Note Note Editions – förlag

"One of my earliest memories is of a Persian rug at my childhood home in Abu Dhabi – I loved looking at it for hours, projecting myself into its maze of vines, trees and peacock feathers. I wanted so badly to teleport to this world that I believed was real and animated inside the carpet. Patterns are repetitions of form and theme, but beyond that, they are universes to fall into -- geographic planes with rules of their own.Patterns, even when clashing, say something about aspiration, self -reflexiveness and belonging. They tell us about time and place, texture, touch, desire, and time. The universe beyond the pattern (and the medium photography, too) is a space where gravity gives way and where we are removed from our physical bodies, floating – a kind of paradise where we can leave the real world behind". Farah Al Qasimi

"Inframundi is a catalogue of imaginary artefacts inspired bya personal story: that of a childhood spent in the presenceof an ancient pre-Columbian mummy. Drawing on thisformative memory, Elisa Valenzuela imagines the objectsone might need in the afterlife. Born from several years of research, the project is basedon the study of pre-Columbian, Oceanic, and ancient artcatalogues. The artist borrows their visual and descriptiveconventions and shifts them toward fiction, constructing aparallel archaeology in which imagination replaces scientificmethod.The book unfolds in chapters that echo the major spheres ofexistence: beauty, style, utensils, the rites of passage, rituals,childhood. Each section explores the gestures, beliefs, orneeds one might wish to carry into another world. Combs,sound amulets, ritual shoes, domestic tools, or articulatedtoys form an ideal funerary collection—plausible, yet entirelyimagined.Inframundi questions what objects retain from ourselves:gestures, beliefs, bonds, fragilities. In this re-inventedafterlife, they emerge as figure—companions, markers, orguides—extending what ties us to the world. The projectexplores the malleability of memory and archaeologicalnarrative, showing how a story can be reshaped differently.Created through a dialogue between artistic gestures andartificial intelligence, these artefacts adopt the codes ofancient relics while opening a fictional territory where newnarratives can emerge."

Note Note Éditions presents Note Note Collection, a singulareditorial project that seeks to portray those more or lessrecurrent obsessions that characterise a photographer’swork.For this fifth issue, Guillaume Blot celebrates a simple anduniversal passion – the French fries, and how its evocativetaste has the power to conjure up shared memories. Fromfries with roast chicken on a Sunday to teenage trips toMcDonald’s; from a snack at the stadium to the smell of friedfood on your t-shirt; from the generous portions at roadsiderestaurants to the ones you munch on after a night out, frieshave a place everywhere, and always have. For 10 years, Guillaume Blot has travelled up and down France to capture the popular, festive and friendly ritual thatla frite always provides. True to the tenderness and curiosity he brings to capturinginstances of everyday poetry, Guillaume Blot deliversanother ode to those simple moments of shared joy, inwhich pleasure itself is collective – a sincere, almost childlikedelight that is rooted in being there, with others.

The work FLOU advances the experiments carried out by twenty photographers from the French and international art scenes during an exhibition held in September 2022, in Agnes Costa’s eponymous laboratory. Note Note Éditions offered those photographers the opportunity to publish a selection of images related to the theme of blurriness by reflecting on photography and to venture beyond the aesthetic norms of “the proper image“. FLOU presents a total of 40 photographs. Despite the variety of techniques used and subjects treated, the photographs agree on the very materiality of the image. FLOU is also an opportunity to bring together, in a single book, a contemporary photographic scene, concerned with various aesthetics matters and priorities, but united in a common desire to exchange and dialogue with its time.

Note Note Éditions presents Note Note Collection, a singular editorial project created in collaboration with journalist Sophie Pinet. Note Note Collection positioned between fanzine and book presents in images the recurring “obsessions” that inform the work of contemporary photographers. With each issue, a photographer is invited to use these pages as a forum for exploring a favorite theme or feature a person or thing that is meaningful for him or her, in a way that is funny and absurd or weighty and serious. Pig, shows another, more intimate and sensitive aspect of Feng Li’s work. The photographer has agreed to share images of his expanded family which at one time included three cats, a parrot and, obviously, a pig with whom he developed a close relationship. After rescuing the pig from certain death when it was abandoned by a previous owner, the photographer and his wife decided to adopt it. Pig is an invitation to share their daily life through Feng Li’s eyes, and the view is tender and caustic in equal measure. In a 2017 interview with web magazine DoorZine, Feng Li dismissed suggestions that he considered the animals he lived with to be pets, insisting that it was he who was their pet, and a rather spoiled one at that, who truly appreciated the time they spent together. Asked in a November 19, 2020, interview with Marguo Gallery if he had a favorite model to work with, he said: No, I just capture the moments of life. But if I had to say a favorite model, it would have to be my pig. This is the pig I picked.