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Club del Prado
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San Francisco, Berlin, Buenos Aires, and Shanghai — four cities shaped by different economic and ideological regimes, connected through shared mechanisms of the global spectacle.
The book is constructed from Super 8 film sequences, shot and structured through in-camera editing (tour de monde), as a record of temporal traces of everyday life observed from a distance. Public transport functions as both apparatus and site of observation, where the window operates as a frame within a frame, establishing relations between proximity and distance.
Sequences are spontaneously organized, with gestures of the hand functioning simultaneously as an edit, a self-performative element, and a perceptual instrument — a subject entering the image and responding to its shifting conditions. The sequence oscillates between attention, drift, and the vanishing point.
Fragments of corporate language emerge as interruptions, a low hum running through the dream—like subtitles in an opera mediating the voices.
The book unfolds as a space of montage — a tactile-temporal medium that engages the reader through navigation, turning, and shifting relations, moving through cities and across stratified layers of unevenly cut paper.
Risograph printed
16.5 × 23 cm / 82 pages + dust jacket
Various paper weights and types
Sewn binding
First edition of 150 copies
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