Associated Nostalgia (signed)
by Eugenia Maximova
Photographs: Eugenia Maximova
Text: Christian Caujolle
Publisher: lafabrica
84 pages
Pictures: 50
Year: 2015
ISBN: 978–84–16248–15–5
Price: 35 €
Comments: 21 x 25 cm
The Bulgarian photographer Eugenia Maximova recognises that many of her childhood memories are related to the kitsch aesthetic. During the communist years, which were characterised by a shortage of goods, showing off objects became the most obvious and naïf way of boasting certain possessions. These extravagant, gaudy items were displayed in glass cabinets and became apoint of family pride. Maximova commemorates this brightlycoloured aesthetic in this volume of kitsch images, compositions that say as much about today as Baroque still lifes. The book includes an introduction by Christian Caujolle.
Mentioned by Lederman / Yatskevich / Lang in HOW WE SEE PHOTOBOOKS BY WOMEN
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Associated Nostalgia (signed)
by Eugenia Maximova
Photographs: Eugenia Maximova
Text: Christian Caujolle
Publisher: lafabrica
84 pages
Pictures: 50
Year: 2015
ISBN: 978–84–16248–15–5
Price: 35 €
Comments: 21 x 25 cm
The Bulgarian photographer Eugenia Maximova recognises that many of her childhood memories are related to the kitsch aesthetic. During the communist years, which were characterised by a shortage of goods, showing off objects became the most obvious and naïf way of boasting certain possessions. These extravagant, gaudy items were displayed in glass cabinets and became apoint of family pride. Maximova commemorates this brightlycoloured aesthetic in this volume of kitsch images, compositions that say as much about today as Baroque still lifes. The book includes an introduction by Christian Caujolle.
Mentioned by Lederman / Yatskevich / Lang in HOW WE SEE PHOTOBOOKS BY WOMEN
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Associated Nostalgia (signed)
by Eugenia Maximova
Photographs: Eugenia Maximova
Text: Christian Caujolle
Publisher: lafabrica
84 pages
Pictures: 50
Year: 2015
ISBN: 978–84–16248–15–5
Price: 35 €
Comments: 21 x 25 cm
The Bulgarian photographer Eugenia Maximova recognises that many of her childhood memories are related to the kitsch aesthetic. During the communist years, which were characterised by a shortage of goods, showing off objects became the most obvious and naïf way of boasting certain possessions. These extravagant, gaudy items were displayed in glass cabinets and became apoint of family pride. Maximova commemorates this brightlycoloured aesthetic in this volume of kitsch images, compositions that say as much about today as Baroque still lifes. The book includes an introduction by Christian Caujolle.
Mentioned by Lederman / Yatskevich / Lang in HOW WE SEE PHOTOBOOKS BY WOMEN
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