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Ben Roberts, from the series Amazon Unpacked, 2011. In their bright orange vests, 'pickers' deliver goods between various areas of the warehouse

There's an exhibition called All That is Solid Melts into Air right now at the Manchester Art Gallery. It's been curated by Jeremy Deller. So of course i took the train to see it.

In a show which title refers to a passage in Marx and Engels' Communist Manifesto, Deller takes a personal look at the impact of the Industrial Revolution on British popular culture, and its persisting influence on our lives today.

This is not an exhibition of Deller's work (apart from his film about glam rock wrestler Adrian Street.) Neither is it a historical treatment of the industrial era. Instead, Deller brings side by side historical artefacts and contemporary works to explore several threads that expose the impact of the Industrial Revolution on British cultural life.

I was particularly interested in the connections drawn between the digital revolution and the Industrial Revolution, in particular working conditions. They were notoriously harsh in the 19th century: low wages, long hours, child labour, etc.

A document entitled Rules to be Observed in this Factory, Church Street Mills, Preston (c. 1830) informed workers that to give their notice they must do so on Saturday only, in writing and one month in advance. Whereas the "Masters have full power to discharge any person employed therein without any previous notice whatsoever." The same documents states that workers are to be at the factory from 6 in the morning to 7.30 at night, with half an hour allowed for breakfast and one hour for dinner.

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But accounts from the time deplored the fact that managers did as they liked, with clocks brought forward in the morning and back at night. Some clocks were even made to measure productivity as time. One of the artefacts in the gallery is a two-faced clock that was connected to a watermill at a silk factory and would show 'lost' time if the wheel did not turn quickly enough. The time would then have to be made up at the end of the working day. The struggle to shorten working days was hard fought by successive generations.

Nowadays however, the growing use of 'zero hours contracts' in the low wage sectors of the service and digital economy is shaping a new form of day labourer, imposing another time discipline where the worker is informed often at short notice if their labour is required. A tapestry (by Ed Hall, maker of remarkable protest banners), hanging near the clock, is adorned with the words, 'Hello, Today you have day off', a message texted to a worker on a 'zero hour' contract on the morning his shift was due to start. No work, no pay.

Also next to the clock are photos from Ben Roberts' series that documents the inside one of Amazon's nine UK 'fulfilment centres' where employees spend 10½ hours a day picking items off the shelves.

Visitors have no problem joining the dots by themselves....

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Ben Roberts, from the series Amazon Unpacked, 2011. The interior of Amazon's giant fulfilment centre is the size of nine football pitches

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Swainson Birley Cotton Mill near Preston, Lancashire, 1834.. ©Science Museum/SSPL

The last object on that wall is a Motorola WT4000, a computing device worn on the wrist by people working in a warehouse. Retail giants rely on this kind of device to monitor the speed of orders and the efficiency of its staff in fulfilling them. It can also send warnings if the worker is falling behind schedule.

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Motorola WT4000

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But as can be expected with Jeremy Deller, there's a great deal of music in this show. Here he is posing next to a jukebox visitors are welcome to activate. Pressing buttons triggers archive recordings from factory machinery, folk songs or quarrymen singing at work.

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Jeremy Deller with Jukebox, 2013 and mural backdrop by Stuart Sam Hughes. Courtesy Alan Seabright / Manchester City Galleries

All That is Solid Melts into Air also looks at heavy metal and rock bands such as Judas Priest, Black Sabbath, Happy Mondays and Slade and at how they are the products of the industrial towns their members came from. Many came from working class backgrounds and their music echoed the loud and traumatic rhythm of the factories.

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Judas Priest, Unleashed in the East (album cover), 1979

The only Deller work in the show is a film about Adrian Street. Street was born into a Welsh mining family but he refused to follow in his father's footsteps and spend his life working in the coal mines. He left home as a teenager and became a flamboyant wrestler and for a brief time also a glam rock singer.

The photo showing Street posing next to his father in the Welsh coal mine he had fled from embodies a country attempting to get to grip with its new role: services and entertainment.

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Adrian Street and his father, 1973 (photo: Dennis Hutchinson) © Dennis Hutchinson 2012


Jeremy Deller, So many ways to hurt you, the life and times of Adrian Street (excerpt)

More images from the exhibition:

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Iron Workers, Tredegar, Wales, 1865, W Clayton. Manchester Art Gallery. Photographs courtesy Manchester Art Gallery

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Iron Workers, Tredegar, Wales, 1865, W Clayton. Photographs courtesy Manchester Art Gallery

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Stockport Viaduct 1986. ©John Davies

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Mersey Square, Stockport 1986. ©John Davies

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G. Greatbach, 'The Black Country' near Bilston 1869 Engraving. ©Science Museum / SSPL

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Chapman, W.J., Francis Crawshay Workers Portraits. Courtesy National Museum Wales, Cardiff

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Portraits of Scuttlers, members of youth gangs characterized by their carefully coiffed hair and colourful scarves (and as such precursors of the Teddy Boys)

All That is Solid Melts into Air: Jeremy Deller is an exhibition curated by an artist so don't expect academic interpretations and rigorous narratives. It is an eclectic and thought-provoking show that confronts with each other elements from our past and present, draws parallels, and triggers all kinds of associations.

If you're curious about the show but can't make it to Manchester, you'll find more information in the film that Deller shot together with BBC. And, obviously, in the exhibition catalogue:

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All that is Solid Melts into Air Curated by Jeremy Deller is at the Manchester Art Gallery, until 19 January 2014. The exhibition will tour to other cities known for their strong industrial heritage: Nottingham, Coventry and Newcastle.

Related stories: Ed Hall, the art of protest banners and Audio CD review - Jeremy Deller: Social Surrealism.

Sponsored by:





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Trees, Woolsington, 1967-8 by Gordon Ryder of Ryder and Yates. Listed grade II. Photo James O Davies/English Heritage

Brutal and Beautiful: Saving the Twentieth Century was a very small but enlightening exhibition that celebrated post-war listed architecture in England. I went to see the show one day before it closed so, for once, i have a good excuse for the ridiculously late review. It took place at the Quadriga Gallery, on the second floor of Wellington Arch right in the middle of Hyde Park Corner. I don't think i had ever been to Hyde Park Corner before.


Brutal & Beautiful: What is Brutalism?, one of the films by Alun Bull, James O Davies and Leon Seth about twentieth century listed buildings, written and presented by architectural historian, Elain Harwood

Brutal and Beautiful, thus. The images below speak for themselves and I won't need to comment much on the adjective 'beautiful', even if, for many people, their aesthetic qualities are somewhat debatable. But brutal, in this context, requires a few lines of explanation. It comes from the term New Brutalism coined by architects Alison and Peter Smithson in 1953 to define a style that used the béton brut (raw concrete) as much as it used light and innovative materials. The term probably contributed to the unpopularity of the style but in fact, what the Smithsons had in mind was not concrete aggressively poured all over the country but 'honesty of expression and of natural materials.' This is therefore not a show about brutalism even though the style has a strong presence in the gallery.

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Engineering Building, Leicester, 1961-1963 by Stirling and Gowan. Listed grade IIº. Photo James O Davies/English Heritage

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Centre Point, designed 1959-1962 by George Marsh of Richard Selfert and Partners, built in 1962-1966. Listed grade II. Photo James O Davies/English Heritage

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RAF Upper Heyford, 1950-1. Photo © James Davies, English Heritage

The exhibition presents brutal and beautiful cathedrals, libraries private houses, landscapes, war memorials, schools and industrial buildings. They were built between 1945 and the 1980s, in times of austerity and boldness. Each of them has been listed which means that they may not be demolished, extended, or altered without special permission from the local planning authority. Buildings and landscapes can be considered for designation once they are 30 years old. Younger structures can be protected when they are under severe threat or are considered outstanding, that's how the Lloyd's building became the youngest listed edifice. And ultimately, the exhibition invites us to rethink what makes a historic building:

Now the Royal Festival Hall and Coventry Cathedral are popularly admired but at the time post-war listings were fiercely debated and the future Tate Modern was rejected. Brutal & Beautiful looks at our love/hate relationship with England's recent architectural past and asks 'what is worth saving?'

It's fascinating to see how buildings that have been much maligned are now seen as iconic. Think of the Trellick Tower --and the smaller but equally arresting Balfron Tower-- by Ernö Goldfinger, an architect as famous for his arresting council blocks as he is for his unpleasant character so much so that, as you probably know already, Ian Fleming named one of James Bond's villains after him.

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Trellick Tower, Cheltenham Estate, Kensington, 1968-1972 by Ernö Golfinger. Listed grade IIº

The Barbi! The upswept balconies, i read in the gallery, reduce wind resistance.

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Cromwell Tower, Barbican, City of London, 1964-1973 by Chamberlin, Powell and Bon. Listed grade II. Photo James O Davies/English Heritage

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Photo James O Davies/English Heritage

That said, all's not rosy and cheerful in the world of Brutalism. The Heygate Estate, in Elephant & Castle, provided the gloomy setting for violent scenes in the Luther tv series until its demolition started and John Madin's Birmingham Central Library will be teared down in 2014. But, hey, at least the the Preston Bus Station is doing ok.

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The Preston Bus Station, 1968-1969 by Keith Ingham and Charles Wilson of Building Design Partnership with E. H. Stazicker. Photo Dr Greg via wikipedia

And i'm going to leave you here with some brutal and not so brutal archi porn:

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Photo © James Davies, English Heritage

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British Gas Engineering Research Station, Killingworth, 1966-7. Designed by architect Peter Yates of Ryder & Yates. Listed Grade IIº. Photo © James Davies, English Heritage

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British Gas Engineering Research Station, Killingworth, 1966-7. Designed by architect Peter Yates of Ryder & Yates. Listed Grade IIº

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Lloyd's Building, City of London, 1981-1986 by Richard Rogers and Partners. Listed Grade I. Photo © James Davies, English Heritage

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Metropolitan Cathedral of Christ the King, Liverpool, 1962-7 by Frederick Gibbero and Partners. Listed grade IIº

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Metropolitan Cathedral of Christ the King, Liverpool, 1962-7 by Frederick Gibbero and Partners. Listed grade IIº

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The Royal Festival Hall, London, 1949-51 by the London County Council. Listed grade I. Photo: James O Davies/English Heritage

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Library (Phillips Building) to the School of Oriental and African Studies, 1964-1974 by Denys Lasdun and Partners. Listed grade IIº. Photo James O Davies/English Heritage

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Templewood School, Welwyn Garden City, Hertfordshire County Council, 1949-1950. Job Architect A.W. Cleeve Barr. Listed Grade IIº. Photo via The Decorated School

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Rogers House, Wimbledon, City of London, 1981-86 by Richard Rogers and Partners. Listed grade I

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Royal College of Physicians, Regent's Park, London, 1960-4 by Denys Lasdun and Partners. Photo: James O Davies/English Heritage


Brutal & Beautiful: The Royal College of Physicians, Regent's Park, London, designed by Sir Denys Lasdun. One of the films about twentieth century listed buildings, written and presented by architectural historian, Elain Harwood and screened at the exhibition Brutal and Beautiful

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Stockwell Bus Depot, 1951-3 by Adie, Button and Partners. Listed grade IIº. Photo: James O Davies/English Heritage

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Stockwell Bus Depot, 1951-3 by Adie, Button and Partners. Listed grade IIº. Photo Courtauld Institute of Art

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Bracken House, City of London, 1955-9 by Albert Richardson for the Financial Times. Listed grade IIº

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Elliott School, Putney, 1953-6, by London County Council. Photo: James O Davies/English Heritage

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Apollo Pavilion at Peterlee in County Durham, 1963-1970 by Victor Pasmore. Listed grade II*. Photo James / cacophonyx

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B2 Prefab, 55 The Crapen, Cashes Green, Stroud, 1948

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Turn End, Buckinghamshire, built in 1967 by Peter Aldington. Photo James O Davies/English Heritage


Brutal & Beautiful: Peter Aldington and Turn End. Shot by photographers and filmmakers Alun Bull and James O Davies and screened at the exhibition Brutal and Beautiful

The photographs in the exhibition were by James O. Davies. They will appear in a forthcoming book, Space, Hope and Brutalism: English Architecture 1945-1975 which will be published next year by Yale University Press. I'll definitely get my hands on that one.

Related: Utopia London.

Brutal and Beautiful: Saving the Twentieth Century is thus closed. The next exhibition to open at the Quadriga Gallery, however, seems to be equally interesting: Almost Lost: London's Buildings Loved and Loathed. It will run from 4 December to 2 February 2014.

Top Secret: Images from the Stasi Archives, by Simon Menner.

Available on Amazon UK and soon on Amazon USA.

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Publisher Hatje Cantz writes: First publication of pictures from the archives of the Stasi, the East German secret police

Almost 300,000 people worked for the East German secret police, per capita far more than were employed by agencies such as the CIA or the KGB. Not quite fifty years after the Berlin Wall was built, Simon Menner (*1978 in Emmendingen) discovered spectacular photographs in the Stasi archives that document the agency's surveillance work. Formerly secret, highly official photographs show officers and employees putting on professional uniforms, gluing on fake beards, or signaling to each other with their hands. Today, the sight of them is almost ridiculous, although the laughter sticks in the viewer's throat. This publication can be regarded as a visual processing of German history and an examination of current surveillance issues, yet it is extremely amusing at the same time. The fact that the doors of the opposite side--the British or German intelligence services, for example--remained closed to the artist lends the theme an explosive force as well as a tinge of absurdity.

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Close combat. From a manual for different close combat techniques

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Surveillance of Mailboxes

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Surveillance of the United States Embassy

Simon Menner has one of the most peculiar portfolios i've ever encountered. Snipers hidden among the trees, soldiers posing with corpses, Boobytraps and "Unconventional Warfare Devices and Techniques" from the 1960s, weapons used to murder people, views of WWI from both sides of the conflict, etc. Even the photos of Happy People have been selected for some very dark reason.

For one of his latest photo series, Menner spent 2 years searching through the Stasi archives, the majority of which were opened to the public shortly after the fall of the Berlin Wall.

The Ministerium für Staatssicherheit (Department of State Security) of the former German Democratic Republic was one of the largest surveillance apparatuses in history and its record of citizens' intimate life was thorough and sinister. The story and practices of the Stasi have been fairly well documented. Until this book however, we still lacked a clear visual account of the methods, tactics and props used by the spying agents.

The publication presents a selection of images documenting many of the Stasi operations: the spying accoutrement of Stasi personnel, the techniques employed to shadow or arrest a suspect, the signs used to convey secret messages, the packages sent via mail and confiscated by the secret police, etc.

The most baffling photos were taken during seminars in which Stasi employees learnt the art of disguise.

The props are amateurish, the poses are awkward and the result is grotesque beyond words. Yet, the intentions were serious: repression, control, surveillance.

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From a seminar on disguises

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The same agent using a different disguise

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From a handbook of Different Disguises

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Documentation of a seminar teaching how to apply artificial facial hair

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Disguising as Western tourist

The award for most disturbing photos go to Polaroids of unmade beds, (Western-made) coffee machines and rows of shoes. The photos were taken by Stasi agents when they secretly searched peoples' houses on the hunt for evidence they might be betraying the communist state. Photos of the rooms and furniture were taken upon arrival and used by the agents to be able afterwards to put everything back as if nothing had been touched.

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Secret House Searches

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Secret House Searches

The photos below were taken at the birthday party of a high-ranking Stasi official. The party guests were asked to come dressed as members of demographic groups under Stasi surveillance such as athletes, dancers, academics, peace activists, and religious figures.

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Costume party. Guests were dressed up as members of demographic groups -such as clergymen- that the Stasi deemed suspicious

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Costume Party

Spies of the western Allied Forces photographed Stasi spies and Stasi spies photographed their Western counterparts. "Sometimes they met, both sides were absolutely aware that the other side was there, but nevertheless both sides took photos, showing that both East and West lived in pretty much the same state of mind," the artist explained. So far, however, Menner hasn't been granted access to the correspondent photos from the British or Federal German secret services.

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Spies taking pictures of spies

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Accolade of the Phone Surveillance Unit

I love the necklace, very Tatty Devine!

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Accolade of the Phone Surveillance Unit

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Stasi spy photographs himself

More images on the photographer's website, in Der Spiegel and Morgen Contemporary.

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Location unknown, possible Morcambe, 1967 - 68 by Tony Ray-Jones © National Media Museum

The Science Museum in London has recently inaugurated a new Media Space. I was expecting it to be filled with photos of super computers and distant planets. Instead, i found Only in England, a retrospective of Tony Ray-Jones' photos curated by Martin Parr. Which is completely fine by me as i'd rather spend an afternoon looking at eccentric English ladies than at moons around Jupiter (no disrespect to satellites.)

In the late 1960s, Tony Ray-Jones traveled across his country in a VW camper to document the leisure and pleasures of the English. He was a man who lived by his own rules. One of them was to never take a boring photo. There are dozens of images in the exhibition and none of them is remotely insipid. It's easy to see why the photographer had such an impact on Parr's work: he had a taste for the quietly humorous, the compassionate detail, the ironic narrative.

Ray-Jones died of leukaemia in 1972. He was only 30 but in his short career, he invented a new way of looking at society.

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Beauty contestants, Southport, Merseyside, 1967 by Tony Ray-Jones © National Media Museum

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Only in England exhibition © Kate Elliott for Media Space

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Blackpool, 1968 by Tony Ray-Jones © National Media Museum

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Eastbourne Carnival, 1967 by Tony Ray-Jones © National Media Museum

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Bournemouth, 1969 © Tony Ray-Jones, Courtesy James Hyman Gallery, London

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Location unknown, possibly Worthing, 1967-68 by Tony Ray-Jones © National Media Museum

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Strongman Contest, Mablethorpe, 1967 (James Hyman Gallery)

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Windsor Horse Show, 1966-67

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Windsor Horse Show, 1967

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Glyndebourne, 1967

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Ramsgate, 1967 by Tony Ray-Jones © National Media Museum

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Brighton Beach, 1966 by Tony Ray Jones

A black and white photo series by Martin Parr, The Non-Conformists, is also part of Only in England. The work follows the religious life of the Methodist and Baptist communities in and around Hebden Bridge, Yorkshire. Shot in the mid-1970s, just after Parr graduated from art school, the photos have a gentleness i wasn't expecting from Parr.

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Mankinholes Methodist Chapel, Todmorden 1975 by Martin Parr © Martin Parr/ Magnum

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Tom Greenwood cleaning 1976 by Martin Parr © Martin Parr/ Magnum

Only in England: Photographs by Tony Ray-Jones and Martin Parr is a the Science Museum until 16 March 2014.
You might also want to check out Another Country. Vintage Photographs of British Life by Tony Ray-Jones which is up at the James Hyman Gallery in London until 7 November.

EP Vol. 1 - The Italian Avant-Garde: 1968-1976 by Alex Coles, Professor of Transdisciplinary Studies, School of Art, Design and Architecture, University of Huddersfield and Catharine Rossi, Senior Lecturer in Design History at Kingston University.

Available on amazon UK and USA.

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Publisher Sternberg Press describes the book: EP is the first critically underpinned series of publications that fluidly move between art, design, and architecture. The series creates a discursive platform between popular magazines ("single play") and academic journals ("long play") by introducing the notion of the "extended play" into publishing: with thematically edited pocket books as median.

The first volume is devoted to the activities of the Italian avant-garde between 1968 and 1976. While emphasizing the multiple correspondences between collectives and groups like Arte Povera, Archizoom, Superstudio, and figures such as Ettore Sottsass and Alessandro Mendini, The Italian Avant-Garde: 1968-1976 also highlights previously overlooked spaces, works, and performances generated by Zoo, Gruppo 9999, and Cavart. Newly commissioned interviews and essays by historians and curators shed light on the era, while contemporary practitioners discuss its complex legacy.

With contributions by Paola Antonelli, Pier Vittorio Aureli, Andrea Branzi, Carlo Caldini, Alison J. Clarke, Experimental Jetset, Verina Gfader, Martino Gamper, Joseph Grima, Alessandro Mendini, Antonio Negri, Paola Nicolin, Michaelangelo Pistoletto, Catharine Rossi, Vera Sacchetti, Libby Sellers, Studio Formafantasma, and Ettore Vitale
Design by Experimental Jetset

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Ettore Vitale's 1° Maggio,1973, poster 
for the Partito Socialista Italiano

I've reviewed or simply read my fair share of books about the work of Archigram, Ant Farm and Haus-Rucker-Co.. It was high time i'd read more about the Italian avant-garde in architecture and design because the 1960s and 1970s in Italy is a creative period that needs to get more attention outside of the country.

The key events and concepts covered in the book are never dull. The designers and architects of the Italian avant-garde had bite and sometimes they also had humour. Intellectuals and artists were protesting about the conservative model of the Venice biennial and calling for its restructuration (which gave way to the Architecture Biennial!) Ettore Sottsass was putting tiny tv sets in nature 'for night butterflies'. Ettore Vitale was designing posters reminding of the dangers of fascism. Radical architects were holding seminars on a disused railway bridge. Gruppo 9999 were creating the Space Electronic discotheque in Florence as a 'progressive multimedia environment.'

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Cavart, Progettarsi Addosso seminar, held on a disused railway bridge in Colze, Vicenza, September 27, 1975. Courtesy of Archivio Michele De Lucchi (via Domus)

The book compiles commissioned essays and interviews. By people who were questioning and shaking up design, architecture and art then and by people who, today, are analyzing and discussing the impact of those avant-garde ideas and realizations.

EP Vol. 1 - The Italian Avant-Garde: 1968-1976 lays the solid basis for a deeper and more critical reflection on a key moment in the history of architecture, design and art in Italy. I would recommend the book not only for its historical perspective but also for the way it echoes some of today's interests and preoccupations. The architects and designers of the time too were raising environmentalist concerns for alternative sources of energy. They were already questioning the rule of the objects and the role of an art biennial. They too were exploring more powerful uses of 'new media' while looking for a more meaningful relationship between man and technology. And believe it or not, they were already inventing designs driven by concepts and encouraging 'non-professionals' to build 'spontaneous structures' and participate in ongoing debates. Surely there are lessons there that we could all make use of.

I think that the book would have benefited from a clearer presentation of the socio-economic and political climate in that time and place. But other than that, i'd say this is one of the most exciting and eye-opening books designers and architects could lay their hands on these days.

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S. Elena/Giardini, Pier Paolo Pasolini during the protest at the Biennale. On the right: Ninetto Davoli and Cesare Zavattini, 1968. Archivio Cameraphoto Epoche

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Berengo Gardin, Venezia 1968, contestazione alla Biennale d'arte


Views inside the book (more images at Experimental Jetset):

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Corridor8 has an interview with Prof. Alex Coles and Dr. Catharine Rossi. Rossi also published a general introduction to the Italian avant-garde in Disegno Daily.

Previously: A Guide to Archigram 1961-74 , Inner World / Innen Welt: The Projects of Haus-Rucker-Co., 1967-1992, The Sky's the Limit: Applying Radical Architecture, Clip/Stamp/Fold - The Radical Architecture of Little Magazines 196X-197X, Book Review: Ant Farm - Living Archive 7, Casa Per Tutti, Other Space Odysseys, Ant Farm retrospective in Sevilla, Pioneers of conceptual architecture, etc.

I thought i'd add a few words and many images about a couple of exhibitions i saw in Madrid a few weeks ago. Just like Anonymization, these two are photo exhibitions. If it weren't for the fact that exhibitions are planned years in advance, I'd be wondering whether the current crisis is the reason why Madrid has so many photo shows right now. They are easier/cheaper to ship, install, insure? Maybe?

Anyway, let's kick off with Robert Adams: The Place We Live, a Retrospective Selection of Photographs at the Reina Sofia because it is simply stunning.

Since the 1960s, Robert Adams has been documenting the landscape of the American West. Lonely roads, small town lights, deforested woods, the Pacific, the great plains, the suburban residential estates, the truck stops and the shopping malls. The paradises lost and the ones about to be built.

For a European like me, there's something extremely exotic about his images. It's the Colorado i see in old Hollywood movies. Yet, the urban development and the over-exploitation of natural resources are realities we are all familiar with.

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Robert Adams, Longmont, Colorado, from the series 'Summer Nights', about 1982 (printed 1989)

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Robert Adams, Burning oil sludge, north of Denver, Colorado, 1973-1974

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Robert Adams, Longmont, Colorado, 1973-1974

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Robert Adams, Santa Ana Wash, Redlands, California, 1983, printed 1991

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Robert Adams, In a New Subdivision, Colorado Springs, Colorado, 1969

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Colorado Springs, Colorado, 1969

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Robert Adams, Frame for a Tract House, Colorado Springs, Colorado, 1969

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Robert Adams, Alameda Avenue, Denver, 1970

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Robert Adams, Pikes Peak, Colorado Springs, 1969

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Robert Adams, Lakewood, Colorado, 1968-1971

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Robert Adams, Sitka spruce, Cape Blanco State Park, Curry County, Oregon, 1999-2000

Robert Adams: The Place We Live, a Retrospective Selection of Photographs is at the Museo Reina Sofia in Madrid until 20 may 2013.

The other retrospective i wanted to mention is dedicated to the Galician photographer Virxilio Vieitez.

Virxilio Vieitez (Pontevedra, 1930-2008), one of the most important photographers of Spain's photographic history, carried out commissioned works, particularly intended for Galicians who had emigrated to Argentina, Mexico and Venezuela and wished to keep a visual record of their families in Galicia.

Almost no one ever smiles in those photos. Besides, people often chose to pose with some atypical companions: a radio, a goat, a couple of potted flowers.

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Dorotea do Cará, Soutelo de Montes, 1960-61

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San Marcos, 1962

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Everyone however is impeccably dressed.

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Pili a perruqueira [Pili the Hairdresser] Cerdedo, 1974

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'Changüí', Marilena Soutelo de Montes, 1964

Special mention to the Pirelli girls who deserves to feature on calendars:

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For some very odd reason, this sissy lady made me think of myself...

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Carnicería 'L. Monso', Cerdedo, 1967

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Spain, Galicia, 1955-1965

A few views from the exhibition space:

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The Virxilio Vieitez retrospective is at Espacio Fundación Telefónica in Madrid until 19 May 2013.

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