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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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In southern France, high above the villas and the pleasure palaces of the Côte d’Azur, there is the Alpine Extension of the Maginot Line. These little-known fortifications were built before the Second World War to protect France from Mussolini. But nobody has successfully invaded over the Alps since Napoleon, and things didn’t quite turn out as the French(...)
Bunker research: the hidden history of modernism in the mountains
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In southern France, high above the villas and the pleasure palaces of the Côte d’Azur, there is the Alpine Extension of the Maginot Line. These little-known fortifications were built before the Second World War to protect France from Mussolini. But nobody has successfully invaded over the Alps since Napoleon, and things didn’t quite turn out as the French expected. Now, the bunkers are marooned, forlorn and crumbling, in some of the most beautiful and remote parts of France. They are disappearing into the landscapes they once commanded, stray facts from a future passed, still waiting for an onslaught that never came.
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Alphavilles?
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Livre d'architecture sentimentale, de souvenirs d'architecture collectés au gré des voyages. Une collection d'images de villes et d'architecture dans l'ordre alphabétique qui débute avec Acapulco-Agra-Albuquerque... Ce livre d'images est publié à l'occasion de deux expositions qui vont se situer l'une à Antwerpen (De Singel) et l'autre à Zurich (Kunsthalle). Les images(...)
Alphavilles?
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Livre d'architecture sentimentale, de souvenirs d'architecture collectés au gré des voyages. Une collection d'images de villes et d'architecture dans l'ordre alphabétique qui débute avec Acapulco-Agra-Albuquerque... Ce livre d'images est publié à l'occasion de deux expositions qui vont se situer l'une à Antwerpen (De Singel) et l'autre à Zurich (Kunsthalle). Les images de Zurich sont de Peter Fischli et David Weiss.
livres
juin 2004, Dijon
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The Remembered film
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Most books about cinema, whether popular or academic, concentrate on what we might call the ‘inside’ of the film: from star performances to narrative structures. The relatively few books about the ‘outside’ of films speak mainly of such aspects of production and reception as the organization of the film industry and the sociology of audiences: the Hollywood studio system,(...)
The Remembered film
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Most books about cinema, whether popular or academic, concentrate on what we might call the ‘inside’ of the film: from star performances to narrative structures. The relatively few books about the ‘outside’ of films speak mainly of such aspects of production and reception as the organization of the film industry and the sociology of audiences: the Hollywood studio system, for example, or fan clubs. The Remembered Film is unique in addressing a previously overlooked aspect of cinema: the isolated fragments of films, iconic images or scenes, that fleetingly cross our perceptions and thoughts in the course of everyday life. Victor Burgin examines a kaleidescope of film fragments drawn from a variety of media, the internet, memory and fantasy. Among these are sequences of such brevity they might almost be stills. Such ‘sequence-images’, as Burgin calls them, are neither strictly ‘image’ nor ‘image sequence’ and have not been considered before by either film or photography theory. He also considers some typical individual experiences ‘sampled’ from mainstream cinema. He reflects on such disparate occurrences as the association in memory of fragments from otherwise unrelated films, of the relation of a recollected film image to an architectural setting, or of a feeling ‘marked’ by an image remembered from a film. The Remembered Film provides a radical new way of thinking about film outside conventional cinema, and in relation to our everyday lives. It will appeal to a wide audience interested in film and media.
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Despite Bill Brandt’s fame and considerable influence on the development of modern photography, the photographs in this book are a little known body of work. The work was carried out between 1939 and 1943 when Brandt worked on a commercial assignment for the Bournville Village Trust. The prints and negatives have been with BVT for some 60 years and the work has never(...)
Homes fit for heroes : photographs by Bill Brandt, 1939-1943
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Despite Bill Brandt’s fame and considerable influence on the development of modern photography, the photographs in this book are a little known body of work. The work was carried out between 1939 and 1943 when Brandt worked on a commercial assignment for the Bournville Village Trust. The prints and negatives have been with BVT for some 60 years and the work has never been previously published. The photographs illustrate the living conditions in a range of housing types. For example, the back-to-back slums built in the nineteenth century through to modern municipal housing built in the 1930s. The majority of the photographs were taken in Birmingham but also some in London where he looked at ‘old residential’ properties near to his own home in Camden Hill. London was undoubtedly one of Brandt’s favourite subjects and these photographs, taken around 1943, are amongst a much larger body of work Brandt shot in the capital city during the war-years. The Bourneville Village Trust was set up by George Cadbury in 1900 to manage the Bournville Estate, the model housing development which he created near his factory on the outskirts of Birmingham. The objects of the trust included: “the amelioration of the conditions of the working class population of Birmingham and elsewhere in Great Britain”. Many books and articles published around this time sought to address the issue of the living conditions of the working classes and photography played a key role. The images form distinct picture stories where direct contrasts are made between slum and municipal housing. Brandt also uses light very carefully within these images to emphasise these contrasts. A number of the stories follow a distinct narrative sequence – through the idea of ‘a day in the life’ – a device frequently used in the influential magazine, "Picture Post", for which Brandt often worked.
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novembre 2004, Birmingham
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Ces photographies, couvrant plus de dix ans d'activités de l'artiste à Paris, Berlin, Séoul, Pékin ou San Diego, expérimentent une mise en forme spécifique du chaos visuel. A partir de sa formation en photographie d'architecture, il en transcende les thèmes et les motifs par la maîtrise de la composition, de la couleur et du format qui sont proches d'une esthétique picturale.
Stéphane Couturier : mutations
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Ces photographies, couvrant plus de dix ans d'activités de l'artiste à Paris, Berlin, Séoul, Pékin ou San Diego, expérimentent une mise en forme spécifique du chaos visuel. A partir de sa formation en photographie d'architecture, il en transcende les thèmes et les motifs par la maîtrise de la composition, de la couleur et du format qui sont proches d'une esthétique picturale.
livres
juin 2004, Paris
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