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This collection features images from Notting Hill Carnival, 1983. A snapshot of sound system culture in London over 40 years ago. These were hard times; racism was rife, work was scarce and woke wasn't even a word. The determination and passion required to express and live by your culture was crucial and dangerous. Without the dogged passion of the people that created the(...)
Peter Anderson: Notting Hill Carnival 1983
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This collection features images from Notting Hill Carnival, 1983. A snapshot of sound system culture in London over 40 years ago. These were hard times; racism was rife, work was scarce and woke wasn't even a word. The determination and passion required to express and live by your culture was crucial and dangerous. Without the dogged passion of the people that created the dances, the carnivals and the blues parties, we would not enjoy the culture we have today. We owe the people in these images a debt of gratitude. We're pleased to share them with you.
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Jason Fulford: Lots of lots
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Jason Fulford’s latest book is a vibrant riff on conceptual artist Sol LeWitt’s 1977 publication PhotoGrids. Lots Of Lots transforms the seemingly quotidian objects captured by Fulford in nearly seven hundred photographs into an evocative collection of interconnected and overlapping forms. Employing a 3x3 format with nine square images on each page, the book groups(...)
Jason Fulford: Lots of lots
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Jason Fulford’s latest book is a vibrant riff on conceptual artist Sol LeWitt’s 1977 publication PhotoGrids. Lots Of Lots transforms the seemingly quotidian objects captured by Fulford in nearly seven hundred photographs into an evocative collection of interconnected and overlapping forms. Employing a 3x3 format with nine square images on each page, the book groups subjects by idiosyncratic features such as colour palette, slogans, distinctive shadows, and geometric shape. Untethered by location, style, or time, Fulford’s collection moves between coherence and collision in reflection of the varying order and disorder of our world. An empty laundrette, a lone park bench, and a cascading waterfall find new resonance in Fulford’s wry and illuminating compositions, showing us the extant beauty among endless production and consumption.
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Le sang ne se synthétise pas, ou pas encore. Concrètement, chaque année, 119 millions de poches de sang sont collectées dans le monde, permettant de soigner et de sauver des milliers de personnes souffrant de multiples maladies, de cancers ou victimes d’hémorragie. L’acte de donner son sang gratuitement et anonymement reconstruit des existences et, autant que résistent(...)
Trois gouttes de sang comme une fleur
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Le sang ne se synthétise pas, ou pas encore. Concrètement, chaque année, 119 millions de poches de sang sont collectées dans le monde, permettant de soigner et de sauver des milliers de personnes souffrant de multiples maladies, de cancers ou victimes d’hémorragie. L’acte de donner son sang gratuitement et anonymement reconstruit des existences et, autant que résistent les coquelicots à l’emprise du béton, des vies trop fragiles sont maintenues par ces justes, éloignés des suffisances narcissiques tout autant que de l’évaluation marchande de leurs gestes. Rendre compte de cette éthique délicate et discrète des pratiques ordinaires liant le don, le soin et la gratitude, par un dialogue associant des textes et des photos, nous a semblé essentiel. « Trois gouttes de sang comme une fleur » est donc un récit à deux voix – celles d’un photographe et d’un anthropologue – mêlant le réalisme du regard à une appréhension poétique du monde. Une narration entremêlée pour reconnaître l’importance de ces « vies minuscules » sans qui nul ne serait ni soigné ni sauvé. Par une écriture photographique sensible à l’imaginaire Clément Chapillon a tendu un « fil rouge » reliant les différents acteurs du don, notamment par un dispositif d’autoportraits. Chaque personne photographiée a elle-même « pressé » le déclencheur incarnant ainsi son engagement et par ce geste partageant la solidarité d’une générosité anonyme. À partir d’entretiens réalisés avec des donneurs, des receveurs et des professionnels de santé, en questionnant sa propre expérience des soins, Yannick Jaffré a questionné les mots du don et ce que la vulnérabilité peut ajouter à l’humain.
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Le livre présente le travail photographique d’Yveline Loiseur au sein de la cité sanitaire de Clairvivre, lieu de la réparation des corps et de réinsertion dans la vie sociale pour des personnes en situation de handicap. Labellisée "patrimoine du XXe siècle" en 2011, Clairvivre a été construite entre 1931 et 1933 par l’architecte Pierre Forestier, élève d’Auguste Perret,(...)
Clairvivre. Une ville de clarté, de travail et de gaité
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Le livre présente le travail photographique d’Yveline Loiseur au sein de la cité sanitaire de Clairvivre, lieu de la réparation des corps et de réinsertion dans la vie sociale pour des personnes en situation de handicap. Labellisée "patrimoine du XXe siècle" en 2011, Clairvivre a été construite entre 1931 et 1933 par l’architecte Pierre Forestier, élève d’Auguste Perret, précurseur de l’architecture en béton armé, maître du Corbusier et futur architecte de la reconstruction du Havre. Tous les principes de l’architecture nouvelle et du confort moderne y sont visibles (toits terrasse, fenêtres en bandes, centrale électrique). Initialement destinée à accueillir les soldats blessés du poumon pendant la Première Guerre Mondiale et leurs familles, elle est devenue sanatorium et abrite aujourd’hui différentes structures d’aide, de formation et de vie en direction des personnes en situation de handicap.
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John Lehr: The last things
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"The last things" explores the artifacts of an American archeological present. The work in this series depicts vernacular forms of architecture, signage, images, and objects that were hastily made in a rush for attention, or abandoned in place after their usefulness had expired. Lehr posits them as symptomatic symbols of the repetitive cycles of decline, rehabilitation,(...)
John Lehr: The last things
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"The last things" explores the artifacts of an American archeological present. The work in this series depicts vernacular forms of architecture, signage, images, and objects that were hastily made in a rush for attention, or abandoned in place after their usefulness had expired. Lehr posits them as symptomatic symbols of the repetitive cycles of decline, rehabilitation, violence, and mourning that are woven into the fabric of contemporary American life. These light-drenched photographs vividly describe a nation speaking through the language of capitalism. Words and images repeat and contradict throughout the work, reflecting emphatic pleas and shifting priorities. At other times, language breaks down completely, giving way to pictographic forms that are both primitive and utterly contemporary. Flaking paint morphs into JPEG vinyl printouts and LED displays, blurring the line between commercial speech and individual expression. Embedded in the work is a belief in the power and absurdity of objects that—like a body—bear the traces of collective experience. In its distilled and emphatic sequencing "The last things" reads as a prose poem and a cryptic cipher about a country at the brink of a tipping point.
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Two pipes fourteen locations
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Published in 1974 by Norman Fisher in New York, "Two pipes fourteen locations" is the very first book created by Peter Downsbrough using photographs. In sixty-three images, from various perspectives, the artist documents fourteen of his Two Pipes. Each sculpture consists of two standard steel pipes planted vertically. One has an above-ground height of five meters fifty(...)
Two pipes fourteen locations
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Published in 1974 by Norman Fisher in New York, "Two pipes fourteen locations" is the very first book created by Peter Downsbrough using photographs. In sixty-three images, from various perspectives, the artist documents fourteen of his Two Pipes. Each sculpture consists of two standard steel pipes planted vertically. One has an above-ground height of five meters fifty (19'). Cut, the other has variable length. The distance between them is invariably eight centimeters (3''). Whether outdoors, in an exhibition space, or on a piece of paper, the Two Poles and Two Lines will accompany the Two Pipes in this tensioning of space. The book, "Two pipes fourteen locations", opens with a plate of captions. It provides information on the dimensions and location of the pieces. The very first photograph reproduced in the book is a close-up shot. The image is cropped. It foreshadows the photographic work that the artist Peter Downsbrough would develop over several decades.
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An extreme weather event hit north-eastern Italy in October 2018. The Sirocco wind blew up to 200 kilometres per hour through the Dolomite valleys, knocking some 14 million trees to the ground. The incessant rain caused torrents to overflow, dragging logs and debris downstream. Overnight, the inhabitants of a number of mountain communities in Trentino,Veneto and(...)
Matteo de Mayda: There's no calm after the storm
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An extreme weather event hit north-eastern Italy in October 2018. The Sirocco wind blew up to 200 kilometres per hour through the Dolomite valleys, knocking some 14 million trees to the ground. The incessant rain caused torrents to overflow, dragging logs and debris downstream. Overnight, the inhabitants of a number of mountain communities in Trentino,Veneto and Friuli-Venezia Giulia found their cellars flooded and even their houses torn apart by the winds. More than six years later, the consequences of storm Vaia are still visible and tangible. The slopes of various mountains are barren. The remaining forests have been invaded by the spruce bark beetle: a parasite that feeds on wood. Without the plants, there is no protection against landslides and avalanches. While experts and locals are rolling up their sleeves to try and bring the situation back to normal, the total economic damage has been estimated at three billion euros.
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Brian Kanagaki: Doldrums
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"Doldrums" explores the therapeutic embrace of nature—the transformative power it holds in nurturing the spirit and facilitating self-reflection. California, specifically the San Francisco Bay Area, with its storied history as a beacon of prosperity and possibility, emerges as a familiar and compelling backdrop. It’s a place where people have always been drawn, seeking(...)
Brian Kanagaki: Doldrums
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"Doldrums" explores the therapeutic embrace of nature—the transformative power it holds in nurturing the spirit and facilitating self-reflection. California, specifically the San Francisco Bay Area, with its storied history as a beacon of prosperity and possibility, emerges as a familiar and compelling backdrop. It’s a place where people have always been drawn, seeking not only financial windfalls but also the promise of a better life—a westward pull that echoes through time. As I navigate the present, no longer burdened by the same fog of depression that led to the creation of this body of work, but rather fuelled by a hunger and longing for love and connection, "Doldrums" becomes a testament to the transformative power of time.
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Unfamiliar journeys
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In "Unfamiliar journeys", photographer Alan McKernan takes us on an unconventional excursion through his home town, the ever-changing city of Liverpool. McKernan has spent the past ten years documenting the city’s evolution, and these photographs reflect both the grandeur and decay of this modern urban landscape. As well as Liverpool’s architectural landmarks, "Unfamiliar(...)
Unfamiliar journeys
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In "Unfamiliar journeys", photographer Alan McKernan takes us on an unconventional excursion through his home town, the ever-changing city of Liverpool. McKernan has spent the past ten years documenting the city’s evolution, and these photographs reflect both the grandeur and decay of this modern urban landscape. As well as Liverpool’s architectural landmarks, "Unfamiliar journeys" captures deserted warehouses, boarded-up butchers’ shops, the cathedral glimpsed between shabby terraces. Signs of Liverpool’s recent economic boom – billboards, towering high-rises, skeletal construction cranes – also feature. It takes a moment to realize that there are no people in McKernan’s vision of the city. The unusual viewpoints and stark pattern of cast shadows caught on black and white silver-based film enhances this feeling of eerie enchantment.
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Through Judy Natal’s photographs, the Neon Boneyard becomes a dynamic archaeological site that brings Vegas’s past to life in startling ways. The towering figure of Mr. O’Lucky becomes a home for the homeless, while the crumpled sign of a wedding chapel reflects the faded dreams of a lost paradise. Through such juxtapositions of success and failure, of past and present,(...)
Neon boneyard : Las Vegas A - Z
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Through Judy Natal’s photographs, the Neon Boneyard becomes a dynamic archaeological site that brings Vegas’s past to life in startling ways. The towering figure of Mr. O’Lucky becomes a home for the homeless, while the crumpled sign of a wedding chapel reflects the faded dreams of a lost paradise. Through such juxtapositions of success and failure, of past and present, "Neon Boneyard: Las Vegas A–Z" returns us to an earlier image of Vegas, suffused with the warm, commercial glow of neon, lighting the desert and inventing modern nightlife.
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