin
The book “A Land With No Name” did not appear as the result of a single project about a journey or some life event. It is a book about internal geography, about the unique landscape formed inside each person and which we can consider our land. During life, it inevitably transforms, shifts, and this is just a desperate attempt to fix its visible part — forms that live only for a short moment and then are destroyed, no matter how strong they may seem to us.
The book contains photographs of the past 8 years of observation of the surrounding world and space, reflecting random moments long lost in memory.
Size: 180×240mm (7.1×9.4 in.)
Perfect bound binding
BLOCK: Sappi Magno Volume 150g/m2
COVER: black color Letterpress print on Keaykolour Pumkin 300g/m2 350lpi LE-UV offset print
EDITION: 250
www.sergeykostromin.com
Instagram @sergeykostromin
The book “A Land With No Name” did not appear as the result of a single project about a journey or some life event. It is a book about internal geography, about the unique landscape formed inside each person and which we can consider our land. During life, it inevitably transforms, shifts, and this is just a desperate attempt to fix its visible part — forms that live only for a short moment and then are destroyed, no matter how strong they may seem to us.
The book contains photographs of the past 8 years of observation of the surrounding world and space, reflecting random moments long lost in memory.
Ilya Batrakov. MOROK
SOYA PRESS 2022
30
р.
184 pages
Size: 180×240mm (7.1×9.4 in.)
Hard cover
BLOCK: Sappi Magno Volume 150g/m2
COVER: white color Letterpress print on Zanders Efalin Smooth Black 120g/m2 with white silk-screen print on endpapper 350lpi LE-UV offset print
EDITION: 500
www.batrakovilya.com
Instagram @flyhalla
Ilya worked on this project for more than 10 years, and Ilya and I worked on this book for two difficult years, thanks to the editor Daria Borisenko, and so the translator and English editor Trivis Turner, as well as our friend and partner Scanner Operator Artem Kudryashov. And to all our friends who helped with the release of this great work. About the “Morok” project: “Since childhood, when I’m sick, I see war in my dreams, and fragments of reality are woven into these dreams, full of anxiety and chaos. In those dreams, there are two recurring elements. First, my father and I defend a small plot of land, and our weapons stop working. Second, the familiar space transforms into an alien, scorched, mangled land covered with trash, all the traces of the past erased from its surface.
The project started the moment I saw forest rangers’ marks on trees in the forest where I grew up and with which I developed a special connection through my mother. The trees were to be cut, and I decided to capture the forest with my camera. 15 years later, almost nothing has remained of the forest. They started cutting it down to clear a power line. Later on, they kept doing it to fight the bark beetle. And then, the wind came and knocked down what had been thoughtlessly exposed by man.
“Morok” is an attempt to put together materials capturing places that are meaningful to me before they vanish.
Size: 180×240mm (7.1×9.4 in.)
Hard cover
BLOCK: Sappi Magno Volume 150g/m2
COVER: white color Letterpress print on Zanders Efalin Smooth Black 120g/m2 with white silk-screen print on endpapper 350lpi LE-UV offset print
EDITION: 500
www.batrakovilya.com
Instagram @flyhalla
Ilya worked on this project for more than 10 years, and Ilya and I worked on this book for two difficult years, thanks to the editor Daria Borisenko, and so the translator and English editor Trivis Turner, as well as our friend and partner Scanner Operator Artem Kudryashov. And to all our friends who helped with the release of this great work. About the “Morok” project: “Since childhood, when I’m sick, I see war in my dreams, and fragments of reality are woven into these dreams, full of anxiety and chaos. In those dreams, there are two recurring elements. First, my father and I defend a small plot of land, and our weapons stop working. Second, the familiar space transforms into an alien, scorched, mangled land covered with trash, all the traces of the past erased from its surface.
The project started the moment I saw forest rangers’ marks on trees in the forest where I grew up and with which I developed a special connection through my mother. The trees were to be cut, and I decided to capture the forest with my camera. 15 years later, almost nothing has remained of the forest. They started cutting it down to clear a power line. Later on, they kept doing it to fight the bark beetle. And then, the wind came and knocked down what had been thoughtlessly exposed by man.
“Morok” is an attempt to put together materials capturing places that are meaningful to me before they vanish.
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