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how lonely, to be a marsh. By Madeline Cass.

https://www.photoeye.com/bookstore/citation.cfm?catalog=ZJ139

how lonely, to be a marsh
Photographs by Madeline Cass

self published, 2019. 100 pp., 8x10".

I have been in the wetlands of Virginia when they crested their banks due to an abundance of rainwater to join the River James and caused an algae bloom to kill the fish where the heron makes its nest. Wading knee-high into blue-green, god-knows-what, down by the train tracks while looking for something I still cannot define.

Marshes have an unsettlingly quiet wilderness about them. Waters so dark that gazing into the murk will have you mimicking a witch, looking into a scrying mirror for answers stewed in myth. A similar, yet more compassionate, energy arises when leafing through how lonely, to be a marsh by Madeline Cass. The poet-photographer’s first monograph blends documentary photography with the arts to build narrative around threatened Nebraska wetlands.

how lonely, to be a marsh. By Madeline Cass.

While some may see this book as an active rebellion towards a capitalist society, pushing for the protection of nature. I believe that Cass is using the marsh as a medium to further understand her own identity. Not to imply that the goal of the artist here is inherently selfish but, rather, to say that an eco-warrior mentality is not the main draw to this experience. That is to say, if we are going to assume that the marsh has feelings synonymous to those of a human being, then we are seeing those emotions projected, through Madeline, onto soil, water, and the wildlife therein via photography, poetry, and research.

how lonely, to be a marsh. By Madeline Cass.

What strikes me most about this book is the artist’s ability to weave themes together in a fairly chaotic way. The interior design is all over the place. Handwritten text merges with typeface, images overlay other images, archival scans go full bleed at random. If the intention behind the design was to copy the fluid natural chaos of the Earth, we find success in the presentation. Images serve as document while walking the line between fine-art and photojournalism.

how lonely, to be a marsh. By Madeline Cass.

These are images that, at times, feel like historical documents, but serve the viewer’s inherent desire for a little eye-candy. We get the sunsets, we get the eggs, we get brush blurred, we get the taxidermy eagle, we get the archival aerial photograph. All the bases are covered and serve their purpose. I wouldn’t be surprised to find this book re-issued by a larger publisher once the initial self-published batch runs out.

Ultimately, what we have in how lonely to be a marsh is the documentation of an artist’s early forays into field research and building a compelling body of work around that practice. A truly impressive result for the size of the undertaking Cass took on in Nebraska. I feel as though this book asks us to take a moment to listen to our surroundings. Beckoning us towards the idea of a more sustainable future. One where we, as human beings, are cognizant of the plague we’ve become to our only home. The hope that we can right the ship and save ourselves before the sun sets on our reality. A book abundant with riddles still waiting for answers.

how lonely, to be a marsh. By Madeline Cass.

Christian Michael Filardo is a Filipino American photographer living and working in Richmond, Virginia. Filardo uses their camera to record everyday nuances, later grouping images to create narratives from the mundane, intimate, and quiet. Filardo writes critically for photo-eye and PHROOM and is a co-founder of the Richmond based art space Cherry. They have exhibited domestically and internationally. Their latest book Gerontion was released at the LA Art Book Fair in April 2019. They also released the zine Not Until This Morning (UDLI Editions) at NYABF in September 2019 which has since sold out.

Gerontion. By Christian Michael Filardo.

https://www.photoeye.com/bookstore/citation.cfm?catalog=ZH898

Gerontion
Photographs and text by Christian Michael Filardo

Dianne Weinthal, Los Angeles, US, 2019.
60 pp., 34 four-color illustrations, 6¾x10".

I have been thinking for a while about this review and how I will approach it, that I will approach it like I approach every other review I write. Of course, I didn’t completely do that. I failed at first to do the Googling that I typically do because I have an atypical proximity to this photographer. It’s enough to say that Christian Michael Filardo and I were close friends for a time when they lived in Santa Fe, but we haven’t talked since they moved in the summer of 2018. This, maybe, gives me some additional context. I know the Brad who is mentioned in the text and recognize two of the three faceless people depicted. I know this, but it is not illuminating. I say all of this because though this book is deeply personal, it is also about an internal state that I couldn’t have traction on, regardless of what I know and what I do not.

The cover of Gerontion is beautifully designed; the red printed dust jacket unfolds to a red image printed on the inside. It feels a bit like a chapbook. Indeed, it takes its name from a T.S. Eliot poem, reprinting the Shakespeare epigraph that starts it on the book’s cover. The dream and pull between youth and age mentioned in the sparse lines are themes demonstrated throughout. It even appears in the book’s signature, which includes a child-like holdover of “Age 27” between the name and date.

Gerontion. By Christian Michael Filardo.

The images, shot with flash and existing within a blown-out flatness, can be interestingly confusing. Filardo’s eye is slyly associative, and the photographs feel most concerned with showcasing his odd discoveries. Much of what Filardo captures is outdated or broken down—the most timely items being a can of La Croix and a bottle of Gatorade, but these two are used up. The tight vertical frames show small and specific views that feel suspended in time. A pair of checkerboard pants lays on a dizzying tiled floor, a silvery dragon sticker gleams on the side of a rusted car, bits of red pop in a small apartment kitchen. While the perspective is clear, the images feel impersonal, which stands in contrast to the book’s writing. Consequently, it is also worth getting to know the book from just the photographs, letting them breathe without the emotional crowding of the text.

Gerontion. By Christian Michael Filardo.

The first poem enhances a sense of narrative in the early images, but as the book progresses, narrative becomes less apparent and we are left with feeling. The stream of consciousness poems have a hazy-minded logic and a preoccupation with death. They are heavy in the way that so many young men I’ve known have told me with narrowed eyes, “I don’t expect to make it to 30.” Every one of them did. The solipsism of sadness bounces off of mundane action to create a very specific humor. It is a strong voice of slight depiction. Momentary feelings are made clear, but little is revealed.

Gerontion. By Christian Michael Filardo.

While the associative qualities that brought the lines of the poems together are opaque, the associations between images become more overt. About halfway through the book, the parallels between images hit a high pitch, so much so as to cloud their distinct subject matter; what is notable is that they look like each other. I am brought back to those lines of text mentioning Brad: “I could never tell you how much it meant to me, the trust. Putting faith into something you know will let you down. Brad calls me to tell me he’s sorry he’s forgotten to be in touch. I’m sorry I’ve forgotten to be in touch too.” I am reminded of those states where the urge to prolong and examine the emotion overtakes the need to mitigate it. These are places of free association where traces of the things you can’t stop thinking about surface everywhere. The act of connection is clear even if the significance is not.

As I sit down to write this, I read a music review and find uncanny associations to my own patterns of thought. The reviewer excerpts a quotation from The Egg and The Chicken by Clarice Lispector about how the most important part of knowing something is what you do not know. I have a growing affinity for the complexity of this kind of knowing. There is much I don’t know about this book, but what I do understand is its mood, an interior place of looking outward.

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Gerontion. By Christian Michael Filardo.

Sarah Bradley is a multidisciplinary artist whose practice spans writing, audio, sculpture, installation, and costume. Her writing on photobooks has appeared in photo-eye, IMA, Phroom and Southwest Contemporary. Bradley is a co-founder of the Santa Fe art space Etiquette, a Creative Director at Meow Wolf and a co-host of the Too Sick podcast.
sebradley.com

Where I Find Myself: A Lifetime Retrospective
By Joel Meyerowitz.

Laurence King Publishing, 2018.

Christian Michael Filardo selects Where I Find Myself: A Lifetime Retrospective, by Joel Meyerowitz, from Laurence King Publishing, as Book of the Week.

"The first time I ever met Joel Meyerowitz was in 2009 when I was eighteen years old. I had submitted three photographs to a show at Arizona State University that he was the primary juror for and he rejected all three. Strangely enough, every print submitted was set out on a table, each print Joel didn’t feel was appropriate for the show he would subsequently turn over. Like most 18-year-olds I was a bit crestfallen and my ego was bigger than I could comprehend at the time. I was annoyed, but to be fair, the photographs were bad.

Later the same evening Joel was lecturing on his body of work Aftermath about September 11th, as the privileged child of a professor I asked my father to get me tickets to the lecture in hopes that I would be able to meet Joel and ask him why he didn’t select my images for the show. Lo and behold, I end up in the VIP area at the ASU art museum pre-lecture and get my time with Mr. Meyerowitz. I approached Joel with fear and no shame simultaneously. We spoke about why we make pictures and what image making really means to us. I liken Meyerowitz’s presence to that of a monk — he is tall, bald, his clothing is simple and functional, and he speaks with a soft gentle voice. I was surprised when I confronted him that I wasn’t treated like an annoyance but a peer. Ultimately, my conversation with Meyerowitz would lead me to understand that photography can be just as much about what is in the photo as it is about what isn’t in the photo. It was the first time I can remember understanding the concept of stepping back and allowing myself to see more of the scene, an image.

Many years later, working here at photo-eye, I would meet Joel again in Santa Fe. Strangely, I couldn’t find the courage to talk to him about the night his wisdom altered my photographic life. Sure I was nervous to see him again, but I suppose I didn’t feel like reminding the oracle of the wisdom that he had bestowed upon me. The new Meyerowitz retrospective Where I Find Myself is a dense and varied look at the life of an individual that has transformed the medium of photography. Joel has done everything from street to landscape, still life to portraits, and color to black-and-white. His practice has taken him all over the world and his life, while earned, is surely one that many image-makers envy.

Where I Find Myself offers a look at the career of an individual who earned it every step of the way. It allows you to watch a master age. It is a true document that reveals the many lives we live in a single lifetime. To me, Joel’s journey is a reminder to never be defeated, but to look difficulty in the eye and forge a new path regardless of the obstacle. Ultimately, you need Meyerowitz in your library and this is the chance to get a broad look at one of most advanced photographic minds of a generation." — Christian Michael Filardo

Purchase Book

Where I Find Myself: A Lifetime Retrospective By Joel Meyerowitz. Laurence King Publishing, 2018.

Christian Michael Filardo is a Filipino American photographer, curator, and composer living and working in Santa Fe, New Mexico. This year they released their second book The Voyeur’s Gambit through Lime Lodge. Currently, they help run the gallery and performance space Etiquette and write critically for photo-eye and Phroom. Filardo is the current shipping manager at photo-eye Bookstore.

I Want Your Love By Richard Renaldi.
Super Labo, 2018.

Christian Michael Filardo selects I Want Your Love, by Richard Renaldi, from Super Labo, as Book of the Week.

"Life is long but also short. This is a phrase that has been constantly said to me since I was a child. Recently, on May 21st, I turned twenty-seven years old. Overwhelmed by my ability to comprehend time, I felt amazed by the density of life, scared and excited by the amount of living we do as individuals. Each person living many lives, experiencing drastically different paths while we are all simultaneously united by our existence on Earth. In I Want Your Love by Richard Renaldi we explore Renaldi’s life path until the present day.

Growing up gay to divorced parents in suburban Chicago, Richard kept his sexuality secret for most of his upbringing. Doing what he could to get away from his life and explore a foreign culture that he desired despite his distance from it. Renaldi’s early exploration of his identity as a gay man came in the form of photography — which is subtly revealed in this monograph. Acting as a diary assembled from vernacular images, written memories, and personal photographs, I Want Your Love is a colorful and intimate journey that reveals itself through its humanity.

As viewers, we experience Renaldi’s trials with AIDS, heartbreak, family obstacles, partying, bliss, sex, and the mischief of youth. We see Richard at his highs and his lows. We learn about the collapse of his dreams, his struggles with certain lovers, we re-live the moment he came out to his mother, but most of all we experience his fast-paced, colorful, high drama lifestyle. We discover Seth, Eric, and Terry. We feel the brutality and mystery of the AIDS epidemic. We watch as Richard’s parents struggle, accept, and support their son.

Renaldi is known for his ability to create intimate portraits; his past works are heralded for how vulnerable and willing his subjects feel. However, the way Renaldi looks inward in this book does something that his other publications don’t do for me. In I Want Your Love we find Richard exposed, free, and not holding back. This monograph is a diary that leaves no stone left unturned. We find the human inside the hero, we find the little boy inside the man, and Renaldi seems to show us that life is long but also short. He reveals not only the intricacies of identity but reveals one of the most valuable truths we can know as humans, this life is special regardless." — Christian Michael Filardo

Purchase Book

I Want Your Love By Richard Renaldi. Super Labo, 2018.

The Iceberg By Giorgio Di Noto.
Edition Patrick Frey, 2018.

Christian Michael Filardo selects The Iceberg, by Giorgio Di Noto, from Edition Patrick Frey, as Book of the Week.

"We exist in a world in which we constantly consume. A complex and intricate global economy built of numbers and figures, constantly morphing and changing. Within our world, there are sub-worlds and cultures in which we may, or may not, choose to participate in. Often, if we choose not to participate in these worlds they become abstract and distant from our understanding. These subcultures form their own languages and communicate in a way foreign to those who exist outside of their realm of thought. In Giorgio Di Noto’s The Iceberg, we turn our gaze to the dark web where individuals push beyond the surface of the Internet as basic users know it. They communicate in the shadows, generating their own economy, disappearing and reappearing from the murky obscured networks in which they exist.

In Di Noto’s monograph we are presented with a plethora of mostly blank white pages, occasionally some black text, and grey subdued clip art style images. It all appears rather inconspicuous on the surface. However, Di Noto offers us the ability to take a closer look via a companion Ultra Violet flashlight that comes with The Iceberg. When the light is shone upon the pages of the book, colors are revealed along with many latent images and ghosts that seem to emerge from between the pages. While it might seem like a gimmick, the production of the book is a nice conceptual work in and of itself. The images are interesting as a language even if they aren’t always interesting as pictures.

Really, what Di Noto is doing is using photography as a vessel to represent vanishing and fleeting communication from an environment that few rarely see. These pictures represent private transactions, secret dialogue, and illegal activity. Most of all, they give emotion to the online experience that few often associate with World Wide Web. Drab stock photos are morphed into secret portals that could mean anything and hold an infinite number of consequences and possibilities.

The Iceberg feels limitless and while it isn’t what many tend to perceive as photography, it adds a much needed conceptual armature to the conversation of contemporary fine art photography. Di Noto grasps his knowledge of a subculture and uses it to propel often meaningless images into the realm of high art. It’s as if he’s turned fool’s gold into real gold and in doing so, he pushes the boundaries of the way we see. He gives us access to codes we didn’t know existed and opens our eyes to something foreign and beyond us. If you’re interested at all in photography as a visual language, then The Iceberg is a book you must experience." — Christian Michael Filardo

Purchase Book

The Iceberg By Giorgio Di Noto. Edition Patrick Frey, 2018.

Overflow. By Takuma Nakahira. Case Publishing, 2018.

Christian Michael Filardo selects Overflow, by Takuma Nakahira, from Case Publishing, as Book of the Week.

When one thinks of Japanese photography it’s easy to gravitate towards the extremely well-known masters: Fukase, Moriyama, and Araki. However, Takuma Nakahira is potentially one of the most influential Japanese photographers you’ve overlooked. Known primarily for his black-and-white work, Nakahira was one of the founding members of Provoke magazine, a quintessential building block of Japanese photography that helped form what contemporary Japanese photography is today. Since Nakahira’s passing in 2015 we’ve been lucky to see a few publications of his work see the light of day.

For Book of the Week this week, I’ve selected Takuma Nakahira’s Overflow from Case Publishing. Overflow is a body of work consisting of 48 color photographs shown for the first time in 1974 as an installation at The National Museum of Modern Art, Tokyo. For the book version, the installation has been photographed with a digital camera and presented in a linear way. This approach essentially distorts the installation and re-contextualizes Nakahira’s images.

The result is a skewed presentation of Nakahira's extremely moody examination of urbanity. The seemingly random cropping of the installation is hard to pinpoint but makes sense in an abstract way and gives Overflow an extremely unique flow. While it feels impossible to examine these images as stand-alone documents, it is easy to comprehend the complex photographic style in which Nakahira operated. Overflow feels fast and loose, like a joyride through the city, as if Nakahira didn’t stop walking to take a single picture.

While confusing at first, Overflow is a constantly unfurling narrative. It renders the linear sequence powerless and creates a jumble that can be interpreted in a myriad of different ways. It doesn’t matter if you look at it from left to right or what page you begin on. Overflow is best experienced by chance and is a true testament to the genius mind of one of Japanese photography’s most underrated heroes. — Christian Michael Filardo

Purchase Book

Overflow. By Takuma Nakahira. Case Publishing, 2018.

Election Eve. By William Eggleston. Steidl, 2017.

Christian Michael Filardo selects Election Eve, by William Eggleston, from Steidl, as Book of the Week.

"Life used to be simple. Now it’s a little less simple and a lot more complicated. I started my viewing experience of Eggleston’s Election Eve like any logical person would, with four glasses of red wine.

It’s easy to think that things could have been different after any election. However, the night before the results are announced is a night that one remembers. It’s like the day before a baby is born, or the day you forget to put the trash on the curb. You can accept it, or you can regret it. For the most part, I’ve always been a fan of William Eggleston. Election Eve is as much about the American as it is about Eggleston. Unlike many Americans, however, Eggleston likes to stop and smell the roses. He doesn’t drive directly to his destination, rather he stops and takes his time. Photographing the crippled trees, the dilapidated houses, the fish fries, and empty lots.

America was different back then. Nowadays you can still go on for miles and not see a damn thing. However, you’re never too far away from a gas station or advertisement trying to warp your perception of reality. What does it really mean to elect a President of the United States of America? Do the trees notice the difference? Towards the end of this monograph, Eggleston photographs a number of churches that I don’t think he’d step foot in. I don’t perceive him to be a man of the lord. However, the picture Eggleston takes of a basketball hoop in this book feels as close to god as any image he’s made.

I suppose what I am trying to say here, is that William Eggleston cuts through the crap. He is the photographic wizard we all perceive him to be. He waves his wand at the mundane and it becomes important or beautiful. To think of this body of work as the result of a presidential election would be a mistake. Rather, I like to think about it as the result of an experience that an individual chose to embark on in search of answers that the press was not giving him. Eggleston wanted to be reminded what it felt like to drive, he wanted to remember what America dreams about at night. When the sun goes down, and the light fades from vision, and there is nothing left but a tree swaying in the humid breeze of the Georgian plains. Election Eve isn't about a specific Election, it’s about the mortality of a nation. It illustrates what it means to cast the ballot, to roll the dice, to take a chance on the land of freedom." — Christian Michael Filardo

Purchase Book

Election Eve. By William Eggleston. Steidl, 2017.

Rowing a Tetrapod. By Fumi Ishino. Mack, 2017.

Christian Michael Filardo selects Rowing a Tetrapod, by Fumi Ishino, from Mack, as Book of the Week.

"Two different autographed 8x10- inch photographs of American astronaut Douglas H. Wheelock are featured in Rowing a Tetrapod, one for Fumi and one for Danelle. One bears the message, 'Aim High & Touch the Stars!' the other with the motivational phrase 'I hope all your dreams come true!'

Most humans only imagine touching stars, few have journeyed where Colonel Wheelock has. Occasionally, at work, we watch the SpaceX launches live. The way the rockets jut out into the atmosphere and land with ease has always astounded me. Like a tetrapod emerging from the watery depths touching solid land for the first time. In Rowing a Tetrapod by Fumi Ishino we attempt to decipher multiple riddles presented to us in the form of various black-and-white images. Santa holds a gun, a cloud on the horizon mimics an explosion to the port side of a large ship, a white bird curls toward itself, and a frame of the same satellite repeats.

We know that Fumi Ishino (Fumikazu Ishino) is from Japan and that he received his MFA from Yale. In Rowing a Tetrapod, it becomes fairly obvious that Ishino takes photographs from both his life in Japan and in the United States and presents them as a hybrid world. Hyper intimate despite its esoteric nature, we can infer that Ishino is trying to present what moving to America from a foreign country might be like. We are shown confusing images of a plainly clothed girl in a spacecraft cockpit, Japanese-English homework slowly revealing answers from page to page, pitched rooves and microscopes, a script sign reading 'fresh meat'. While the narrative can feel loose at times, Ishino recognizes the importance of sequencing and flexes that muscle in a subtle and masterful way in his first book. Each image feels like it has a purpose in telling the story Ishino wants to tell.

While strong sequencing is omnipresent here, that’s not to say there aren’t multiple trains of thought occurring. Occasionally, Rowing a Tetrapod can feel like a group of vignettes. The feeling of leaving and arriving seems to exist and the classic hero’s journey formula even applies at times. This causes the arc of Rowing a Tetrapod to feel fluid and very refined. Hyper-contemporary in aesthetic, the book presents us with flash, still lifes, vernacular, and esoteric imagery all working together to give Ishino his own unique dialogue. The influences are apparent but not overbearing. Both Roe Ethridge and Torbjørn Rødland seem visually present throughout and are acknowledged in the back of the book.

Ultimately, what we find in Rowing a Tetrapod is what will likely be known as a pivotal work for Ishino in the future. His vision is remarkably well thought out, crafted, and some would say masterful. At times, it feels like a Mobius strip of narrative that could just go on forever into infinity. Each image stands on its own and communicates what it needs too in order to propel Ishino’s consciousness forward. A look inside his head, Rowing a Tetrapod is the first glimpse into the mind of someone people will one day call a genius."— Christian Michael Filardo

Purchase Book

Rowing a Tetrapod. By Fumi Ishino. Mack, 2017.

Sparkling Past.
By Benjamin Hugard and Klaus Speidel. RVB Books, 2016.

Christian Michael Filardo selects Sparkling Past, by Benjamin Hugard and Klaus Speidel, from RVB Books, as Book of the Week.

"Over the last year, I have spent hours coming back to Sparkling Past, a book of photographs by Jean-Francois De Witte curated by Benjamin Hugard and Klaus Speidel. Sparkling Past is not your ordinary book. Sparkling Past is a book of rejected commercial photographs arranged in a monograph by two curators. While there is an emphasis on the curatorial aspect of selecting the perfect rejects, one-offs, and stand-alone narratives, I don’t find myself impressed by the academic rigor involved in the formation of this book. What I find truly impressive about this softbound monograph is the nature in which these commercially rejected photos work together to create a surreal capitalist fantasy where everything is perfectly lit, beautiful, and to be consumed.

Often, the photographer is thought of as a magician, and the photograph a spell that creates something that takes a moment, usually unperceivable to the human eye, and renders it perceivable. We are shown the armature that floats a snickers bar above a serene bed of plastic ice that appears to be exploding. A cat sits perfectly on a pedestal in front of a cuckoo clock, chiming in front of a gray backdrop, perfectly lit with white bounced light. My favorite image is that of a Sony Integrated Stereo Amplifier sitting in a blue void that mimics a monsoon sky stacked on top of some sort of painted concrete floor. These images are beautifully constructed, each still life as sculpturally unique as they are photographic.

To me, Sparkling Past is something fun and beautiful. Simple and exposed, we see the workshop and the work both at once. A dishwasher pod defies gravity, a frozen citrus diving mid-plunge into water, a Coca-Cola bottle cap bursting with its logo perfectly exposed. Fans of Christopher Williams and Roe Ethridge, who like to blur the lines between fine art and commercial photography will absolutely love this book. Sparkling Past is a source of constant joy and it offers a healthy dose of the surrealism when needed." — Christian Michael Filardo

Purchase Book

Sparkling Past. By Benjamin Hugard and Klaus Speidel. RVB Books, 2016.

The Mechanism. By Mårten Lange. Mack, 2017.

Christian Michael Filardo selects The Mechanism, by Mårten Lange, from Mack, as Book of the Week.

"The future is upon us. Screens surround us and everything is relentlessly documented and archived. People live on devices day in, day out, constantly monitoring their lives while they, in turn, are monitored by the world around them. In Mårten Lange’s The Mechanism Lange watches us watching ourselves. Lange captures broadcasts, satellites, computer monitors, office buildings, and the way light reflects off the metal and glass of urbanity.

At first, one might think of the work contained in The Mechanism as sterile and cold, however, Lange’s outlook on the future is not entirely humorless. The way he juxtaposes architectural giants with dumbfounded people and images of text reading “Standard Life” or “100%” with a humongous disco ball is comedic. When I look at this book, I think Lange is right. The future is both beautiful and stupid at the same time. Less ominous than the black monolith that we often associate with the hyper future, Lange’s future is simple and shiny and contains boxes and spheres, humans doing nothing, and text that makes sense while being nonsensical. Lange seems to realize the future is something we all have the ability to comprehend but have no real understanding of because it hasn’t happened yet.

I feel as though The Mechanism is Lange’s attempt to create a narrative about some sort of dystopian human future. Everything is wrong but high tech, rigid and manicured, pristine and abandoned — truly a fun and noble attempt at showing us what the future could look and feel like if we decided to make everything out of metal and all humans were mindless drones.

Ultimately, I find The Mechanism to be a compelling and amusing illustration of what could potentially be our fate — one big city, surrounded by useless infrastructure with little to do other than look at our screens into infinity" — Christian Michael Filardo

Purchase Book

The Mechanism. By Mårten Lange. Mack, 2017.

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