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Landscape Files / 01
On Landscape and Territory
Softcover, 205 x 260 mm, 8,07 x 10,03 Inch
Hardcover, 210x 255 mm, 8,26 x 10,23 Inch
8 Pages
2 BW Illustrations
English / German Text
ISBN 978-90-76922-08-9 / ISSN 978-90-76922-06-5
Edition
100 ex. softcover
100 ex. hardcover, limited and numbered.
Landscape Files / 01
Publication date 11.2010
Hardcover / 01 EU 45,00
Softcover / 01 EU 18,00
Landscape Files is a multi issue publication project.
Starting 11.2010, upcoming issues will follow over
the course of 2011 / 15.
Erica Overmeer
Landscape Files / 01
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Erica Overmeer
Landscape Files / 01
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Landscape Files / 02
On Territory and Conflict
Softcover, 205 x 260 mm, 8,07 x 10,03 Inch
Hardcover, 210x 255 mm, 8,26 x 10,23 Inch
8 Pages
2 BW Illustrations
English / German Text
ISSN 978-90-76922-06-5
Edition
100 ex. softcover
100 ex. hardcover, limited and numbered.
Landscape Files / 02
Publication date 06.2011
Hardcover / 02 EU 45,00
Softcover / 02 EU 18,00
Softcover Package 01 / 04 EU 45,00
Landscape Files is a multi issue publication project.
Starting 11.2010, upcoming issues will follow over
the course of 2011 / 15.
Erica Overmeer
Landscape Files / 02
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Landscape Files / 03
On Territory and Conflict
Softcover, 205 x 260 mm, 8,07 x 10,03 Inch
Hardcover, 210x 255 mm, 8,26 x 10,23 Inch
12 Pages
3 BW Illustrations
English / French Text
ISSN 978-90-76922-06-5
Edition
100 ex. softcover
100 ex. hardcover, limited and numbered.
Landscape Files / 03
Publication date 06.2011
Hardcover / 03 EU 45,00
Softcover / 03 EU 18,00
Softcover Package 01 / 04 EU 45,00
Landscape Files is a multi issue publication project.
Starting 11.2010, upcoming issues will follow over
the course of 2011 / 15.
Erica Overmeer
Landscape Files / 03
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Landscape Files / 04
On Women and Conflict
Softcover, 205 x 260 mm, 8,07 x 10,03 Inch
Hardcover, 210x 255 mm, 8,26 x 10,23 Inch
8 Pages
2 BW Illustrations
English Text
ISSN 978-90-76922-06-5
Edition
100 ex. softcover
100 ex. hardcover, limited and numbered.
Landscape Files / 04
Publication date 09.2011
Hardcover / 04 EU 45,00
Softcover / 04 EU 18,00
Softcover Package 01 / 04 EU 45,00
Landscape Files is a multi issue publication project.
Starting 11.2010, upcoming issues will follow over
the course of 2011 / 15.
Erica Overmeer
Landscape Files / 04
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Landscape Files / 05
On Territory and Conflict
Softcover, 205 x 260 mm, 8,07 x 10,03 Inch
Hardcover, 210x 255 mm, 8,26 x 10,23 Inch
8 Pages
2 BW Illustrations
English / German Text
ISSN 978-90-76922-06-5
Edition
100 ex. softcover
100 ex. hardcover, limited and numbered.
Landscape Files / 05
Publication date 03.2012
Hardcover / 05 EU 45,00
Softcover / 05 EU 18,00
Erica Overmeer
Landscape Files / 05
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Landscape Files / 06
On Territory and Nature
Softcover, 205 x 260 mm, 8,07 x 10,03 Inch
Hardcover, 210x 255 mm, 8,26 x 10,23 Inch
8 Pages
2 BW Illustrations
English / German Text
ISSN 978-90-76922-06-5
Edition
100 ex. softcover
100 ex. hardcover, limited and numbered.
Landscape Files / 06
Publication date 09.2012
Hardcover / 06 EU 45,00
Softcover / 06 EU 18,00
Erica Overmeer
Landscape Files / 06
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Landscape Files / 07
On Territory and Conflict
Softcover, 205 x 260 mm, 8,07 x 10,03 Inch
Hardcover, 210x 255 mm, 8,26 x 10,23 Inch
8 Pages
2 BW Illustrations
English / German Text
ISSN 978-90-76922-06-5
Edition
100 ex. softcover
100 ex. hardcover, limited and numbered.
Landscape Files / 07
Publication date 09.2012
Hardcover / 07 EU 45,00
Softcover / 07 EU 18,00
Erica Overmeer
Landscape Files / 07
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Artist Publications / New Publications 2013
Landscape Files / 01 / 07
On Landscape and Territory
Collectors Box /
7 Harcover Issues
205 x 260 mm, 8,07 x 10,03 Inch
BW Illustrations
English / French / German / Dutch Text
Landscape Files is a multi issue publication project.
Starting 11.2010, upcoming issues will follow over
the course of 2011 / 15.
Erica Overmeer
Landscape Files / Collectors Box / 2013
O Book Publisher /
Artist Publications / New Publications 2013
Landscape Files / 01 / 07
On Landscape and Territory
Collectors Box /
7 Harcover Issues
205 x 260 mm, 8,07 x 10,03 Inch
BW Illustrations
English / French / German / Dutch Text
Landscape Files is a multi issue publication project.
Starting 11.2010, upcoming issues will follow over
the course of 2011 / 15.
Erica Overmeer
Landscape Files / Collectors Box / 2013
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Landscape Files / 01 / 07
On Landscape and Territory
Softcover Package / per issue
205 x 260 mm, 8,07 x 10,03 Inch
8 Pages
2 BW Illustrations
ISSN 978-90-76922-06-5
English / French / German Text
Landscape Files / 01 - 07
Publication dates 11.2010 / 09.2012
Softcover Package 01 - 07 75,00 EU
Landscape Files is a multi issue publication project.
Starting 11.2010, upcoming issues will follow over
the course of 2011 / 15.
Erica Overmeer
Landscape Files / Softcover Package / 2014
O Book Publisher /
Artist Publications / Essay
Landscape Files. On Landscape and Territory.
Based on clippings from international newspapers,
Landscape Files deals with manifestations of contemporary territorial conflict and the landscape as
shaped by social constellations today.
Well-known press photos of international conflict
zones are transposed into a new and isolated context. These images are distilled into a minimalist
book form, with precisely specified sources.
Landscape Files is interested in the subversive
nature- and political dimension of landscape as a
public space and social environment. Seen in the
context of conflicting interests, a landscape under
the strain of urban sprawl, immigration, social conflict, new borders, scarce resources and the changing needs and shifting identity of a global society.
Landscape Files depicts how we shape and are
being shaped by our surroundings and the landscapes we inhabit.
Landscape Files is a multi volume publication project. Published in a limited edition of 100 copies
softcover and 100 copies hardcover, limited and
numbered. The extend of every single volume may
vary due to the subject. Publication dates may vary
and could be modified in response to future events.
The first issue was released November 2010. Upcoming issues will be released over the course of 2011
/ 2015, with an intended total of 18 volumes.
Erica Overmeer
Landscape Files / 2010 / 2014
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A beautifully printed one image publication, handbound in bright orange cloth. New Territory is dedicated to just one single image. See also ‘I love the
Sight of Landscape in Use‘ and ‘New Territory /
Sarcelles‘ on the challenges of the suburban landscape of Sarcelles and New Territory.
Edition of 250 ex.
25 ex. signed & numbered
Hardcover, clothbound
230 x 280 mm, 9,05 x 11 inch
8 Pages
1 Image
ISBN 978-90-76922-06-5
Publication date 01.10.10
Price EU 45,00
Signed and numbered price on request.
Erica Overmeer
New Territory / 2010
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Erica Overmeer
New Territory / 2010
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A beautifully printed one image publication, handbound in bright orange cloth. Sarcelles Landscape
is dedicated to just one single image. Sarcelles
Landscape is a documentation of the landscape in
the outskirts of Paris, near Sarcelles. See also ‘I
love the Sight of Landscape in Use‘ and ‘New Territory / Sarcelles‘, a text on the challenges of the
suburban landscape of Sarcelles.
Hardcover clothbound
230 x 280 mm, 9,05 x 11 Inch
8 Pages
1 Image
ISBN 978-90-76922-06-5
Edition of 250 ex.
25 ex. signed & numbered
Publication date 01.11.10
Price EU 45,00
Signed and numbered price on request.
Erica Overmeer
Sarcelles Landscape / 2010
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A beautifully printed and in a bright orange cloth
hand-bound publication dignim etummy nostrud eu
feuguer sim alit accum zzrit, quamet eu faccum vel
ute dignisc incilluptat. Lan utpatum sandignibh
eugiam, consed dolobore verat.
Edition of 250 ex.
50 signed & numbered ex.
Hardcover clothbound
230 x 280 mm, 9,05 x 11 inch
8 Pages
1 Image
ISBN 978-90-76922-06-5
Insert, 280 x 690 mm, 11 x 27,1 inch
6 Pages
English text
Publication date 01.10.10
Price (until 31.10.2010):
EU 30,00 / Signed 45,Price (from 31.10.2010):
EU 42,00 / Signed / 65,-
Erica Overmeer
Sarcelles Landscape / 2010
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Artist Publications / Text / Essay
Erica Overmeer
New Territory / Sarcelles / 2011
New Territory / Sarcelles
Sarcelles is France’s first ville nouvelle, or new
town. It was built in the early 1960s in the greater
Paris area in the northern suburbs known as the
so-called banlieue. It is a small place, and yet it
addresses all the major questions and dilemmas of
modern society and, with its inspirational, visionary
design, the challenges and conflicts of modern
urbanism in a suburban context.
Sarcelles was built as an independent town set in a
rural environment to be an autonomous centre that
was nonetheless closely linked to Paris. It was
designed to respond to the urgent housing shortage
that had resulted from the significant urban changes
and remodelling that were happening in the Paris of
the sixties. The surrounding landscape was intended
to form an integral part of Sarcelles’s layout and is a
fundamental element of its urban conception.
Large housing blocks, wide green spaces, small
parks, sports facilities, broad vistas, recreational
areas, school playgrounds and a (securely fenced)
Jewish kindergarten alternate with one another. The
local hospital situated next to a waste combustion
plant and huge parking lots giving way to open
spaces with no apparent use, scattered with debris
and dotted with squatters’ improvised allotments,
are all overshadowed by looming high-voltage
electricity pylons.
Everything is interconnected by dirt roads and
crisscrossed by trails that are formed by force of
habit rather than design and strewn with large
boulders, concrete blocks and building rubble, all of
which appears to have been dumped at random.
The area is bordered by the suburban railway that
connects Charles de Gaulle Airport in Roissy with
Paris’s Gare du Nord; low-flying planes circle overhead. The vast skies, illuminated at any time of the
day by a kind of hazy light that is always good for
taking pictures, are cut in all directions by a complex patterns of high-voltage power lines.
This formally planned infrastructure has been superimposed upon and modified by multiple layers of
informal use. It is also an area where, over time,
mostly immigrants have settled and it now accommodates a multifaceted, eclectic community with
extremely diverse ethnic, and cultural origins.
This is a dense, multi-layered environment with an
ambiguous and diffuse identity – and a public space
that has been formed and transformed by differing
needs and approaches to social environment and
landscape.
It is this great amalgam of social attitudes that
attracted me to Sarcelles in the first place. But it
makes Sarcelles also a tense and unpredictable
place, and susceptible to scenes of social and
territorial conflict, most clearly manifest in recurring
adolescent feuds and disputes of various kinds.
Against this backdrop, I repeatedly observed children intensely engaged in aggressive games and
sham fights – gesticulating, being verbally abusive,
and simulating threatening postures, individually or
in groups, re-enacting and / or anticipating a reality
taking place around them.
New Territory is an image based on these observations. Set in anopen area adjacent to a fenced sporting compound, one of many local, nonspecific
transit areas, it depicts a young immigrant boy
walking, lost in thought, while playfully and serenely
O Book Publisher /
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balancing a wooden stick in his hands.
Although the gesture is playful and innocent, it also
demonstrates and anticipates the implicit possibility
and potential need for adolescent self-assertion and
self-defence should the situation demand it in an
area with a diffuse territorial identity.
Erica Overmeer
New Territory / Sarcelles / 2011
O Book Publisher /
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Erica Overmeer
I Love the Sight of Landscape in Use / 2011
I Love the Sight of Landscape in Use
At the edge of an area where the landscape
dissolves into parking lots and anonymous playgrounds and then finally gives way to low-rise
buildings stands an aggrieved-looking orthodox
Jewish boy. Dressed in all the trappings of his
religion, poking at a low fire that is smouldering
amongst some big, scattered boulders at the edge
of a vast parking lot, he is burning unknown things,
before disappearing in an indeterminate direction,
weaving between the parked cars. Meanwhile, a
gang of black teenaged moped riders are revving
their bikes and racing down the path that crosses
my view, from left to right and back again, between
the indistinct school grounds nestled somewhere
in the landscape and the far end of the parking lot,
where a group of young men are gathered around
a parked car with all its doors open, gesturing wildly
and screaming at each other in high-pitched voices
over the soundtrack of Arabic rap blaring from their
car radio.
perhaps even steal my camera. A scary-looking
youngster with a shaven head wearing a grey
combat outfit is walking an even meaner-looking
dog. He follows my gaze into the landscape and
makes a friendly inquiry as to exactly what I’m
doing there “filming the landscape” with my oldfashioned camera; then he wishes me good luck
with my endeavour.
A few hundred metres of trails through the undergrowth lead to the next parking lot, a sandy plot
bordered by concrete park benches beneath low
trees and overshadowed by looming high-voltage
electricity pylons, where wide-legged Turkish men
sit with chessboards between their knees, spending
their afternoons playing chess and boules, and
where, at the close of the day, Mathilda from Haiti
sets up her deep fat fryer on an improvised terrace
and serves her spicy fried chicken wings to her
mostly Creole drive-by clientele.
Over and over, people pop up, passing in and out of
sight, engaged in a great variety of tasks and with
intentions entirely their own, each with his or her
own individual sense of purpose unknown to me;
they are all somehow using and occupying this
apparently “neutral” space in their own ways, inadvertently shaping my perception of their surroundings by their very presence and use of the space.
A black off-duty police officer walking his dog warns
me of “dangerous” men who might hassle me and
Two young friends of African origin who are spending their after-school hours in their elder brother’s
bar follow me around and, excited about my presence in their neighbourhood, offer to help me at any
time with anything I might need, whatever it might
be. Last but not least, a lonely black boy walks in
splendid isolation, apparently unaware of his surroundings, lost in soliloquy, jabbing his right arm out
in front of him all the while, his clenched fist and two
extended fingers simulating a pistol, threatening
some invisible adversary.
An elderly Maghreb man and his grandson are
walking back and forth, carrying large plastic bottles
filled with water from an unknown source to irrigate
their tiny patch of squatted ground somewhere in
the middle of this landscape, concealed behind the
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Erica Overmeer
I Love the Sight of Landscape in Use / 2011
next bush. In front of me, a couple with a jerry can
begin tapping water – illegally – from an improvised
tap connected to a well hidden by a heavy lid and a
large stone so nobody can see it.
dressed in dark blue trainers climb out of the vehicles, joking and happily chatting, and divide themselves up in two teams to start a football match.
Suddenly a man in a small white truck parks next to
me, gets out and starts shovelling sand into the
back of his car until a police car shows up a few
minutes later to check the man’s ID and ask me
what I’m doing there too. They think it is okay, as
long I don’t take any pictures of small children. A
woman comes wandering by and asks me if I’ve
seen her son; she wants to bring him lunch. He
drives a white car. And yes, I’d noticed the white car
a moment before – he must be somewhere around, I
just saw him heading in the direction of the dump.
After a while the woman comes back and thanks me
for finding her son.
And then William, a huge man with a broad, lightbrown face from Guadeloupe, another former
French colony. He observes me from a distance
before his curiosity finally compels him to come
over to talk to me. Having lived in Sarcelles for
twenty-five years, he was practically born there, and
as a former rugby player, he is now the boss of the
Sarcelles “Maison du Rugby”, a modest concrete
pavilion in the middle of the green fields, which are,
in fact, rugby grounds, I’d thought I’d been observing football fields.
It’s around noon, and while I’m talking to William,
behind our backs, all kinds of large and small, bright
red firefighters’ vehicles start arriving and park
neatly in a row along the edge of next broad, green
field, overshadowed by another cluster of towering
high-voltage electricity pylons. Young athletic men
Large boulders, concrete blocks and building-site
debris seem to have been scattered about at random but are in fact strategically placed on squares,
at junctions and at points where dirt roads and parking lots melt into patches of green in order to prevent travellers’ cars from entering and occupying
the area and setting up their improvised camps,
which is what they seem to be doing everywhere
where boulders or other barricades haven’t been put
in place in time to prevent it. During his lunch break,
a short black man of unknown origins working on a
nearby construction site and dressed in bright red
overalls stretches out to sleep in the sun on the
warm boulders, which are broad enough to hold his
tiny body.
‘I Love the Sight of Landscape in Use‘ in reference
to Frank Bascombe in The Lay of the Land by Richard Ford (New York: Knopf Publishers, 2006), p. 126.
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Moritz Küng
An Observation / 2013
In 1997, the photographer Erica Overmeer self
published her first artist book, Paris.
Shown on 52 pages – including the cover – there are
52 unmarked images, all in black and white, all
full-bleed and set over the fold in landscape format.
The images do not at all correspond to the expectations of the book’s title, and do not show what one
would normally associate with The City of Lights,
i.e. unique and picturesque views. They rather
display the grey banality of suburban conformity and
the anonymity of the everyday: Housing projects
with their back courtyards and bare trees, weathered firewalls, overgrown green zones, and unused
playgrounds. In some of the image sequences, a
certain housing project crops up repeatedly, which
leads the viewer to surmise that the photographer
encircles and encloses the topic of the satellite city
again and again from ever-shifting perspectives.
Two years later, Overmeer dedicated two more
publications to suburban Paris in the same format:
Paris (2000, 44 pages) and Sarcelles (2000, 52 pages). These volumes underscore the impression that
the photographer employs her medium not to exclusively see but rather to unpretentiously observe.
fraying edges of a typical big-city peripheral location, in which underused urban infrastructures
seamlessly overrun the nature that is retreating from
it. In both images, the camera view is aimed at the
very distant invisible center. Through a small but
important narrative intervention by the author, each
image receives an additional something that feels
cinematographic. In one, a scooter – its image
blurred by speed – drives on a rural road. In the
other, a boy of unknown african origin walks through
the picture with a stick in his hand. Again, an observed – or better said, a “co-observed” factor
– reveals itself. And if these two pin-sharp single
images should evoke associations, they should refer
to a film that in this case consists of a single frame
captured between two orange-hued book covers.
Her own long-term and slow observation and work
resulted in a second series of books a couple of
years later. In their presentation, these differ from
the first in many aspects, but their author’s consistent and precise attitude remains.
Sarcelles Landscape (2005) and New Territory (2009)
were both published in 2010 as large-format single
volumes: limited to a mere 12 pages, each book
features only one double-page color image. Although the series were photographed four years
apart, one could speak – in terms of motif, atmosphere, and use of light – of a diptych. Visible are the
Here is where the mainstream photo book receives
an inevitably new dimension. The picture’s cause
and effect is not a flood of images, but rather an
exclusive look at the uniqueness of speed. It is also
significant that this single-image strategy leads to
the fact that the author (or Overmeer’s signature
style) evaporates into nothingness, for the simple
reason that there are no more opportunities for
comparison.
Overmeer’s third and current book series carries the
overall title Landscape Files (2010 – 2015; seven
volumes to date, to ultimately become eighteen
volumes) and can be seen as a kind of synopsis of
her previous series. The photographer now disappears entirely as an image author and the observed
is addressed via the medium, the data, itself. All of
the aforementioned volumes, each covering only 12
pages, contain two enlarged picture details from
various sources – daily newspapers like the Neue
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Zürcher Zeitung, International Herald Tribune, or Le
Monde – and illustrate scenes of violence, such as
attacks, insurgencies, and plunders, from thirdworld crisis zones (Somalia, Haiti, Nigeria ...). Each
pair of pictures is made accessible with source
notation and the original picture caption.
If Overmeer’s three book series point to something,
it is the impact of the peripheral. As an observer or
reader of her images, one is subtly challenged to not
only see, but also to consider, to observe... stay
attentive and pay attention.
Moritz Küng, 2013
Moritz Küng (Switzerland, *1961) is a freelance
curator and publisher of books on the intersection
of architecture and art.
Moritz Küng
An Observation / 2013
O Book Publisher /
Artist Publications / Interview
Landscape Files
Interview Mirelle Thijssen / Status 24 Documents / Fotomuseum Winterthur, 2012
‹I never really knew what «documentary› meant›
will be eighteen volumes published separately.
Interview with Mirelle Thijssen for Status /
24 Documents, Fotomuseum Winterthur 2012
MT: What is your understanding of [the concept
of] documentary?
Based on an extensive archive of clippings from
international newspapers, Landscape Files is a
multi-volume publication project with an intended
total of eighteen volumes, self-published
by Erica Overmeer as a numbered and limited
edition. Seven volumes have been published
since November 2010. Each volume comes with
a neon-yellow insert describing the nature, size
and duration of the project. The structure of each
volume is similar: First, there are the immaculate
white covers, the white flyleaf and the white
title page. Then there are two or three full-spread
images reproduced from clippings taken
from international newspapers that focus on the
human landscape in the context of (ethnic)
conflict in separate images. Finally, there are the
acknowledgements and the colophon, each on a
single white page. The project is to be completed
by 2015.
EO: I have no idea. I would have to look it up.
I never really knew what ‹documentary› meant.
I guess it’s just that I’m interested in what is
going on around us.
Mirelle Thijssen: Why eighteen? Why an eighteen
volume series of photo books? And what exactly
is a ‹multi-volume› publication project?
Erica Overmeer: While working the material and
editing it, I decided to divide the whole into
separate volumes. I made a rough calculation of
the total number of volumes that would result,
while considering the various pictorial ‹themes›
and subjects, and their implications and
structures. Landscape Files is one project, one
book, although, yes, technically speaking there
MT: On the O Book Publisher website a spread
of Landscape Files / 02 is shown. Why did you
choose the picture that appears there for this
volume? Is it an isolated picture from your archive,
a distinct image representing territory and
conflict? And what can we see in it?
EO: There are only two pictures in this volume.
For the website I just needed one picture to
represent the book. I chose this one, but it could
just as easily have been the other one. As for the
image itself, we see some people carrying boxes
on their heads and walking towards the viewer,
and others who are not carrying boxes, walking
in the opposite direction.
MT: Why is Landscape Files about ‹harsh, bitter
and controversial subjects›?
EO: That is an understatement.
MT: What do you mean when you say that the
Landscape Files are ‹naive and sincere›?
EO: That is also an understatement.
O Book Publisher /
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Mirelle Thijssen
Interview / Status 24 Documents / Fotomuseum Winterthur, 2012
MT: In contrast to the other images in Landscape
Files / 02, the spread on pages 2 and 3 labelled
‹Neue Zürcher Zeitung (NZZ)› (no date) hardly has
a caption at all. Why?
News photography adds to this. We all know
these pictures. This is the way we communicate
and share information. As for the form, it is just
my reaction to the material—being deductive,
associative and reductive at the same time.
EO: The pictures come from all kinds of sources
and situations. Most of the pictures are picked
randomly. Newspapers are lying around,
something catches my eye, I rip it out. Then I get
distracted. After a while it reappears while I am
editing. I have no idea where, or when, I got my
hands on this image. As a result, the captions
can be missing. Generally, if there are captions
associated with the pictures, I include them.
But captions are a distraction. They narrow the
viewer’s perception. It’s harder to dismiss what is
happening in the pictures if they aren’t already
classified or described.
MT: Of what is this spread a fragment? What
event, what country, what ‹controversial subject›
is depicted?
EO: I don’t know either what or where, it’s just a
guess: Civil war? Social conflict? People in
need? The aftermath of an earthquake? A social
uprising? Civil disturbance? Civic defence?
Ballot-counting after an election? Looting?
MT: What is your inspiration for Landscape
Files? And why did you choose this format of
publication?
EO: I believe that photography—any photography—
and all images from all sources are a very
effective tool for social research into and contemplation of the reality of human co-existence.
MT: After you ‹read› Landscape Files / 01 and / 02
and before you open / 03 and / 04, you kind of
get an idea of what event, what region and what
conflict is being dealt with, although the image
sequences are not in chronological order as
they would be presented in the press. Does the
narrative structure continue from volume to
volume? How relevant are the actual news facts
to the Landscape Files story (as a whole)?
EO: The project’s narrative structure will evolve in
the course of the upcoming volumes. Up until
now, it has all been about ‹black men› and ‹black
countries›, or, if you prefer, ‹black issues›, but for
me it is first and foremost about the challenges
of civilization in the twenty-first century.
MT: Landscape Files relates to contemporary—
and sometimes unorthodox—strategies of
reproducing found photography in books and of
treating the photo book as an art object.
EO: No. I don’t think of my publications as ‹art› or
‹concept› books. I am concerned with the subject
and the material they deal with. I am interested in
the imagery of the mass media. I’m interested
in the way we perceive our surroundings and our
realities through news photography, and in how
we tend to rely on this photography as a reliable
source for information. This is what Landscape
Files is about.
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A documentation of three Parisian neighborhoods
defined by a modernistic approach to urbanism.
Paris
48 Pages
48 Full page BW Images
130 mm x 210 mm
5.11 x 8.26 Inches
Ed. 350 ex.
Softcover / Paperback
Offset BW Print
Paris / 01 ISBN 3-926220-82-1
(in cooperation with Anderland Verlag München).
Paris
48 Pages
48 Full page BW Images
130 mm x 210 mm
5.11 x 8.26 Inches
Ed. 350 ex.
Softcover / Paperback
Offset BW Print
Paris / 02 ISBN 90-76922-02-0
Sarcelles
48 Pages
48 Full page BW Images
130 mm x 210 mm
5.11 x 8.26 Inches
Ed. 350 ex.
Softcover / Paperback
Offset BW Print
Sarcelles ISBN 90-76922-01-2
Price pp EU 21,- pp
Paris, Paris, Sarcelles, all three together EU 45,-
Erica Overmeer
Paris, Paris, Sarcelles / 2001
O Book Publisher /
Artist Publications / Backlist
A documentation of a Parisian neighborhood in
the midst of a change defined by a modernistic
approach to urbanism.
Softcover / Paperback
130 x 210 mm, 5.11 x 8.26 inch
48 Pages
48 BW Images
Ed. 350 ex.
Offset BW Print
Paris / 01 ISBN 3-926220-82-1 (Anderland Verlag
München).
Publication Date 10.2001
Price: EU 21,Paris, Paris, Sarcelles, all three together EU 45,-
Erica Overmeer
Paris / 2001
O Book Publisher /
Artist Publications / Backlist
A documentation of a Parisian neighborhood redefined by a modernistic approach to urbanism.
Softcover / Paperback
130 x 210 mm, 5.11 x 8.26 inch
48 Pages
48 BW Images
Ed. 350 ex.
Offset BW Print
Paris / 02 ISBN 90-76922-02-0
Publication Date 10.2001
Price: EU 21,Paris, Paris, Sarcelles, all three together EU 45,-
Erica Overmeer
Paris / 2001
O Book Publisher /
Artist Publications / Backlist
A documentation of Sarcelles, a village in the outskirts of Paris defined by a modernistic approach to
urbanism.
Softcover / Paperback
130 x 210 mm, 5.11 x 8.26 inch
48 Pages
48 BW Images
Ed. 350 ex.
Offset BW Print
Sarcelles ISBN 90-76922-01-2
Publication Date 10.2001
Price: EU 21,Paris, Paris, Sarcelles, all three together EU 45,-
Erica Overmeer
Sarcelles / 2001
O Book Publisher /
Artist Publications / Backlist
Urban nature. A beautifully printed extra large and
delicate poster - a tribute to the fragile and tenuous
nature of nature in an urban context.
Poster
1 Color Image
Offset Print
Plain 1270 x 1570 mm, 50 x 61.81 Inch
Folded 392 x 635 mm, 15.42 x 25 Inch
Edition limited and numbered 1 / 35
Price: EU 350,00
Erica Overmeer
Big Shrub / 2011
O Book Publisher /
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Publication
2011 / Talk at Le Bal, Paris, Artist as publisher.
Political and esthetical meaning of publishing
activism by artists.
2011 / Interview Charlotte Cheetham, Every Morning
I Check Many Stuff, Paris
2011 / Talk at Kunstverein Munich with Thomas
Mayfried
2011 / London Art Book Fair, Whitechapel Gallery,
2012 / Landscape Files / Nomination Renger-
Patzsch Award 2012, Museum Folkwang Essen
2012 / Pa/per View, Art Book Fair at Wiels, Bruxelles
2012 / Talk at Printroom, Rotterdam, The Future of Artist Books.
2012 / Status / 24 Documents / Exhibition Foto
museum Winterthur.
2012 / Miss Read / Art Book Fair / ABC, Berlin
2012 / London Art Book Fair, Whitechapel Gallery,
London
2012 / Landscape Files Show / Artspace Munich
2012 / Offprint Paris / Art Publishing Fair, Paris
2013 / Books and Pictures / Talk / HDK Nuremberg
2013 / The Book Affair / Art Book Fair / Venice
Biennial, Venice 2013
2014 / Landscape Files / Talk / ABA Salon AIR Berlin
Alexanderplatz
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Landscape Files / Installation View
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Landscape Files / Installation View
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Officine Fotografiche
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Thank you! Amsterdam, Fonds BKVB / Mondriaan
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Artist Publications / New Publications 2010
Erica Overmeer /
Landscape Files
Landscape Files. On landscape and territory.
Landscape Files is a multi issue publication project.
Landscape Files is concerned with
Based on clippings from international newspapers,
Landscape Files deals with manifestations of contemporary territorial conflict and the landscape as
shaped by social constellations today, as depicted
in the international press in recent years.
Landscape Files is interested in the subversive nature- and political dimension of landscape as a public space and social environment. Seen in the context of conflicting interests, a landscape under the
strain of immigration, social conflict, new urbanism,
urban sprawl, new borders, scarce resources and
the changing needs and shifting identity of a global
society. Landscape Files depicts how we shape and
are being shaped by our surroundings and the landscapes we inhabit.
Starting November 2010, Landscape Files is a multi
volume publication project. Published in a limited
edition of 100 copies softcover and 100 copies hardcove. Upcoming issues will be appearing over the
course of 2011 / 13.
Landscape Files is concerned with relatively abstract, bitter subjects. Finally, the readers of Landscape Files are a quite limited group. As a result,
Landscape Files can only survive through the collective support of its readers.
O Book Publisher asks for support on the basis of a
precise (and finite) research project (link to five-year
plan). If you would like O Book Publisher to complete this project, please consider supporting the
Landscape Files as:
SPONSOR (over 1000 Euro)
Sponsors receive a one-year subscription to O Book
Publisher (3 copies of each issue), a special present
from O Book Publisher and are prominently listed on
the inside of O Book Publishers publications back
cover and on the sponsors page of our website.
DONOR (over 500 Euro)
Donors receive a one-year subscription to O Book
Publisher (2 copies of each issue), a special present
from O Book Publisher and are prominently listed on
the inside of O Book Publishers back cover and on
the sponsors page of our website.
FRIENDS (100 Euro)
Friends receive a one-year subscription to O Book
Publisher, a special O Book Publisher T-shirt and are
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