Cyrille Weiner sera l’invité du prochain Séminaire Photographique jeudi 8 décembre à 18h à la Maison du Geste et de l’Image

Le Séminaire photographique est un projet conduit par la Maison du geste et de l’image, l’Université Paris 1 Panthéon-Sorbonne et la Société Française de Photographie. Ces structures réunissent leurs missions respectives pour proposer un espace de réflexion sur la création photographique et sur l’image en général. La recherche, la création et la transmission sont les trois axes d’un séminaire mensuel au cours duquel un artiste invité livre les éléments de sa recherche au public.
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Les rendez-vous se déroulent tous les 2e jeudi du mois de 18h à 20h à la MGI. Entrée gratuite sur réservation.

Programme et animation :
Michel Poivert, professeur à Paris 1 Panthéon-Sorbonne, spécialiste de photographie
Julie Jones, secrétaire générale de la SFP, historienne de l’art contemporain
Francis Jolly, directeur adjoint de la MGI, chargé de la photographie

Maison du Geste et de l’Image, 42 rue Saint-Denis, 75001 Paris

reservations au 01 42 36 33 52 ou info@mgi-paris.org

Photo Book Fair, book signings, lectures, workshops

21-24 rue Ganeron 75018 Paris

offprintparis.com

Outer edges of some buried age. A view from Castelmezzano: rupestrian cultures in the Mediterranean region and beyond

Castelmezzano, Basilicata, 2010

Castellaneta, Basilicata, 2010

On the 3rd of September in Castelmezzano, Italy, opened Outer edges of some buried age. An exhibition curated by Chiara Capodici and Fiorenza Pinna featuring the work of photographer Domingo Milella. The exhibition takes place at Palazzo Coiro, an old aristocratic palace in the centre of the village, and it is visible only by daylight.

Pietrapertosa, Basilicata, 2010

Outer edges develops around the concept of landscape, identity and memory referencing Pier Paolo Pasolini’s notion of Post-history as the acknowledgement of an inevitable clash of ancient and modern times in a society that is slowly losing any sense of community and belonging.

“I am a force of the Past. My love lies only in tradition. I come from the ruins, the churches, the altarpieces, the villages abandoned in the Appennines or foothills of the Alps where my brothers once lived […] Or I see the twilights, the mornings over Rome, the Ciociaria, the world, as the first acts of Post-history to which I bear witness, for the privilege of recording them from the outer edge of some buried age.”

This site-specific exhibition moves from a study on the identity of the village of Castelmezzano and reaches out to the countries and the populations that settled along the coast of the Mediterranean Sea—Italy, Egypt, Turkey, Greece—and Mexico in search of territories marked by a similar ancient history and cultural experience of the landscape.

Acitrezza, Sicily, 2009

In his journey Domingo Milella explores and compares the different expressions of a sense of belonging and community which leaves a legacy that, impressed on the stones, determines the face of the landscape. Territory and identity are considered part of a collective history and memory that connect these cultures throughout the globe.

Domingo selects specific places and stories following a fil rouge that takes him on a historical pilgrimage from Castelmezzano to Mexico via the regions of Southern Italy and the Anatolia. The images of the rupestrian settlements in Phrygia, Cappadocia, Giza, Polignano, or Mexico City all reveal how deeply intertwined the relationship between man and nature has been over the years.

Sanctuary-Monastery, Phrygia, Turkey, 2011

Soganli, Turkey, 2011

Valley of Ilhara, Turkey, 2011

The Arabs took advantage of the natural architecture of Pietrapertosa to preserve the safety of their community. They used to take refuge in the hole of the mountain that overlooks the town—after which Pietrapertosa was named—to observe without being seen. Similarly, the image of the Tomb of Midas depicts the encounter of nature with archaic and modern civilisation. The tomb, as a symbol of the myth, is carved in the stone while a person holding a digital camera stands in front of it photographing the monument. Lastly, Mexico City which is represented as a crossroad of three different cultures—the Aztec, the precolonial and the modern state—all of which indelibly imprinted their own identity onto the face of the city.

The interventions of man shaped the landscape the same way as the landscape influenced the development and the identity of the society.

Elisa Badii

Domingo Milella, Outer edges of some buried age. A view from Castelmezzano: rupestrian cultures in the Mediterranean region and beyond

Until October 3, 2011

Palazzo Coiro
Castelmezzano
Potenza
Italia

Tlatelolco, Square of the Three Cultures, Mexico City, 2004

Giza, Egypt, 2009

All images Courtesy of Domingo Milella and Brancolini Grimaldi

http://www.treterzi.org
http://www.brancolinigrimaldi.com

The exhibition is an initiative of The View From Lucania, a project devoted to the South of Italy based in Basilicata. TVFL in collaboration with the township of Castelmezzano, which has financed the exhibition and the whole project.  www.theviewfromlucania.com

thanks to La lettre de la photographie

PiY
Publish it Yourself
is an event focusing on self-published photobooks

PiY is being held 9-11 September 2011, at Maison d’art Bernard Anthonioz in Nogent sur Marne

Laurence Vecten shows her selection of books, compiled in a catalogue.
This year PiY is focusing on artists Preston is my Paris, their work and publications.

Various events punctuate the week-end :
- a workshop with Preston is my Paris
- a workshop with Boehm Kobayashi
- a talk with Frédéric Teschner, Preston is my Paris, Boehm Kobayashi, Laurence Vecten, moderated by Rémi Coignet
- OFF-PiY : books out of the selection

If you wish your book to be presented in OFF-PiY,

publishityourself (at) gmail.com

PiY
Publish it Yourself
une exposition de livres de photographie auto-publiés.

PiY a lieu les 9, 10 et 11 Septembre 2011 à la Maison d’art Bernard Anthonioz, à Nogent sur Marne.
Laurence Vecten y présente une sélection de livres de photos auto-publiés, consignée dans un catalogue.
Dans cette deuxième édition, l’accent est mis sur le travail et les publications du duo d’artistes Preston is my Paris.

En marge de cette sélection, différents évènements ponctuent le week-end :
- un workshop de Preston is my Paris
- un workshop avec Boehm Kobayashi (avec le Bal)
- une conférence avec Frédéric Teschner, Preston is my Paris, Boehm Kobayashi, Laurence Vecten, modérée par Rémi Coignet
- OFF-PiY : la présentation de livres hors sélection

publishityourself (at) gmail.com

see also LOZ, Laurence Vecten’s blog

B-side books (Self Produced & Limited Editions)  is an independent editorial project whose philosophy is to be a platform for the self-production and distribution of limited editions and books related to urban mobility and the interpretation of the territory produced and transformed by these movements.
Created by Carlos Albalá & Ignasi López, B-side books explores different and carefully curated ways of materializing the work of artists in the world of printed publication

EVIDENCES AS TO MAN’S PLACE IN NATURE
Carlos Albalá & Ignasi López
210 x 140 mm, 144 pages, 64 fragmented images (composing 8 posters)
CMYK Colour, Softcover, sewn in sight
Publication date: 2010
Edition of 100

FAULT
Carlos Albalá
300 x 235 mm, 36 pages + covers, 13 colour images
CMYK Colour
Digital high quality printed on cotton paper
Cover: numbered thick cardboard
Publication date: 2011
Signed & numbered. Limited edition by demand at june 30th 2011

http://www.bsidebooks.com/

http://www.periurbanos.com/

Rencontres d’Arles Festival, 07/2011

” LE GARAGE is an itinerant exhibition project born out of a common love for photography-related books and publications.

We are a small group of photographers and photo enthusiasts based in Paris. We launched the collective project LE GARAGE to develop the interest, fecundity, and creativity characterizing the phenomenon of the photobook today. By welcoming new works in development, all related by their consideration for the form of the photobook, LE GARAGE offers an insight into one of the most dynamic fields of today’s photographic practice.

Began at the Rencontres d’Arles Festival in July 2010, the original exhibition featured a curated series of 35 photography artist books and book dummies, chosen for their merit and the extent to which they pushed the twin mediums of photography and photography books.

During the following year, we had the opportunity to further show a selection of LE GARAGE twice more, at the Chateau d’Eau gallery in Toulouse and at Le Bal in Paris. “

Solo exhibition at Galerie Nathalie Obadia, Paris

You Never Left #1, 2010
Diptych, hand colored gelatin silverprint, 27 x 39 cm/ 10,6 x 15,3 in. each photo
Ed. of 10

You Never Left # 2, 2010
Hand colored gelatin silver print, 39 x 27 cm/ 15,3 x 10,6 in.
Ed. of 10

You Never Left #IV, 2010
Hand colored gelatin silver print, 27 x 39 cm/ 10,6 x 15,3 in.
Ed. of 10

You Never Left #VI, 2010
Hand colored gelatin silver print. Installation of 12 different portraits
39 x 27 cm/ 15,3 x 10,6 in. each
Ed of 3

You Never Left #VII, 2010
Hand colored gelatin silver print, 50 x 75 cm/ 19,6 x 29,5 in.
Ed. of 5

You Never Left #VIII, 2010
Hand colored gelatin silver print, 115 x 75 cm/ 45,2 x 29,5 in.
Ed. of 3

Youssef Nabil observes his life as if he were in a cinema, watching and witnessing every minute of his own movie. When he realised, as a child, that many of his favourite Egyptian film stars were no longer alive, this kindled a desire to meet those who were still living and to immortalise them. In doing this, he created an imaginary reality that reflects both the paradoxes of the Middle East in our times and the fantasies and flamboyance of Egyptian movie stars in the cosmopolitan pre-revolutionary years.

Nabil began his photographic career in 1992 by staging tableaux in which his friends acted out melodramas recalling film stills from the golden age of Egyptian cinema. Later in the 1990s, while working as a photographer’s assistant in New York and Paris, he began a series of photographs of artists, portraying them in dream-like situations that were a long way from their public personas. On his return to Egypt in 1999 he further developed his unique photographic approach, hand-colouring his black-and-white gelatin-silver prints. Like the Egyptian films of his youth, this new approach removes the blemishes of reality and fuses contemporary art and popular culture. Now based in Paris and New York, Nabil also produces self-portraits reflecting his fragmented life away from Egypt.

You Never Left  was first shown in the exhibition Told/Untold/Retold, held to mark the inauguration of the Mathaf in Doha in December 2010, and met with great critical success, establishing Youssef Nabil as part of a “New Wave” of Arab artists injecting fresh dynamism into the international art scene.

You Never Left #XII, 2010
Hand colored gelatin silver print, 27 x 39 cm/ 10,6 x 15,3 in.
Ed. of 10

Une proposition de Gabriel Jones
Avec le soutien de Bertrand Grimont

Guillaume Bresson / Michel de Broin / Jean-François Bouchard / Timothée Chaillou / Thomas Fontaine / Gabriel Jones / Thomas Mailaender / Joseph Marzolla / Vincent Mauger / Benoit Pailley / Ghislaine Portalis / Julien Prévieux / Shanta Rao / Amanda Riffo / Cyrille Weiner

Gabriel Jones a invité 14 artistes à exposer leurs oeuvres dans son atelier de Montmartre, à la Cité des Arts de Paris. Ces oeuvres sont réunies et présentées librement dans son espace de travail, instaurant ainsi une proximité entre les visiteurs et les propositions artistiques.

Exposition du 30 juin au 10 juillet 2011
Sur rendez-vous

Atelier E1
Cité des Arts de Paris – Montmartre
24, rue Norvins – 75018 Paris
Métro Lamark

Catalogue,  conception graphique Aurore Chauve

Texte écrit par Timothée Chaillou

procédé Risographe

Joseph Marzolla

Thomas Mailaender, Julien Prévieux

Ghislaine Portalis

Thomas Fontaine

Cyrille Weiner

Michel De Broin

éditions limitées à 150 copies signée par les artistes

prix de vente : 12 euros

Renseignements insidestudioe1@gmail.com

Irhann 09, 2008: 42×49 in / 107×124.5 cm. Ed. 4+2 AP

IRHANN

“Irhann” is a ficticious series of anti-glorious landscapes filled with old remains of what seems to be nuclear missiles and other weapons that failed in exploding and simply crashed on the ground. By way of manipulated photographs and details of authentic footage, photographer, Gabriel Jones does not imply criticism directed toward the politics of a specific country, he rather creates a fictitious visual “scenario” using absurdity to criticize the tragic absurdity of wars. Jones describes an imaginary and elusive country, revealing a surreal perspective of our world by playing with two seemingly similar objects, the nuclear missile, an icon of mass destruction, and the rocket, an icon of scientific research and progress, He uses rockets to create ambiguity. At first glance the viewer has the impression of witnessing a desolate war ara but then realises that these objects are in fact rockets and satellites.

In Jones’ landscapes, the rockets (or parts of them) and at times satellites, rest at indistinct locations, abandoned due to their malfunction and reference playfully a whole register of human emotions between angst and curiosity. Jones adds to the mystique by combining these created images with reframed, rephotographed and silksceened, real life video stills from archives.

Navigating between photography and silk screened video stills, Jones’ work hovers between the imaginary and the hyper real, leaving an arsenal of impressions that transcend time and ultimately loose their threatening effect.

Irhann 02, 2008: 30×35 in / 76×89 cm. Ed. 7+2 AP.

Irhann 08, 2008: 30×35 in / 76×89 cm. Ed 7+2 AP

Irhann View 07, 2008 (silkscreen): 13×19 in / 33×48 cm. Ed 12

Irhann View 05, 2008 (silkscreen): 13×19 in / 33×48 cm. Ed 12

See also The Suburbs series, made for Arcade Fire