ParisPhoto Picks

This weekend we launched our latest publication, Eivind H. Natvig's Du Er Her No / You Are Here Now, at ParisPhoto. It was my first visit and although at times it was all a little overwhelming, it was great to be there to soak up the vibes and chat to some interesting people.

I tried not to buy too many books, but there were some that I simply couldn't resist. Here they are:

Carolyn Drake, Wild Pigeon, Self published

Ricardo Cases, El Porqué de las Naranjas, MACK

IPG Project, Sumimasen, Éditions du LIC

Jonás Bel, El Palentino, Phree

Rafał Milach, The Winners, GOST

Nicoló Degiorgis, Hidden Islam, Rorhof

Cordyceps is Your Friend

We're delighted to be a part of a fantastic event taking place this Friday in London - organised by Petrels at Cafe OTO on Friday August 15th 2014, the second ever Cordyceps is Your Friend will features performances from:

Lorah Pierre / Plurals
Black Heath Coven
Anji Cheung

+ Film Projections from Laid Eyes and Brassica playing records until late.

Entry costs just £4 in adv from here: and there will be tickets on the door for £5.
More info:

Also available: a special bundle deal available, where you can purchase a copy of the recent Glottalstop Woodsmoke LP and entry to the event for a combined price of just £10 (LP must be collected on the night). That's somehow cheaper than simply buying the LP direct here on the site.
Head to:

We designed a poster for the event, as a super limited run of just twelve prints. These are three-colour screenprints printed onto thick 350 gsm Flora Tabacco (the same paper used for the Glottalstop LP jacket in fact), designed and printed directly here at Tartaruga. They will be available for purchase on the night, and we also have copies here on the site:

Hope to see some people there!

Glottalstop: exclusive mix for Tartaruga

It's been a few months now since the first Glottalstop album, Woodsmoke, came out - the first vinyl release on Tartaruga. In that time it's had great, considered write-ups in Anti-Gravity Bunny, A Closer Listen, We Need No Swords, ATTN, Impose, and sparked a great Antipodean conversation on the Antidote podcast. Which is not to blow my own (distorted, fragmented, tape-hiss-laden) trumpet, but it's been massively gratifying to read a whole bunch of well-written reviews from people who'd properly engaged with a release that - whilst I was really pleased with it - I had no idea what kind of reception it'd get. So basically, thanks a load to all those people above and everybody else who bought a copy - especially that guy at the Petrels show in Kortrijk who asked "what have you got that isn't like all that singing crap?". Hope you enjoyed it.

Anyhow, this is no kind of segue at all, but I've made a mix:

I thought it'd be interesting to make a mix up using a broadly similar approach to how I went about putting Woodsmoke together. As such this is less of your usual mix approach of 'check this track out in it's entirety and then check this track out in it's entirety and then check this track out in it's entirety and then check this track out in it's entirety and then check this track out in it's entirety…' and more a case of me putting a bunch of tracks and sounds and textures together to form one kind of long form track. Because frankly I can't beat match and if you're going to just put a string of tracks that you like in a row, well then that's not really any kind of a mix at all is it?

In any case, all of the artists on this mix are people I love and that I feel some kind of affinity for in terms of what I was (and am) attempting to do with Glottalstop. If you're listening to this mix at all I suspect you'll have heard of the vast majority but if not I've included links where I can find them for the rest.

And speaking of Harley Garber (another seamless segue), Apartment House are going to be performing his incredible The Winds Rise In The North at Cafe OTO on 13 July and it'll definitely be worth missing the world cup final for.



1. Sarah Hopkins - Songs Of The Wind
2. Part Wild Horses Mane On Both Sides - One Day We'll Limit Forever
3. Kuupuu - Paha Koira
4. Taj Mahal Travellers - Between 7:03-7:15 P.M.
5. Audrey Chen - Glacial
6. Chris Watson - Casarina
7. Daniel Menche - Kataract
8. Jazkamer - Friends of Satan
9. Aaron Dilloway - Infinite Lucifer
10. People of the North - Drama Class
11. Harley Gaber - I Saw My Mother Ascending Mount Fuji
12. Bismillah Khan & Party - Shenai Instrumental
13. Vibracathedral Orchestra - A Natural Fact
14. Benoît Honoré Pioulard - Calder
15. Halim El-Dabh - Wire Recorder Piece
16. Sri Ma Keow & Chai Wat - Courting The Woman From Chiang Mai
17. Kyrgyz - Ghosts Of The Winter Run
18. Morton Feldman - Three Voices (opening)
19. Oliver Barrett - Mr. Author

Notting Hill Sound Systems: Exhibition

Please join us to celebrate the opening of an exhibition of work from Brian David Stevens:
Notting Hill Sound Systems
photographs by Brian David Stevens
Wednesday 9 July 2014
6.30pm – 9.00pm
The Social
5 Little Portland Street

In the summer of 2004 photographer Brian David Stevens rose early to capture the towering speaker rigs and sound systems of the Notting Hill Carnival before the crowds arrived.
The sound systems, towering monuments to volume that stay in place for three days, are portrayed starkly and simply in Stevens’ photos, a far cry from the colourful, loud and crowded images that normally depict the carnival. Stevens says he wanted to shift the emphasis to the source of the music that was drawing people there in the first place, and yet was drowned out in the visual noise. “Normally you never see these streets empty, they’re absolutely packed with people,” he says. “I got down there very early as they were setting up and shot the huge, monolithic speakers just in the middle of the street, where they look fantastically beautiful — I think every street corner should have one on them.”

Tartaruga has produced a limited boxed set of screenprints, featuring six photographs from the series screenprinted as A2 monochrome prints on to high quality archival paper.

The prints are produced in a limited run of just 30, and come housed inside a custom printed box. Copies of the boxed set of prints will be on sale here at and available directly at the exhibition launch on July 9. 

Additional photos and information available here:

Daisuke Yokota

“I look at a photograph. It is an image that I shot some time ago. It has been just long enough since I shot the image that I am fuzzy on the exact circumstances of the time. What was I thinking then? There probably wasn’t a particular reason I made the exposure, but there was some sequence of events that resulted in releasing the shutter. What was my intention? I cannot remember; or, perhaps, the me of here and now can no longer know what it was.” – Daisuke Yokota

Last week saw the launch of Granta: Japan, which features some extraordinary work by photographer Daisuke Yokota (b. 1983).

Yokota describes his photography as being in part an attempt to visualise memory, “what we remember, as well as what we don’t”. His photographs challenge our temporal connection to a medium usually so grounded in a specific moment. It is so far removed from Cartier-Bresson’s ‘decisive moment’ it almost makes you wonder how they can both be called Photographers.

For Yokota, composing a shot and pressing the shutter are just the beginning of an extraordinary working process. Images are taken first on a digital camera. Yokota takes lots of images. I mean lots of images. Some days, he said (whilst in conversation with the Tate’s Simon Baker at the Granta launch), he might take 3,000 pictures. Then, when he feels like making something – a book say - Yokota delves into his hard-drives and pulls out a bunch of pictures that fit his mood. These images are printed and then re-photographed on film. This re-photographing may go on and on, until the moment in which the photograph was initially taken seems totally inconsequential.

Yokota likes to experiment with what he calls ‘the potentiality of film’. Areas of grain are enlarged and parts of the negatives are singed. Darkroom techniques such as solarisation, use of over heated developer fluid and out-of-date fixer, allow him to relinquish a certain amount of control, and open his work up to unknown possibilities. The images published in Granta: Japan (taken from Yokota’s 2013 book Site/Cloud) are ethereal, ghostly and dreamlike. They all seem to be clouded in a mist, or a film. You’re forced to look through them to see them.

Then there is the acid. In his latest work, published by Goliga, Yokota adds a further performative element to his process. Images are screen-printed onto paper coated with brass. Acetic acid is then splashed on to the prints and areas begin to discolour and burn away. Depending on the atmospheric conditions – temperature, moisture – the affects are totally unpredictable, making each set of prints in the edition unique. The affect the acid has on the prints can go on for days, further challenging the notion of a photograph being a representation of a single moment.


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