Daido Tokyo
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Daido Moriyama (born 1938 in Ikeda, Japan) invented a new visual language with his work beginning in the mid-1960s. Frenetic and tormented, it depicted a reality that was grainy, blurry, and out-of-focus. Witness to the spectacular changes that trans-formed postwar Japan, his photographs express the contradictions in a country where age-old traditions persist within a(...)
Daido Tokyo
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Daido Moriyama (born 1938 in Ikeda, Japan) invented a new visual language with his work beginning in the mid-1960s. Frenetic and tormented, it depicted a reality that was grainy, blurry, and out-of-focus. Witness to the spectacular changes that trans-formed postwar Japan, his photographs express the contradictions in a country where age-old traditions persist within a modern society. Often blurred, taken from vertiginous angles, or overwhelmed by close-ups, they show a proximity to and a particular relationship with the subject. This book was published to coincide with an exhibition at the Fondation Cartier, and includes many previously unpublished photographs (as well as those featured in the exhibition), and an interview with the artist.
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Carlo Mollino: Giappone 1970
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In May 1970, Carlo Mollino arrived in Osaka for the Universal Exposition. It was a long journey, with stop-offs in Bangkok, Hong Kong, Tokyo and Kyoto. He had a camera with him and, little by little, he grew to love a civilisation which he then scarcely knew. He was fascinated by the women, the traditional places (temples, gardens and pagodas), but also by the new(...)
Carlo Mollino: Giappone 1970
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In May 1970, Carlo Mollino arrived in Osaka for the Universal Exposition. It was a long journey, with stop-offs in Bangkok, Hong Kong, Tokyo and Kyoto. He had a camera with him and, little by little, he grew to love a civilisation which he then scarcely knew. He was fascinated by the women, the traditional places (temples, gardens and pagodas), but also by the new architecture, the details in the constructions and the swarming crowds. Mollino captures a Japan suspended between ancient rituals and modernity, which over the years to come was to change the face of the country, a change of which the Expo was a mere foretaste.
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L'ange blanc
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A l'occasion des trente ans de la catastrophe de Tchernobyl, N. Ackermann est parti à la rencontre des habitants de Slavutych, ville construite juste après l'accident pour loger les liquidateurs et le personnel affecté à l'entretien des réacteurs. Le reportage, réalisé entre 2012 et 2015, permet de dresser le portrait de Ioulia et de ses amis, une jeunesse qui se(...)
L'ange blanc
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A l'occasion des trente ans de la catastrophe de Tchernobyl, N. Ackermann est parti à la rencontre des habitants de Slavutych, ville construite juste après l'accident pour loger les liquidateurs et le personnel affecté à l'entretien des réacteurs. Le reportage, réalisé entre 2012 et 2015, permet de dresser le portrait de Ioulia et de ses amis, une jeunesse qui se confronte peu à peu à la réalité.
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Claude-Philippe Benoit
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Claude-Philippe Benoit, qui donne à la ville et aux relations de pouvoir une place de premier plan dans son oeuvre, est réputé pour mettre en images un univers complexe et contrasté dans une riche palette de noir et blanc. Dans les années 80, l’artiste se fait connaître grâce à son impressionnante série de photographies sur le cinéma et comme cofondateur de deux(...)
Claude-Philippe Benoit
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Claude-Philippe Benoit, qui donne à la ville et aux relations de pouvoir une place de premier plan dans son oeuvre, est réputé pour mettre en images un univers complexe et contrasté dans une riche palette de noir et blanc. Dans les années 80, l’artiste se fait connaître grâce à son impressionnante série de photographies sur le cinéma et comme cofondateur de deux importants centres d’artistes de Gatineau. Une décennie plus tard, il entreprend une vaste exploration de hauts lieux de décision. Sa quête l’amène entre autres au siège de l’ONU, où il expose au regard les salles où se joue le sort du monde. Textes de Martha Langford et James D. Campbell, Sylvain Campeau et Zoë Tousignant.
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Philipp Schaerer: bildbauten
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Philipp Schaerer's works are the outcome of a skillful amalgamation of photographic knowledge, compositional skills, digital craftsmanship, and the specificities of architectural practice. His imaged architectures do not correspond with actual buildings but instead both challenge the role of the photograph as documentary evidence and, equally, critique how architecture is(...)
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janvier 2016
Philipp Schaerer: bildbauten
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Philipp Schaerer's works are the outcome of a skillful amalgamation of photographic knowledge, compositional skills, digital craftsmanship, and the specificities of architectural practice. His imaged architectures do not correspond with actual buildings but instead both challenge the role of the photograph as documentary evidence and, equally, critique how architecture is consumed today. When first released in 2010 in German and French, this book was the only comprehensive presentation of Philipp Schaerer's work available. And while the perpetual development of information technology and digital photography is continuously rebalancing the relationship between architecture and its visual representation, the architect's synthetic images continue to occupy a relevant position within this debate. The Bildbauten series, assembled here in its original twenty-four plates and extended by eight additional new works, speaks a powerful visual language that transcends the barriers of any written text.
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Catalogue d'exposition pour 'Gaspésie Human Less' à Québec en 2016. Photographes par Guillaume D. Cyr & Yana Ouellet.
Guillaume D. Cyr et Yana Ouellet : Gaspésie human less
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Catalogue d'exposition pour 'Gaspésie Human Less' à Québec en 2016. Photographes par Guillaume D. Cyr & Yana Ouellet.
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Tacita Dean: Buon Fresco
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In her work, Buon Fresco, 2014, Dean filmed details of Giotto's frescos in the Upper Basilica in Assisi using a macro lens, in order, she said, to have the perspective of the artist himself. Giotto humanised the depiction of people in painting in a parallel way to St Francis's humanising of sainthood, and this moment, when the radical artist depicted the radical saint is(...)
Tacita Dean: Buon Fresco
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In her work, Buon Fresco, 2014, Dean filmed details of Giotto's frescos in the Upper Basilica in Assisi using a macro lens, in order, she said, to have the perspective of the artist himself. Giotto humanised the depiction of people in painting in a parallel way to St Francis's humanising of sainthood, and this moment, when the radical artist depicted the radical saint is an extremely important juncture in the history of art. Frescoes are meant to be seen from a distance, so this book provides a revelatory view of the minutiae and sophistication of Giotto's brushstrokes, which at times anticipates the future canon of mark marking in Western painting.
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Sofia Borges: The swamp
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“Reality as mud as dense as air” reads the spine of Sofia Borges’ book 'The Swamp', and equally, the series of photographs that she presents is as leaden as it is impenetrable. Spanning a seven-year period, it largely records Borges’ countless visits to natural history museums, zoos, aquariums and research centres, where the artifice of reality became her point of focus.(...)
Sofia Borges: The swamp
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“Reality as mud as dense as air” reads the spine of Sofia Borges’ book 'The Swamp', and equally, the series of photographs that she presents is as leaden as it is impenetrable. Spanning a seven-year period, it largely records Borges’ countless visits to natural history museums, zoos, aquariums and research centres, where the artifice of reality became her point of focus. For Borges, displays such as habitat dioramas serve as the ultimate form of representation, where objects have the virtuous task of representing “themselves” – a type, genre or group that is inherently bound to language through layers of history and meaning. As a motionless walrus lies in its plastic Antarctic locale and the beady eye of a fossilised bird catches your glance, what glares back at you from the depths of 'The Swamp' is not the thing itself, but the image, of an image, of an image.
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Raymond Depardon : Glasgow
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En 1980, Raymond Depardon réalise une commande pour le Sunday Times Magazine sur la ville de Glasgow mais le reportage ne sera jamais publié. Les images resteront dans les cartons du photographe jusqu'à l'exposition 'Un moment si doux' au Grand Palais (14 Novembre 2013 - 10 Février 2014) où le public découvre une partie de la série Glasgow et s'émerveille : Depardon(...)
Raymond Depardon : Glasgow
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En 1980, Raymond Depardon réalise une commande pour le Sunday Times Magazine sur la ville de Glasgow mais le reportage ne sera jamais publié. Les images resteront dans les cartons du photographe jusqu'à l'exposition 'Un moment si doux' au Grand Palais (14 Novembre 2013 - 10 Février 2014) où le public découvre une partie de la série Glasgow et s'émerveille : Depardon saisit la lumière d'Ecosse comme jamais et sublime la fin d'un monde ouvrier.
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Sambuichi and the Inland Sea
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Hiroshi Sambuichi deciphers the relationships between moving materials (wind, air, water, sun) and topography in an effort to derive the optimal building for a specific site. With his very local approach to architecture, the Hiroshima-based architect has gained a reputation for painstaking investigations into site and context before beginning the design process on each of(...)
Sambuichi and the Inland Sea
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Hiroshi Sambuichi deciphers the relationships between moving materials (wind, air, water, sun) and topography in an effort to derive the optimal building for a specific site. With his very local approach to architecture, the Hiroshima-based architect has gained a reputation for painstaking investigations into site and context before beginning the design process on each of his projects. He believes it is the appropriate strategy, even if one pursues answers to global concerns. Recently, he has focused particular energy on works related to the Japanese city of Setouchi, featured in this book, which coincides with his exhibition at the Setouchi Triennale 2016.
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