Sonia Madrigal: Te
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Across the public spaces of Nezahualcoyotl and Chimalhuacan cities (state of Mexico), declarations of love are graffitied on a regular basis. In other parts of these same neighbourhoods, dozens of bodies of young women have also been found, victims of extreme violence, exercised mainly by their intimate partners, relatives or acquaintances. Many others have disappeared.(...)
Sonia Madrigal: Te
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Across the public spaces of Nezahualcoyotl and Chimalhuacan cities (state of Mexico), declarations of love are graffitied on a regular basis. In other parts of these same neighbourhoods, dozens of bodies of young women have also been found, victims of extreme violence, exercised mainly by their intimate partners, relatives or acquaintances. Many others have disappeared. Sonia Madrigal documents these spaces in her series, "Te".
Monographies photo
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Ce livre rassemble pour la première fois le travail en Irlande d'Akihiko Okamura à l'occasion de la numérisation de ce corpus quasi inédit, accompagné de textes qui contextualisent son travail dans l'histoire de l'époque et celle du médium photographique. Pendant les Troubles, la lutte pour l'indépendance qui dura de 1969 à 1998, l'Irlande du Nord a attiré un grand nombre(...)
Akihiko Okamura: Les souvenirs des autres
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Ce livre rassemble pour la première fois le travail en Irlande d'Akihiko Okamura à l'occasion de la numérisation de ce corpus quasi inédit, accompagné de textes qui contextualisent son travail dans l'histoire de l'époque et celle du médium photographique. Pendant les Troubles, la lutte pour l'indépendance qui dura de 1969 à 1998, l'Irlande du Nord a attiré un grand nombre de photojournalistes étrangers venu documenter les événements. Certains d'entre eux ont trouvé un sujet qui les touchait personnellement, les poussant à dépasser les codes du photojournalisme. C'est le cas du photographe japonais Akihiko Okamura qui a réalisé un travail unique et remarquable en couleur dans les premières années du conflit, et qui est curieusement encore méconnu aujourd'hui. Né à Tokyo en 1929, Akihiko Okamura s'est distingué comme l'un des grands photographes de guerre de sa génération, opérant notamment au Vietnam au début des années 1960. Il est toujours très respecté au Japon, mais son travail et son expérience en Irlande, essentiels à la fois dans son oeuvre et pour sa vie personnelle, ont été peu explorés. Okamura est arrivé sur l'île avec sa famille en 1969 et y a vécu jusqu'à sa mort en 1985. Il a photographié son quotidien et les alentours, mais a vite été pris d'intérêt pour le nord du pays et sa lutte pour l'indépendance. Son attachement à ce pays et à son histoire l'ont conduit à produire l'une des oeuvres photographiques les plus significatives réalisées par un photographe étranger, mêlant à la fois cette simplicité du cadrage et du sujet, très japonaise, à une force dans la composition pour des sujets plus violents. En Irlande, il s'est éloigné du photojournalisme pour développer un témoignage plus personnel.
Monographies photo
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"Glasraum" is the result of a collaboration in the fields of architecture and photography. Set within the interiors of a remodelled office by Ganko, with pictures by Louis De Belle, the book occupies a liminal state between documentation and composition. Favouring a certain classicism in the strand of the modern tradition both authors identify with, Glasraum explores the(...)
mai 2024
Ganko, Louis De Belle: Glasraum
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"Glasraum" is the result of a collaboration in the fields of architecture and photography. Set within the interiors of a remodelled office by Ganko, with pictures by Louis De Belle, the book occupies a liminal state between documentation and composition. Favouring a certain classicism in the strand of the modern tradition both authors identify with, Glasraum explores the deliberate ambiguities embedded in a seemingly aloof approach to the construction of both space and image.
Nigel Shafran: Workbooks
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''Workbooks'' is an extensive book that gathers together a creative lifetime of collecting, imagining, sketching and recording by British artist Nigel Shafran from 1984-2024. Below, writer David Chandler reflects on Shafran's Workbooks. ''These working documents are informal books, but, partly in preparation for decisions that will later define the actual(...)
Nigel Shafran: Workbooks
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''Workbooks'' is an extensive book that gathers together a creative lifetime of collecting, imagining, sketching and recording by British artist Nigel Shafran from 1984-2024. Below, writer David Chandler reflects on Shafran's Workbooks. ''These working documents are informal books, but, partly in preparation for decisions that will later define the actual publications, they are carefully assembled and richly embellished. Each is filled with drawings, notes and bits of everyday ephemera as well as photographs, and each has a particular aesthetic, with an easy feeling for material craft as well as visual simplicity and clarity that is characteristic of Shafran’s intuitive organising principles and his entire working process''.
Monographies photo
Rahim Fortune: Hardtack
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Flour, water, and salt. These are the sole ingredients that make Hardtack: a Civil War-era food long-associated with survivalism, land migration, and its extremely long shelf life. Drawing from this history as a metaphor for the long-enduring nature of Black culture and traditions, Hardtack uncovers the roots that tie Fortune's native landscape to the conflicts and(...)
Rahim Fortune: Hardtack
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Flour, water, and salt. These are the sole ingredients that make Hardtack: a Civil War-era food long-associated with survivalism, land migration, and its extremely long shelf life. Drawing from this history as a metaphor for the long-enduring nature of Black culture and traditions, Hardtack uncovers the roots that tie Fortune's native landscape to the conflicts and nuances associated with the post-emancipation Americas. In the follow-up to his breakout monograph I can't stand to see you cry, Fortune borrows from the language of vernacular and archival photography to interrogate the historical relationship of his community to photography; rooted in the landscape, Fortune often uses sites of historical and cultural interest as a guide but not a subject, implying the deep ties that bind modern Black communities resiliently to their regions, in the face of both adversity and joy.
Monographies photo
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In ''Relative Moments'', Deanna Dikeman chronicles ordinary moments of her family’s activities. From gardening to cutting cake, from filling up the bird bath to mending a piece of clothing, from mowing the lawn to picking rhubarb, one gets to discover an everyday that might otherwise go unnoticed. In this book, which was generously edited and sequenced — 200 photographs(...)
Deanna Dikeman: Relative moments
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In ''Relative Moments'', Deanna Dikeman chronicles ordinary moments of her family’s activities. From gardening to cutting cake, from filling up the bird bath to mending a piece of clothing, from mowing the lawn to picking rhubarb, one gets to discover an everyday that might otherwise go unnoticed. In this book, which was generously edited and sequenced — 200 photographs in total — one is not only meant to see the moment shot in one photograph, but all the moments that compose the story. This project captures a visual history of the photographer family’s life, yet, there is an ongoing narrative embedded in these photographs that conveys larger, more universal truths about American culture, familiarity, and the endless source of everyday wonder that surrounds us.
Monographies photo
Moe Suzuki: Sokohi
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As her father gradually loses his sight due to glaucoma, artist Moe Suzuki begins to document the daily life they share together. The resulting images are mixed with photographs from the family archive, as well as those taken by her father. Through these images, Moe Suzuki attempts to show what sighted people can see but her father cannot, and to imagine what her father(...)
Moe Suzuki: Sokohi
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As her father gradually loses his sight due to glaucoma, artist Moe Suzuki begins to document the daily life they share together. The resulting images are mixed with photographs from the family archive, as well as those taken by her father. Through these images, Moe Suzuki attempts to show what sighted people can see but her father cannot, and to imagine what her father sees but others cannot.
Monographies photo
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''Extérieurs. Annie Ernaux et Photographie'' rassemble les écrits célèbres d'Annie Ernaux, lauréate du prix Nobel de littérature, avec des photographies de la collection de la Maison Européenne de la Photographie par des photographes tels que Harry Callahan, Claude Dityvon, Dolorès Marat, Daido Moriyama, Janine Niépce, Issei Suda, Henry Wessel et Bernard Pierre(...)
Extérieurs. Annie Ernaux et la photographie
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''Extérieurs. Annie Ernaux et Photographie'' rassemble les écrits célèbres d'Annie Ernaux, lauréate du prix Nobel de littérature, avec des photographies de la collection de la Maison Européenne de la Photographie par des photographes tels que Harry Callahan, Claude Dityvon, Dolorès Marat, Daido Moriyama, Janine Niépce, Issei Suda, Henry Wessel et Bernard Pierre Wolff. Reprenant la démarche artistique unique d'Ernaux consistant à "décrire la réalité comme à travers les yeux d'un photographe et à préserver le mystère et l'opacité des vies que j'ai rencontrées", ce projet de l'écrivaine et commissaire d'exposition Lou Stoppard dévoile les manières profondes dont l'image écrite et visuelle peuvent s'informer et s'infléchir mutuellement. Ce faisant, il propose une nouvelle façon de penser la littérature et la photographie, et la manière dont des thèmes communs - tels que la classe sociale, le voyage, les stéréotypes sociaux et l'identité individuelle dans l'environnement urbain moderne - peuvent être explorés entre ces deux formes d'art.
Monographies photo
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The 100 block of Vancouver's West Hastings Street is the gateway to one of the most contested and controversial inner-city neighborhoods in North America – Vancouver’s infamous and impoverished downtown eastside. Lining the south side of the block are Edwardian-era buildings which have born the brunt of shifting market forces over the years. Developed in the wake of(...)
Stan Douglas : Every building on 100 West Hastings
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The 100 block of Vancouver's West Hastings Street is the gateway to one of the most contested and controversial inner-city neighborhoods in North America – Vancouver’s infamous and impoverished downtown eastside. Lining the south side of the block are Edwardian-era buildings which have born the brunt of shifting market forces over the years. Developed in the wake of Vancouver’s "emergence" as the terminus for the country’s national railroad, the buildings in the area have been in decline since the 1930s, when the locus of the city’s commerce began moving. But the "story" of the 100 block is not strictly one of global market forces, nor does it belong to those who, through whatever political stripe, lay claim to it. The book is based on a monumental-sized digital print of the 100 block of West Hastings Street by Stan Douglas who utilized current technologies to create a 16'×3' panorama of epic scope, photographing each building and compositing the individual prints to assume a fantastic, impossible perspective; which is reproduced in the book as a removable full-colour poster, 5½" tall and 30½" wide. Essays by Denise Olekszijuk, Nicholas Blomley, and Neil Smith use Douglas’s photograph as a template for assessing the state of Vancouver’s contested downtown eastside; its moral, economic and social implications. Ultimately, how can art affect society in a meaningful way? Scattered throughout the book are additional images highlighting Vancouver’s history as well as work from other artistic ventures that informed Douglas’s project. This book unravels the dynamics of history and sociology, combined with photography and art, to create a compelling and visually arresting document that informs our understanding of what makes a neighbourhood.
Monographies photo
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Exposition du 15 novembre au 2 février 2003 au Musée Zadkine, Paris.
Sophie Riestelhueber : le Luxembourg
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Exposition du 15 novembre au 2 février 2003 au Musée Zadkine, Paris.
Monographies photo