The title ‘Máj/My’ is inspired by the name of a department store in Prague, which was called ‘Máj’ –
Czech for ‘May’ – from the 1970s until the collapse of the communist regime, and which is run under
the name ‘My’ since 2009. Both words are pronounced identically. The phonetic consonance becomes
a marketing strategy: the old name resonates inaudibly in the new one. The spring month as well as
the socialistic May both mutate into the neo-liberal use of ‘My’, the English possessive pronoun of
the first person singular.
Máj/My, Spector Books, 2018
Co-published by Akademie der Künste, Berlin, and Camera Austria, Graz
128 pages, 87 black-and-white photographs, softcover with flaps, 18,5 x 26 cm,
Czech/English, typography: Markus Dreßen, Spector Bureau
On the Národní Třída (Avenue of the Nation) in Prague stands a department store that opened in 1975. Until the fall of the socialist regime it was called “Máj”: the month of May. Nowadays the fifth month of the year is referred to in Czech as “květen”. “Máj” is an older word that has a romantic quality and is closely associated with a famous poem of the same name by Karel Hynek Mácha written in 1836.
In 1996 the British supermarket chain Tesco purchased the store, renaming it “My” in 2009. If this name is interpreted as an English word, then it refers to an individual. It is surely no coincidence that this English name sounds much the same as the old Czech one. If pronounced, however, according to Czech phonetics, which no one ever does, it sounds quite different. Then it means “we” and refers to a collective.
Since 2017 Tesco has been selling off some of its stores in the Czech Republic because of financial losses. In spring of 2018 the department store “My” was also sold.
Photographed in Prague from November 2015 to June 2018
Four Oranges, Some Office Buidings, Woman’s Legs
30 color plates, offset
selfcovering, 32 pages, 21 x 29,7 cm, ed. 500
editing and design with Jurgen Maelfeyt, with a text by Steven Humblet
Between August and November 2014 Stephanie Kiwitt was commissioned by Team Flemish Government Architect to make a photographic work about the outskirts of Brussels: Diegem, Haren, Zaventem, Sint-Stevens-Woluwe, Kraainem, Sint-Pieters-Woluwe, Oudergem, Ukkel, Vorst, Drogenbos, Ruisbroek, Sint-Pieters-Leeuw, Anderlecht, Dilbeek, Groot-Bijgaarden, Sint-Agatha-Berchem, Ganshoren, Jette, Strombeek-Bever, Grimbergen and Vilvoorde. These neighbouring but extremely different areas cannot be conceived in terms of a single unequivocal image. The composition and order of the double pages in this publication do not refer to their geographical origins, but introduce a new order and create a connection related purely to aesthetics of form.
16 plates in colour offset print and 19 black and white plates printed from photopolymer plates/ clichés
paperback, 32 pages, 21,2 x 30,2 cm, ed: 500
Lubok Verlag, Leipzig 2015
406 color plates, offset
softcover, 52 pages, 22,5 x 32 cm, ed: 700
editing and design: with Till Gathmann and Winfried Heininger
Kodoji Press, Baden 2012, in association with School of Arts Ghent
The marshes of Wondelgem are situated in the north of Ghent, in close proximity to the old docks. The former swamp area is about 100 hectares in size. It is surrounded by the municipality of Wondelgem to the north, an industrial zone with nineteenth-century factory buildings to the east, the ring road and a canal to the south, and a residential and small commercial zone to the west. A large part of the area consists of wasteland that is traversed by railroad tracks.
As a result of the local urban development scheme, a business park will be built here as well as a bus and tram depot, a forensic psychiatric centre and parking lots.
black and white inkjet print on blueback paper
leporello fold, 1273 x 50 cm
clamshell box, 37 x 52 cm, ed: 10 + 2 A.P.
Kodoji Press, Baden 2011
12” vinyl disc
reading 20:56, voice: Christophe Piette
edition of 300
Kodoji Press 2011
53 black and white plates, offset
hardcover, 32 x 24 cm, 112 pages, ed. 500
editing and design with Nicola Reiter
Editions GwinZegal, Plouha 2008
During a one-year stay in Marseille (2006/7), I observed the changes in urban everyday life that came about as a consequence of the massive redevelopment and construction measures that were taken in the context of the ‘Marseille Euroméditerranée 2010’ project. Taking Marseille as an example, Cornerville shows an urban area whose ‘common’ architecture is being changed permanently, both by economic interest groups and individual inhabitants; it is deformed, destroyed or reproduced from scratch.