• anaesthesia abenavoli akina
  • anaesthesia abenavoli akina
  • anaesthesia abenavoli akina
  • anaesthesia abenavoli akina
  • anaesthesia abenavoli akina
  • anaesthesia abenavoli akina
  • anaesthesia abenavoli akina
  • anaesthesia abenavoli akina
  • anaesthesia abenavoli akina


Valentina Abenavoli


“Anaesthesia is a lament of several voices, a symphony of the evil in us, cinematically edited screenshots from videos, an engagement with the media, an open criticism to war and terrorism, a declaration of neutrality, an act of rebellion to the ego, where one stands alone prevented to feel anything else beyond his own finitude.
Nothing would be more painful than not suffering anymore, dropping the burden of sensations, withdrawing from living and bonding. In the lyricism of the agony of mind, in the longing for a break in the inner solitude, what is more ambiguous than the desire to feel others? When confronted with others, personal pleasure as much as personal pain become absolute and universal. What remains is the love for horror and the horror of love.”

a book curated and edited by Valentina Abenavoli

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Product Description

“Anaesthesia presents us with moments of horror; it unflinchingly confronts ‘us’ with ourselves and our modes of encounter with others. It seemingly demands that you—the viewer-reader—engage with spectacles of violence and ask who your ‘self ’ might be such that it desires a clear separation from the apparently monstrous ‘other.’ The work is haunted by the suspicion that horror might be the name we give “to the perception of the precariousness of human identity, to the perception that it may be lost or invaded, that we may be, or may become, something other than we are, or take ourselves for; that our origins as human beings need accounting for, and are unaccountable” (Cavell 1999: 419).
In short, the editorship of moments of horror announces the fear that we may be vulnerable to the
recognition of our own monstrousness in scenes of annihilation and with it, the precariousness of the distinction between self and other, ‘them’ and ‘us’, ‘good’ and ‘evil’. If horror is indeed what is at stake, is it any wonder that we would rather not experience it?”

from the foreword “The horror of love” by Veronique Pin Fat

Best photobook 2016 for Laura El-Tantawy
Best photobook 2016 for Gabriela Cendoya
Best photobook 2016 for Mariela Sancari
Best photobook 2016 for Yumi Goto
Best photobook 2016 for Federica Chiocchetti – The Photocaptionist
Best photobook 2016 for David Fathi
Favorite photobook 2016 for Rémi Coignet
Favorite photobook 2016 for TIPI Bookshop
Best photobook 2016 for Brad Feuerhelm on The British Journal of Photography

“Anaesthesia stands as a thought-provoking book, and its cinematic flow is both troubling and mesmerizing. It smartly interleaves rhythms of images and ideas, balancing the push and pull of thinking about and reacting to its disturbing content. In the end, the notion of original authorship is secondary – Abenavoli has crafted a harrowing journey out of these scavenged fragments, creating an intimately unsettling experience”.
Review by Olga Yatskevich for Collector Daily

“This book is hard to go through, in that sense that it makes unbearable the horror that has anesthetized us for too long. We can consider that this is the ultimate book, the aestheticism as a book (the book is beautiful) about horror, forces us to look at reality in the face: this duality is also ours. This book enters, for me, instantly in the category of major works”.
Review by Christer Ek

Review by Gabriela Cendoya (in Spanish)

Review by Nathalie Hof for OAI13 (in French)