‘Oscurana’ presents a body of work that results from the various trips that Antoine d’Agata has made during more than thirty years in American countries: Brazil, Peru, Nicaragua, Salvador, Ecuador, Bolivia, Guatemala, Haiti, Puerto Rico, United States, Cuba, and Mexico.

The images are notable for its immediate, almost brutal vision of the societies taken by the brutal spiral of violence. Through the degeneration and paroxysm of the flesh, the photographer tries to reveal fragments of a society that escape the usual analysis and visualization of the collective body. He exposes himself, sharpens his awareness of a world that absorbs and feeds, without any precaution or judgment.
Edited from a common selection of Antoine d’Agata’s images from Latin America, 7 different books share the same dimensions, title and artistic statement – a text called ‘Oscurana’. The project is done by different invited publishers, that were given the freedom to select the images, the design, the materials, printing and binding techniques.
‘Oscurana’ is a collaborative project developed amongst 6 publishers from different countries. Offering a reflection on the work of the Antoine d’Agata by several countries and publishers, in a dialogue that opens new perspectives in the ways of making photobooks.
For ‘Oscurana’ project, Void proposes a book to be autopsied. The reader will dig in the darkness within Antoine’s oeuvre, being themselves, the legists of d’Agata’s universe. An investigation from the intimacy, through the narcotic experiences until the darkness of the violence’s banality in America.
120 Pages
400 copies
Softcover

Party Studies – Vol. 1 – Home gatherings, flat events, festive pedagogy and refiguring the hangover
Ar(t)chitectures situées - Étienne Delprat
Graphic Design Is (…) Not Innocent - Ingo Offermanns
La mémoire de l’ordre. Les paradoxes du sens dans l’architecture moderne. - José Ignacio Linazasoro
An artist - Malena Pizani
Habitante 2 - Coll.
Le style anthropocène - Philippe Rahm
Tu peux répéter ? – Écrire, parler, expérimenter les langues - Marianne Mispelaëre
Au chevet des milieux : L'émancipation par l'outil manuel - Yetecha Negga
Désolation - Verity Spott
Changer l'art par ses marges ? - Charlotte Laubard
Le Dépli - Loïc Largier
Prendre l’image, Le graphisme comme situation politique - Olivier Huz
Critique d'art n°56
Comment réparer : La maternité et ses fantômes - Iman Mersal
Après la révolution – Hors-série – JO Paris 2024. Carnets de luttes
Rupture (fragments) - Benjamin Monti, Jean-Charles Andrieu de Levis
Poétique d'une introspection visuelle - Jean-Charles Andrieu de Levis, Alex Barbier
Les Grands Ensembles - Léo Guy-Denarcy
Femme, Arabe et... Cinéaste - Heiny Srour
Talweg 6 - La distance
How Many - Nathalie Du Pasquier
Paravents - Eva Taulois
À partir de n°1 - Coll.
interférence - 3 - maycec
Cyclone - Juliette Chalaye
Artzines # 10 - Show & Tell #2 NY Special
Critique d'art n°55
Eros negro n°4 - Démoniak
Strates & Archipels - Pierre Merle
Dans la Lune - Fanette Mellier
Je ne peux pas ne pas - Geneviève Romang
ICCMHW - Atelier Choque Le Goff
Ventoline 5 - Coll.
Débris N°2 - Théo Garnier Greuez
Eurob0ys Crysis - Massimiliano Bomba, Leon Sadler, Yannick Val Gesto
Entretiens – Jérôme Dupeyrat
Zoom Age - Julien Auregan
Gnose & Gnose & Gnose - Aymeric Vergnon-d'Alençon
De tels baisers - Jul Gordon
16 x 421 - Lorraine Druon
Dear Paul - Paul Van der Eerden
Crise de foie - Christine Demias 



















