No More No Less Skinnerboox edition by Kensuke Koike and Thomas Sauvin. First edition, first impression from 2018. Medium format paperback in new condition. Signed by Kensuke Koike and Thomas Sauvin to rear end page. No markings. This is a brand new book. Please see pictures.
About No More No Less
No More No Less is a collaboration between Koike’s genius vision and Sauvin’s incredible archive of Chinese images and documents that he rescued from a recycling plan in the outskirts of Beijing.
The resulting images are grounded in Koike’s signature style, but the sharpness of the gelatin silver prints cues a more geometric approach to each piece. The new images appear as optical illusions and fragmented expressions.
Once No More No Less had taken a life of its own, Sauvin and Koike gave three different publishers free reign to do whatever they wanted with the material, as long as they followed only two rules: 400 copies and no contact bout their concept or design.
This is the No More No Less Skinnerboox edition.
About Thomas Sauvin
Thomas Sauvin is a French photography collector and editor who lives in Beijing. Since 2006 he exclusively works as a consultant for the UK-based Archive of Modern Conflict, an independent archive and publisher, for whom he collects Chinese works, from contemporary photography to period publications to anonymous photography. Sauvin has had exhibitions of his work, and published through Archive of Modern Conflict. Sauvin started the Beijing Silvermine project, accumulating more than 850,000 anonymous color negatives (as of December 2019) destined for destruction in a Beijing recycling zone.
About Kensuke Koike
Through juggling, ripping, disassembling and then reassembling photographs, a Japanese artist Kensuke Koike creates new images with their own independent lives, just barely connected with their previous ones. As he constantly searches for a perfect image processing that would ultimately lead to a perfect collage, the artist slowly becomes an alchemist who uses everyday materials, turning them into artistic gold, showing that everything depends on our point of observation of reality and the way in which we take into consideration.
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