7 A M
[ O U R R E C E N T L Y A C Q U I R E D K N O W L E D G E ]
J A N U A R Y 1 9 T H , 2 0 2 3
B O O K / V I N Y L / C D A V A I L A B L E : H E R E
7 AM is the result of the photographic works by Tereza Kozinc and Klavdij Sluban featuring the music release Our Recently Acquired Knowledge by Observatories (Ian Hawgood & Craig Tattersall) initiated by IIKKI, between July 2022 and December 2022.
The complete project works in two physical imprints: the book and the disc (vinyl/cd). It should be experienced in different ways: the book read alone, the disc listened to alone, the book and the disc read and listened to together.
About 7 AM / Tereza Kozinc & Klavdij Sluban:
This non-family album is dedicated to our family
Fragments of memory:
“Diapers. Sore nipples. Cramps. Sleep deprivation. A year of waking up every three hours. The dicta- torship of a “happy” birth. A happy family, Dad, Mom, a baby. Pampers dictatorship. Antenatal classes. First lesson dental care. We swap messages on a piece of paper. Cesarean section. We pass each other the scrap of paper. We smirk, careful not to be spotted by the teacher. Pancakes on Sunday mornings. Morning rituals. Bleeding in the middle of the night. In an ambulance. A month and a half before the due date.
Martin is born at 07:07, on 17 July, infant ID bracelet 2777. I’m looking at him, I’m speaking to him. They saved our lives.
Bring my camera to the maternity hospital for me.
The pond. The marshes. Bajdi. Running. Laughter. Let’s ride a bike. Mossy forests and red dandy horse. Mom’s little sunshine. Grandma’s little sunshine.
The family album. The need to take pictures. Let’s go for a ride. It’s snowing. Lipoglav village or Toško
Celo hill ? I crave the woods. The price of film has risen again.
We’ve been taking photos since the conception, already in Paris, without a plan. But the photo series keeps building up, the camera lying between a hat and a backhoe loader.
A broken arm. Spiral fracture of the femur. Back in the ambulance. Papa’s on a plane. Mom, give me your hand. White coffee and powdered milk. Concrete mixer truck. Grand caca de Šiška. Joli pipi de Paris. Papa is coquin. Mom is coquine.”
Tereza Kozinc (1985) is a photographer. She was born in Slovenia, at that time Yugoslavia. In 2011 she finished her studies at the Institute and Academy for Multimedia in Ljubljana. She has been changing places from Ljubljana to Greece for nearly a decade and after to Paris - for a quest of a home while on the other side she was always urged by the necessity to move. This is also the main focus she explores in her work, the question of her home, geographically as well as emotionally. Tereza’s life can be read within her photographic motives, her work stretches between diary and documentary photography, characterized by a minimalist reality that grows into surreality. The questions often stay open and emotions lead the way.
Based on intuition and on her everyday life, Kozinc’s series spread from the north of Japan to the south of her kitchen. She’s a self-taught photographer, mostly using 35mm film.
Tereza Kozinc is the recipient of the French Fotofever Prize and was an artist nominated to join the international photographic platform Futures. Her work has been featured on prominent European photographic platforms, and showcased at photo festivals (including La Nuu Spain, Voies Off France, Planches Contact France, Kranj Foto Fest Slovenia) and galleries (e.g., Inselgalerie Berlin, l'Institut français du Cambodge, Photon Gallery Ljubljana, Cankarjev dom Ljubljana, Analix Geneva).
She’s the coordinator of East To East Photography, organizing workshops centered on former Yugoslavia and the Balkans, together with photographer Klavdij Sluban.
Klavdij Sluban, winner of the European Publishers Award for Photography 2009, of the Leica Prize (2004) and of the Niépce Prize (2000), main French prize in photography, Klavdij Sluban is a French photographer of Slovenian origin born in Paris in 1963. He develops a rigorous and coherent body of work, nourished by literature, never inspired by immediate and sensational current affairs, making him one of the most interesting photographers of his generation. The Balkans, the Black Sea, the Baltic Sea, the Caribbean, Central America, Russia, China and the Antarctic (first artistic mission in the Kerguelen islands) can be read as many successive steps of an in-depth study of a patient proximity to the encountered real. His images have been shown in such leading institutions as the Metropolitan Museum of Photography of Tokyo, the Maison Européenne de la Photographie in Paris, the Rencontres d’Arles, the Museum of Photography in Helsinki, the Fine Arts Museum in Canton, the Musée Beaubourg, the Museum of Texas Tech University…
His many books include East to East (published simultaneously by Actes Sud, Dewi Lewis, Petliti, Braus, Apeiron & Lunwerg with a text by Erri de Luca), Entre Parenthèses, (Photo Poche, Actes Sud), Transverses, (Maison Européenne de la Photographie), Balkans -Transit with a text by François Maspero (Seuil), In Vivo (IIKKI) (2021, Photo Poche, n°169 (Actes Sud) (2022)
Since 1995, Sluban has been photographing teenagers in jails. In each prison he organizes workshops with the young offenders to share his passion. First originated in France, in the prison of Fleury-Mérogis with support of Henri Cartier-Bresson during 7 years, as well as Marc Riboud and William Klein punctually. This commitment was pursued in the disciplinary camps of Eastern Europe –Serbia, Slovenia, Ukraine, Georgia, Moldavia, Latvia – and in the disciplinary centres of Moscow and St Petersburg as well as in Ireland. From 2007 to 2012, Sluban has been working in Central America with imprisoned youngsters belonging to maras (gangs) in Guatemala and Salvador. In 2015, he started photographing imprisoned teenagers in Brazil.
In 2013, the musée Niépce showed a retrospective of Klavdij Sluban’s work, After Darkness, 1995-2012.
In 2015/16, he was awarded the Villa Kujoyama Residence in Kyoto, Japan. K.Sluban is member of national and international jurys, such as prix Niépce, prix de la Jeune Photographie de Niort, prix Leica, All About Photo…
Observatories is a collaborative music project by Ian Hawgood and Craig Tattersall. This is their second opus together after their first release on IIKKI in March 2021.
Born in the United Kingdom, Ian Hawgood spent most of his adult life living in Japan, Italy and Poland. Currently he calls Peacehaven (on the south coast, near Brighton) his home. Since 2009, he’s well-known with his work as the curator of the Home Normal label. He makes music using an array of reel-to-reel and tape machines in his studio by the sea, where he also master works for many labels and artists alike. You could often catch him on the coast with his faithful Nagra recorder, hydrophone and field microphones. These days his focus of music is on decayed ambient works using old synths and reels mostly, alongside his childhood piano.
Craig Tattersall is a former member of The Remote Viewer and Famous Boyfriend bandmate Andrew Johnson. Tattersall's music can be found these days more often under his alias The Humble Bee; as a founder member of The Boats; and in his collaborative works with the likes of Bill Seaman in The Seaman And The Tattered Sail. He has run the wonderful label Cotton Goods from 2008 to 2015 and since 2009 he has recorded 15 solo albums on his moniker The Humble Bee and almost the same under his name on some collaborations.
Initiated by IIKKI, in 2022,
7 AM (the book) and Our Recently Acquired Knowledge (the release) is their dialog.
E D I T I O N
Book: limited edition to 700 copies, hand numbered & hand stamped.
hardcover book (16 cm x 20 cm), 128 pages, 72 photos, printed on Arena Natural Smooth 140g/m2, logo embossed, swiss binding, cutting circle on the front cover, hot stamping on the fonts.
Vinyl: limited edition to 300 copies, hand numbered, selective UV varnish.
Cutting Lacquer, 12''clear vinyl, mat laminated outer sleeve on 300gm paper, white inner. mastered by Ian Hawgood.
Cd: limited edition to 200 copies, glass mastered. hand numbered.
mastered by Ian Hawgood.
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