msdm a nomadic house-studio-gallery for photographic art and curatorial research, an expanded practice of the artist's book, photobook publishing and peer-to-peer collaboration created by contemporary artist paula roush


Blurring The Lines

URBANAUTICA  presents the catalog of 'Blurring The Lines', curated by Steve Bisson & Lisanne van Happen, coordinated by Paris College of Art with the support of FOTODOK. The aim of the Blurring The Lines is to select, exhibit and publish projects that are a representation of the rapidly changing field of photography. It is also the opportunity to show why photography is an important medium in creating new perspectives on the world we live in, and on difficult issues we have to deal with. This year, the competition saw the participation of 17 Photography schools worldwide, amounting to 72 projects of outstanding quality. The works are exhibited at PCAs' Espace 15 during Paris Photo this November. photography lsbu is represented by Elizabeth Prestland's 

Date: November 8th, 2016
Time: 18:30
Where: Paris College of Art
Address: 15 Rue Fénelon, 75010 Paris, France

Urbanautica in collaboration with PCA (Paris College of Art), Plateforme,Filmessay, University of Arts London and Berliner Technische Kunsthochschule
- talk by Steve Bisson (founder of Urbanautica);
- videoart screening session with Katerina Athanasopouloiu, Rob Carter, Theo Tagholm;
- opening of the exhibition 'Blurring the Lines' co-curated with Francois Ronsiaux.
Read more about the full programme from HERE.





Atelier 3|3 is preparing the 4th edition of ZineFestPt, will have place in 1, 2 and 3 november 2018, at Mira Fórum e livraria Mundo Fantasma. It will happen at Porto, Portugal, but integrates the concept and practices developed in other ZineFest that happen around the world - to show the culture and the accessibility of the creation and acquisition of self and/or independent editions.



Thursday 4/10/2018 - 15.20 - 17.00  K2-VG06
Guest Lecture: Things we do, things we're planning to do 

Daniel Alexander/ Adam Brown/ Paula Roush/ Dave Lewis/ Simon TerrillKatrina Sluis & TBC - Franklyn Rodgers/ Ian Atkinson


we have been busy... over the last year we have been exhibiting in the UK and abroad, curating, making, writing, publishing, planning future exhibitions and much more. This guest lecture slot will introduce you, or update you, to the range of work being produced by the people teaching you at the School of Arts, and outline the things that we are excited about for the future.

Only members of Photography course may attend.  If you would like to attend as a guest please contact paula::::

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msdm + friends at the London Art Book Fair 2018 
with: Afterall, Akerman Daly, AND, Aperture, Archive Books, Archive of Modern Conflict, Are Not Books & Publications, Art / Books, Baron, Behind the X, Blue Horses, Broken Dimanche Press, Marcus Campbell, Chelsea Space, Common Books,Common Editions, Concentric Editions, Copy Press, Design for Today,Samuel Dominguez Zegers, Egidija & George, The Everyday Press, Faceless Artist, Fitzcarraldo Editions, Four Corners Books,Antonio Freiles – Spazio Libro d’Artista, Clare Gasson, Marian Goodman Gallery, GOST Books, Hoxton Mini Press, Independents United, JENNINGS/NIEDERBERGER, Laurence King, Kiss and Tell Press, Leonie Lachlan, Lalata, Less Than 500, Lisson Gallery, London Centre for Book Arts, Sara Mackillop, MAMA Books, Ruth Martin, MIT Press, Motto, msdm, National Portrait Gallery, object permanence, Occasional Papers, Oh!, David O’Mara, OOMK, ottoGraphic, Overlapse Photobooks, Mark Pawson, PrintRoom,Publication Studio, Redfoxpress, James Reid, Setsuko, Batool Showghi, Spiralbound / Susak Press, Studio SFCH, Summer Forest X Ju Hee, Tara Books, United Vagabonds, Unpatient, Valiz, Walden Press, We are Publication, Hans Weyers, Whitechapel Gallery, Wunderkammer Press, YAO E, Zabludowicz Collection, David Zwirner Books
6 - 9 September 2018

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download the (12 pages A5 zine) pdf here

BLAME YOUR PARENTS: DOING IT YOURSELF WITH VINTAGE FILM CAMERAS AND GOOD OLD PAPER ZINES a presentation by Amy Warwick is out now, part of ə-books #3 zine


Presentation by Amy Warwick at the Photobook Pop-Up, London Road, May 2016; Recorded with iphone 6 and transcribed from .mp4 into a word.doc

I got into film photography just before starting my photography degree. I like messing around with cheap film cameras I find on EBay. I met a friend of a friend one day just pottering around in Shoreditch, he was using an Olympus mju ii, which I now use a lot. I got talking to him and looked at his work, he concentrated a lot on street and documentary photography. I really like it and used him as inspiration to get into this style of photography.

I follow a lot of other film photographers who use point and shoot cameras on Instagram and they all seem to be making zines. A lot of photographers seem to be getting their work onto print. I looked closely at their zines and their work and decided to create my own zine filled with 35mm film documentary and street photography. I think it suits a zine really well, analogue photos onto print instead of digital photos on a screen.

I had four months to shoot and I didn’t really know where to start. I decided to take a completely different approach to this than my other projects, I’d usually try to think of a bunch of ideas and go with the one that I think is the best. For this project I just started shooting anything I saw that I thought was interesting when I was out and about with my friends. It sort of turned into taking photos of drunk people, I liked the look of it so I went with it.

I shot the whole thing on an Olympus mju ii. One of the reasons I chose it was because it’s so concealable and easy to get into places where flash photography is banned. On the street I’ve found that people get a bit intimidated when you ask for a photo and you’ve got a big DSLR set up, with an mju ii they don’t always even noticed I’ve taken a photo of them because the camera is so small.

The zine is kind of like an archive of my life at that time. My parents used to use point and shoot film cameras in the late 90s to document my sister and I growing up. It’s cool to look back on, to scan the negative and see all the grain in the photo. For me I can pick my zine up in the future and it would be a funny thing to look back on, mostly photos of my friends messing about, out and about in different clubs.

The zine just developed into the last four month of my life I guess. At the same time, it’s a documentation of this whole party life thing, documenting this group of people who are young adults but not quite mature, they’re still into the whole teenage lifestyle of drinking, partying.

I think this fits well with the punk aspect of the zine. Kind of doing what you want the photozine to be because it’s yours, anyone can make a zine. Making zines is definitely something I want to go into some more, maybe make a series.

I like the idea of the analogue photos and the kind of analogue presentation. It’s not on a computer screen, it’s physical, in your hands. Same as when you get the negatives back from the lab, they give you the prints and you can feel them. A lot of my favourite photographers do stuff like this, shoot on film and make zines - Cheryl Dunn, Ed Templeton, Deanna Templeton. They still shoot analogue and get their photos onto print.

I love the aspect of the photobook, especially zines. They’re so cheap to make, I used cheap film from a poundshop, cheap paper. It’s a really cheap way of getting your photos out there.

Almost all of the photos in the zine were shot in Brentwood, Essex. It’s different to how Essex is portrayed and it’s different to the stereotype that Essex has. I didn’t specifically have the location in mind while shooting though, more youth culture. You can look at the zine and it could be any British town. The content is something that most young people can relate to, everyone kind of does the same thing when they’re young, no matter where they are from.

I really struggled with the sequencing of the book, so I just put it together with the photos in chronological order. The photos were in order of the times they were shot and I tried to stick to that as much as I could, and then rearranged it in a way that I thought looked more pleasing. I wanted to have it in order so that I could look through it and the photos were in the order that the events happened. I rearranged it in a way that it wouldn’t seem too repetitive.

In terms of self-publishing, I’ve just advertised the zine mostly on social media. I follow a lot of people who make zines and do this sort of thing, so there’s already an audience there. I want to get in touch with bookshops and try my luck there. I definitely want to try and get it out there.

A lot of the zines I looked into for research were black and white, mine is colour. I used colour film so I had the option to make the zine full colour or black and white. I was quite adamant at first to go with black and white to fit in with the stereotype of the zine and the original zine before colour was about, but when I tried both black and white and full colour, I preferred colour. Some of the colours came out quite nicely, I think it would have ruined it a bit if I put it in black and white.

That’s one thing I really like about film, the photos don’t always come out exactly how you want it. You get light leaks and the photos don’t always turn out how you think they will. When you get the negatives back, it could be completely different to what you saw. I like that about film, you have to work with what you’ve got.

I named the zine ‘Blame Your Parents’ because of the first photo inside. I took a trip to Brighton one weekend, I wasn’t planning on shooting for the zine but I shot on my mju ii with the zine still in mind anyway. I was walking though The Lanes and saw ‘Blame Your Parents’ spray-painted on the wall. I stood there for about 10 minutes waiting for all of the people there to move out of the way so I could get a quite shot, it was a busy weekend and there were a lot of people around. I got a photo of it and it fit in well with the zine and the youth culture aspect of it, so I put it in and name the zine Blame Your Parents.

Amy Warwick: Blame Your Parents

Photography and design: Amy Warwick

Laser printed on Fabriano paper 120gsm

Edition of 50

Amy Warwick is a student in the Photography (BA Hons) course at the London South Ban University. Blame Your parents is her second zine, created during the 2nd year photobook module and presented in the Photobook Pop-Up Shop, London Road, May 2016. It features in Foyles selection of photozines available at the Charing Cross branch.



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super private


We're opening The Arab Image Foundation for a meeting  on Thursday, July 2nd at 6:30 pm.

We titled it “super-private,” in reference to some boundaries that are sometimes felt by those of us dealing with other people's photographs. Over the course of two weeks I have been creating  work informed by my readings of the photographic collections at the Arab Image Foundation and my practice as an artist working with found photographs in both print and installation.

The process of researching a photographic collection is a subtle negotiation of understandings: the practice of acquiring and documenting photographs, the dialogue between digital and analogue format, the controlled environment of preservation, as well as conversations, accidents, and mere chance encounters confronted with within the space housing the collection.

The AIF Library is at 337 Gouraud Street, Gemmayze, Beirut, Lebanon


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nothing to undo (book dummy)

I'm currently working on the book dummy for Nothing To Undo, a project photographed in 2011 in a journey between Malmo and Stockholm. Always thought as a photographic collection for a photobook ( as opposed to an installation, as it could happen) it is taking fours years of editing and turning it upside down, for it  to become the body of work it inhabits today.   Printed A3 and folded into A4, it combines french and japanese binding, in a fragmented layout that might encapsulate the theme of migration and double vision (H.Bhabba).  Now that I have settled for a (even if open and flexible) photographic layout, I am looking at the spatial interface of photos and language. The text is written by Maria Lusitano (also featured in some of the photos) and my aim is to place it in a graphic relationship in which photos and text essay each other. Not to use the text as captions that anchor the photos' meaning but to create a productive friction/ conflict between photography and language.


paula roush   :::
msdm studio :::