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The title of this project refers to a US Cold War missile detection system of radar stations over Greenland and Arctic regions of North America, put in place to protect American cities from nuclear attack. Thule Air Base in the far north is now the US Air Force Space Command and the North American Aerospace Defense Command. Today the base is used for monitoring space for defense purposes.  Specifically, it is home to the 21st Space Wing’s network of sensors that provides early missile warning, space surveillance and control.  &#13;
&#13;
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                  <text>Ravensbourne BA Digital Photography Internship Programme fully funded by The Photobook Cafe and Rapid Eye Darkrooms &#13;
We are delighted to welcome BA Digital Photography students from Ravensbourne University London to The Photobook Café for a six-week work placement programme running throughout March and April. This opportunity has been fully funded by The Photobook Café and Rapid Eye Darkrooms.&#13;
During their time with us, students will take part in an intensive, multi-strand programme designed to provide practical, professional experience across the breadth of a working cultural organisation.&#13;
The placement is structured across four core strands, enabling students to develop a broad and practical understanding of working within a cultural organisation. Through research and writing, they engage critically with the photobook collection while producing a substantial written project; through curation and public programming, they gain hands-on experience in exhibition-making, contributing to displays, talks, and artist liaison; through communications and documentation, they build skills in audience engagement across social media, editorial content, and visual documentation; and through facilitation and community engagement, they support and co-deliver zine workshops and participatory sessions. In addition, the programme includes specialist sessions such as an industry shadowing visit to Rapid Eye, offering insight into a leading independent photography space, and a business operations session led by The Photobook Cafe’s Director, introducing the practical and financial realities of running a sustainable cultural venue.&#13;
Throughout April, a curated selection of photobooks studied by the cohort will be on public display in The Photobook Cafe and Rapid Eye Darkrooms. Each of the ten participating students has selected titles that reflect and support their individual practices and interests in printed matter. These selections are accompanied by a written research thesis, produced in-house as a series of zines, with each publication entering The Photobook Café’s permanent collection for visitors to read and reference. This work is particularly significant in the context of increasing inaccessibility to specialist materials, photobooks are often difficult to access, even within universities where library collections are being reduced. Through the placement, each student spends approximately 70 hours engaging directly with our collection, developing a deeper understanding of how an archive is built and activated, while also bringing attention to underrepresented publications and expanding the breadth of sub-genres within the existing collection.&#13;
&#13;
&#13;
Alongside the physical displays at The Photobook Café and Rapid Eye darkrooms, the exhibitions will also be presented within our online photobook collection. This digital iteration ensures that the featured publications and research can be accessed by audiences worldwide, extending the reach and longevity of the programme beyond the physical space.&#13;
&#13;
The selected photobooks include Open Mic by Ewen Spencer, Bare With Me by Begum Yetis, Everwonderful by Jeano Edwards, The Wedding by Nick Waplington, and Metamorphosis, A Retrieval of Love by Samuel Zhang. Also featured are Iceland: Living with the Elements by Laura Kopold, Ogrody Szczęśliwości (Gardens of Bliss) by Artur Rychlicki, Somerset: A View from the Hill by Matilda Temperley, Wheal by Jack Whitefield, and Parways: A Photographic Journal Along the Ridgeway by Matt Writtle. Further works include English Landscapes by Fionn Reilly, Après l'Été by Roberto Badin, An American Mile by Kyle McDougall, Silvertown by Allan Forrester Parker, A Star in the Sky by Laura El-Tantawy, J’ by Pamela Maddaleno, RWS by Alisha Brocklebank, and Front Door by Ocean Farini. Additional titles include Original Magazine Vol. 2, Without by Martina Bjorn, Folks with the Notes by Jonny Nolan, Blood Sweat and Tears by Jody Evans, Colorway by Sophie Hustswick, Lost in Staten Island by Juanita Richards, Konkursas by Francessca Allen, and Ròżowy Nie Istnieje by Iwona Germanek. Other featured works are The Anonymous Project by Martin Parr, I’ve Lived in London for 86 Years by Martin Usborne, One Day Young by Jenny Lewis, For Every Minute You Are Angry You Lose Sixty Seconds of Happiness by Julian Germain, My Father’s Things by Wendy Aldiss, Characters of the London Colour Walk: In Their Own Words by Athanasios Athanasiadou, European Portrait Photography Since 1990, People of the Mud by Luis Alberto Rodriguez, Coming Up for Air by Stephen Gill, The Wild Resistant by Alina Hibert, Alexander McQueen: Working Process by Nick Waplington, and Drowning Light by Rhys Frampton.&#13;
&#13;
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                <text> The zine is a celebration of the joys, absurdities and romances of growing up. Alongside the places we inhabit and the people that are a part of it. I hope for the project to inspire people to celebrate and remember that within every day there is something worth remembering and cherishing.</text>
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                <text>Guftgu looks to initiate conversations within practice and context. Emerging out of dialogues with practitioners when our world seemed restrained physically, the works incorporated in this curation expand on the processes behind a growing visual language within South Asia and the South Asian diaspora.  &#13;
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Constructed as a curated collection by Offset Projects, each of the zines included in this edition have been put together keeping in consideration the intent and motivations behind the subject of the work.</text>
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                <text>Edited and curated by: Anshika Varma</text>
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                <text>In a way, Gulu's photography has always been forbidden. There has always been a desire amongst artists and photographers to use naked bodies as their subjects, as the perception of the body is universal. The contradictions, and resistance, in such works has always been there. The passion continues to collide until it fades, at the decisive moment of desire and fear, balance and imbalance. Thus, we need to consider the image produced by the camera and its true intention. The "Suddenly Retreating Desire" comes from the fragmented text of Blanchot, and an accidental glance at it has a strong connection with Gulu's photography. Its critical point is that it is both a creative state and a way of viewing. The card set includes a one-page text on the artist and 22 photocards of his wor</text>
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              <text> Camilla Dal Cero, Yizhi Zhang</text>
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              <text>Lu Mei</text>
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                <text>“WILDPHOTOS” is a collection of almost 300 polaroid pictures that I took between 2017 and 2021. On a photography level, through the peculiarity of polaroids, I carried out a second creation, including painting, collage, film transfer and flame burning. From the content to its overall structure, these works are rebellion and subversion against the tradition. But what I want to clarify is that these pictures oppose the restraints of reality while cheering for the expression of freedom, embodying the Chinese philosophy of the Yin &amp; the Yang, or the philosophy of mutual enhancement and inhibition between the five elements. I sum that up with “the coexisting of water and fire”.&#13;
&#13;
 &#13;
&#13;
As everyone knows, the imaging of Polaroid photos is inseparable from the liquid chemicals in the photographic paper, and the technology of secondary processing of "film transfer". Moreover, the photographic paper must be peeled off, and the picture immersed in the water; this way the water becomes the medium that will complete the transfer, leading its own characteristics to appear on the picture. That is how eventually water appears on the work. Thus, I wanted to take one more step, as I thought of the opposite of water, fire. Water represents Yin, fire Yang. It seems like paper-based Polaroids have never come in relation to fire, so during the development of an image, I tried to involve fire. Thereby, making water and fire, these antagonists create a new collision right on the same picture, consequently mixing into a new work of art. After testing relentlessly for a year, I put part of the resulting images in the second half of a book. It seems just like offering sacrifices in primitive religions, as the people in the Polaroids went through a baptism of water and fire, almost making me see God.&#13;
&#13;
 &#13;
&#13;
Following a timeline, the book “WILDPHOTOS” can be divided into three macro sections: the first part includes works from 2017 to 2020; the central part focuses on the collage of film transfer; the last part consists of the new trials made in 2021. The name of the book has two levels of meaning: one is the English name “WILDPHOTOS”, as this collection makes the body the main content of the book. My and the models’ common objective is to get rid of the false and retain the true, making the human body return to the natural state, making people human again, finding a freer, wild condition. The second one is the Chinese name “歪风”, as these works lack of a place to exist in the conservative, biased and narrow-minded atmosphere of the Chinese society. Being regarded as "unhealthy tendencies" of moral corruption, what we have to do is to let this unhealthy trend blowdown and let countless weeds grow again.&#13;
&#13;
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                <text>This catalogue is published on the occasion of Gulu’s exhibition organized by Migrant Bird Space Berlin, curated by Lu Mei.</text>
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