Caravane(s)

Une caravane ou plutôt des caravanes ?
Objet protéiforme et mot polysémique, la caravane ne se laisse pas appréhender facilement. Caravane des mages, caravane de pèlerins, de nomades, de porteurs, de cyclistes, caravane publicitaire, caravane de touristes, de voyageurs en tous genres. Caravane de nuages… L’idée de voyage participe de toutes ces caravanes ; des voyages qui se préparent, des voyages fantasmés auxquels on s’accroche pour s’évader, des voyages désirés ou associés à la fuite, l’Orient, au rêve, à la lenteur : la caravane figure le déracinement et l’ailleurs..

L’exposition Caravane(s) s’est tenue à L’atelier du midi (Arles) pendant l’été 2013 dans le cadre de Marseille-Provence 2013 et autour des Rencontres d’Arles.

Les commissaires d’exposition, Laurence et Patrick Ruet, accompagnés de Sébastien Spicher, ont réuni cinquante-quatre photographes pour cette aventure photographique et populaire, dans laquelle les photographies de famille côtoient les images des photographes-auteurs. Cette édition – développée en trois tomes – est le fruit d’une belle rencontre entre les éditions l’Erre de rien et L’atelier du midi.

Nathalie Ampleman – Anonyme – Driss Arroussi – Romain Boutillier – Bernard Birsinger – Alexa Brunet – Julien Chapsal – Joao Carvalho – Jean-Louis Chambon – Lucien Clergue – Anne-Sophie Costenoble – Jean-Michel Coulon – Scarlett Coten – Jacques Defert – Bernard Demenge – Dominique Delpoux – Bertrand Desprez – Laurence Didier – Robert Doisneau – Famille Aldebert – Famille Berlendis – Famille Bossy – Famille Bouchot – Famille Bouet – Famille Drouart – Famille Durand – Famille Lemarié – Famille Leparmentier (Père & Fils) – Famille Passot – Famille Spicher – Famille Tragin – Famille Vancayseele – Pierre Faure – Laure Geertz – Frank Gérard – Héloïse Gousset – Suzanne Hetzel – Margot Lagord – Nicolas Leblanc – Jean-Luc Maby – Emmanuel Madec – Xavier Martin – Karine Maussière – Jérôme Michel – Christian Milovanoff – Malik Nejmi – Claude Noyer – Marie Ozanne – Famille Passot – Jean-Marie Périer – Stéphanie Péty De Thozée – Adrien Pézennec – Fabrice Picard – Bernard Plossu – Anne Ransquin – Stéphane Remael – Jean-François Rillon – Lionel Roux – Neckel Scholtus – Yann Schabat – Claude Schwartz – Sébastien Spicher – Hervé Szydlowski – Luc Torres – Jean-Guy Ubiergo – Yannick Vallet – Cyrille Weiner – Annabel Werbrouk

Tome 1 : Motifs
format 9 x 13 cm, protège cahier translucide – 48 pages
impression quadrichromie
ISBN : 978-2-9534689-7-7

Tome 2 : Estivants
format 9 x 13 cm, protège cahier translucide – 48 pages
impression quadrichromie
ISBN : 978-2-9534689-8-4

Tome 3 : Détournements
format 9 x 13 cm, protège cahier translucide – 48 pages
impression quadrichromie
ISBN : 978-2-9534689-9-1

disponible en coffret

éditions L’erre de rien

silver & silver

please feel free to follow silverpoetics on tumblr :

http://silversilver.tumblr.com/

single pictures from the silverpoetics collection

enjoy !

V.D. AS DUST ALIGHTS

Vincent Delbrouck

AS DUST ALIGHTS

THE HIMALAYAN PROJECT – PART 1
Self-published by V.D.
WILDERNESS self-publishing project, Loupoigne (B), May 2013
Limited edition of 200 copies with unique cover titled, signed and numbered by V.D. with his red marker
Each copy also includes 2 loose prints and 3 colored paper documents/poems by V.D.
240 x 320 mm (9,4 x 12,6“) , 56 pages, softcover
Offset printing on Papyrus Original Gmund Tactile Cream paper
Layout by V.D. and Philippe Koeune at Valley the Valley

Collector edition : 30 collector copies coming with a A4 C-print (ed.80) of “Roofplants”, all slipped into a very special and beautiful silk Tibetan book-pouch with a V.D. in red color tape stuck to it

ISBN 978-2-9601337-0-7

The Fourth Wall

Max Pinckers

A photograph of two men in uniform climbing over a fence, escaping. A re-enactment of a moment that just passed. They do it over again with great pride and pleasure. Later I read an article in the newspaper. Two men use sleep-inducing gas to rob a struggling actress in her home; the same gas used in a 1972 super hit film in which a cook robs his landlord. An image that I’ve been planning to make for some time comes to mind – a thick cloud of smoke in a bedroom film set. Two men in uniform sitting in a park. I photograph them. They pretend to have just woken up. On a Bombay rooftop I make a portrait of a Salman Khan look-alike. Another article tells me how a young girl loses herself in this big city in search of her idol, Salman Khan.

“I had come to India in search of the pot of gold only to find that that pot had been buried deep in my unconscious”.
– Vijay Mishra, Bollywood Cinema: Temples of Desire

Transparency prints in afzelia wood light boxes 110 x 95 x 15 cm,
made in collaboration with Gauthier Oushoorn,
unique editions + 1AP.

Texts:
Exchanging Gazes by Laura van Grinsven, Mamihlapinatapai, 2012
Introduction for .tiff magazine by Hans Theys, 2012
Tegenpolen in omhelzing by Han Ceelen, De Morgen, 2012

Self published by Max Pinckers

Design by Christof Nüssli
Werkplaats Typografie, Arnhem, The Netherlands
ArtEZ Institute of the Arts

Softcover with flaps
195 x 273 mm
192 pages
Offset on 45g newspaper
Full color
Glued
Edition of 1000

ISBN 978 9 0819 7150 8

Texts:
Exchanging Gazes by Laura van Grinsven, Mamihlapinatapai, 2012
Introduction for .tiff magazine by Hans Theys, 2012
Tegenpolen in omhelzing by Han Ceelen, De Morgen, 2012

Thanks V.D.

La Fabrique du pré

La Fabrique du pré – The making of a meadow

Photographies Cyrille Weiner, Nanterre, 2004-2012

Prix Lucien Hervé et Rodolf Hervé 2012 – Rodolphe Hervé et Lucien Hervé Prize 2012

De l’urbain à l’humain

Ce lit de verdure n’inspire pas l’abandon mais l’attente. Surplombant un échangeur immense, cerclé de tours, il est une butée végétale contre laquelle l’axe historique de l’ouest parisien s’est rompu. Sur ce bout d’autoroute retourné à l’état sauvage, les pierres ne racontent plus rien. Elles laissent advenir l’inouï. Sensible aux interactions du naturel et du construit, Cyrille Weiner interprète cet espace dans sa force de destruction et de renouveau : les poussées de sève font craquer le bitume, le sable fluide détruit des murs de soutènement, les plantes s’agrippent aux parapets de l’autoroute. Tout communique, déborde et se déploie sur ces infrastructures qui façonnent un paysage à la mesure de l’homme. La friche, avec ses emmêlements de plantes, convertit le territoire en une zone libre, ouverte à de multiples usages. Comme rescapés de villes où triomphent le repli sur soi, la propriété privée et l’isolement, quelques hommes reconquièrent ici leur temps, leur énergie et leur imaginaire. Cyrille Weiner observe cette réappropriation concrète de la friche, ces corps et mains qui bêchent, plantent, défrichent et fabriquent le pré. Mais cette réalité première est filtrée, transcrite en une fiction de fin du monde et de paradis perdu. Dans la friche au dessein suspendu, les repères de temps se troublent, ces hommes ressemblent aux premiers et aux derniers.

Marguerite Pilven, octobre 2012

From urban to human

This bed of greenery inspires not abandon but an awaiting. Overhanging a vast motorway junction, circled by towers, it is a vegetal stop against which the historical axe of the Parisian West comes to break. On this section of motorway returned to a state of wilderness, the stones tell no more stories. They allow the unexpected to come into being. Sensitive to the interactions of the natural and the man-made, Cyrille Weiner interprets the space in its force of both destruction and renewal: spurts of sap crack through the cement, fluid sands destroy the supporting walls, plants grip onto the motorway parapets. Everything communicates, overflows, spreading out over the infrastructures that shape the landscape to the measure of man. The wasteland, with its tangles of plants, converts the territory into a free-zone, open to a multitude of uses. As if escaped from towns in which introversion, private property and isolation triumph, a few men here seem to reconquer their own time, energy and imagination. Cyrille Weiner observes this concrete reappropriation of the wasteland, the bodies and hands that dig, plant, weed and hence create the field. But this primary reality is filtered, transcribed into a fiction of the end-of-the-world and a paradise lost. In this wasteland of designs suspended, usual bearings of time become blurred ; these men come to resemble both the first and the last.  

Marguerite Pilven, October 2012

Prix Lucien Hervé et Rodolf Hervé 2012

Créé à l’initiative de Judith et Lucien Hervé, ce prix de la photographie couronne le travail d’un jeune photographe professionnel, en mémoire de leur fils Rodolf, photographe.

L’École Spéciale d’Architecture de Paris est partenaire du Prix Lucien Hervé et Rodolf Hervé depuis 2004. Elle accueille l’exposition de Cyrille Weiner et Ildi Hermann dans la Galerie Spéciale.

The Lucien Hervé and Rodolf Hervé Prize

Created upon the initiative of Judith and Lucien Hervé, in memory of their son Rodolf, himself a photographer, the prize recognizes the work of a professional photographer, according to the objectives originally established by its founders.

The École Spéciale d’Architecture in Paris, is a privileged partner of the Lucien Hervé and Rodolf Hervé Prize and currently hosts the Cyrille Weiner and Ildi Hermann exhibition, in the Galerie Spéciale.
Exposition du 16 novembre au 7 décembre dans le cadre du Mois de La photo à Paris

Galerie Spéciale, Ecole Spéciale d’Architecture, 254 Boulevard Raspail, 75014 Paris

Installation views, Galerie Spéciale, Ecole Spéciale d’Architecture, Paris, 2012

Don Hudson – From the archives

EDITIONS FP&CF has released a book of Don Hudson’s photographs called ‘From the Archives.’ I’ve admired Don’s work for several years now and edited a feature of it in 2010 on LPV Magazine. Don asked me to write a piece for the book. I was honored to do so.

The Patient Photographer

One of the frequent complaints about contemporary photography, especially on the internet, is that we’re flooded with a constant stream of images, most of which don’t deserve our attention. While that complaint certainly has merit, I think the benefits of this stream of photographs outweighs the challenges it presents. If it weren’t for this stream of photographs, many of us would never have seen Don Hudson’s archives. Or Vivian Maier’s archives, or the archives of all those other photographers out there who have spent years documenting their cities, towns, communities and families.

I discovered Don’s work on Flickr. I can’t remember when exactly, or how really, but somehow his work made it into my daily stream of images. It’s interesting how we choose to construct our streams on the internet? For years, I spent most of my time looking at images on the web. The bad far outweighed the good, but when you find your way to the archives of someone like Don Hudson, then the web becomes magical and you realize there’s a whole new universe of photography to explore.

It’s been amazing to watch Don thrive on Flickr. It’s as if all his hard work was leading up to this point. For many serious minded fine art and documentary photographers, building a following on Flickr sounds more insulting than something to be proud of. But for Don, and many others who now have the opportunity to share their work with an audience, the internet has been their big break so to speak, not that they’re necessarily seeking recognition for their work, but finally finding an audience that appreciates it after all these years, must be a great feeling.

Where does work like Don’s fit in the great history of photography? I’m not sure and I’m not sure you’d find any consensus amongst experts. It’s mostly a state of perpetual confusion these days. Don has spent years documenting his community of South Lyon, Michigan which is a suburb of Detroit. The majority of the photographs were made from the early 1970s to the mid 1980s. From Don’s perspective life in Middle America is rather leisurely. You spend your free time going to parades, the Friday night football game, fairs, carnivals, rodeos and the family vacation.

Through Don’s wry wit and freewheeling compositions these events and moments come alive in a way that illuminates life’s absurd little moments. In Don’s photographs the order and calmness of life in Middle America starts to unravel, providing a small glimpse of the chaos beneath. In these photographs we live on the edge that exists between the order we create for ourselves and the chaos that always threatens to undermine our tranquil lives.

Don’s photographs are out in the world now. Where they fit into the history of photography is anybody’s guess. Some people will find them interesting, others may find them derivative and boring. For me, this type of documentary work, from the archives of studios and thoughtful photographers like Don Hudson, are invaluable to our culture. In Don’s work we have a vibrant document of a time and place from an individual that knows it intimately.

Bryan Formhals – May, 2012

You can buy ‘From the Archives HERE

This article has originally been published by LPV Magazine
Thank you Bryan!

God’s left eye

“Je mets en scène des limites géographiques, des lieux que l’histoire semble avoir touchée, désertée, puis abandonnée à leurs propres effacements, et réalise en quelque sorte, une archéologie de l’intangible.”

Michel Mazzoni

 

Anabase. Prints BW & Color, 142 x 180 cm on aluminium + frame

God’s Left Eye MM A 6. Phoenix airport 2009/2011

printed on photo rag mat, mounted on dibond 17 x 31 cm

GLE MM A 8. Terminal airport Las – Vegas 2009/2011

printed on photo rag mat, mounted on dibond 17 x 31 cm

GOD’S LEFT EYE est une exploration en altitude de «mondes invisibles», un voyage graphique, une cartographie de territoires sans cesse soumis aux transformations humaines et naturelles. Le devenir même de nos vies dans le Tout-monde.

GLE MM D6 I 8 along Mexican Border 2009/2011

printed on photo rag mat, mounted on dibond 14,7 x 26    cm

GLE MM ZI 4 Tonopah test range missile 2009/2011

printed on photo rag mat, mounted on dibond 16,6x31cm

ArtistBook édité à 400 exemplaires, 18,5 x 19,3 cm. 96 pages, 33 images noir et blanc

Textes : Michel De Certeau, Jean Baudrillard, JG Ballard, Gerges Perec

Postface : Frederic Collier

Editions Enigmatiques 75016 Paris

Gravity

“Déjà, l’érosion volontaire de la plate-forme de L’AUTODROME puis des pistes d’envol de L’AÉRODROME avait signalé ce projet d’exil, en attendant l’arasement des sites de lancement du COSMODROME “ Paul Virilio

Series of 14 photographs 12.2 x 16 cm, device viewfinder, white cardboard 1 cm. Aluminum frames 30 x 40 cm. Project artisbook edition

Weightlessness

Print 142 x 180 cm on aluminium + oak frame, or Ink-Jet Print on matt paper, dimensions according to the space

Les espaces, le temps et les hommes

Zones désertiques, steppes, montagnes s’opposent, sont des territoires hostiles à la présence de l’homme et le restitue à sa place : celle d’entité négligeable dans l’univers

« Deleuze les définissait comme des espaces lisses de pure connexion. Ce sont pour moi des panoramas zéro, proche de l’abstraction » Michel Mazzoni

L’une des interrogations posées par Michel Mazzoni, dans ces photographies, dans ces lieux, est donc la place de l’homme. Le photographe ne joue pas d’une dualité homme contre-nature, il reste sur un plan d’immanence. Dans nombre de ses photographies, sa trace reste présente, par indices, résidus ou par l’architecture… Elle est signifiée par l’entropie elle-même, se piste par abandons successifs de lieux autrefois fréquentés par la présence humaine. Lieux délaissés et livrés à l’épreuve du temps ? Le vecteur temps revêt une grande importance dans le travail de Michel Mazzoni. Il capte cette illusion de l’immuabilité des choses et en dévoile l’impermanence, d’où aussi nombres de photographies aux poses longues, tentatives de saisir cette impermanence, incommensurable…

Ces territoires, ingrats, abandonnés, le photographe n’en fait pas des « natures mortes », la présence même infime de l’humain vient toujours s’imprimer dans ses photographies. Pour lui, il y a une tentative de changer d’échelle, qu’elle soit temporelle, géologique ou encore architecturale… Ces procédures de changement impliquent un effort abstractif, une tentative de pas se placer à hauteur d’homme et à reconsidérer sa propre position de photographe. Le changement d’échelle implique soit d’envisager les choses du côté macroscopique ou microscopique. Quoi qu’il en soit, l’humain reste toujours une entité perdue dans le cosmos…

Pose B (extrait), Valéry Poulet août  2012

http://www.michelmazzoni.com/

http://www.michelmazzoniproject.blogspot.fr/

http://www.anyspace.be/

History of Monuments

© Wang Qingsong, The History of Monuments, 125x4200cm, c-print, 2010

read also : In the studio of Wang Qingsong, by Christopher Phillips, in Modern Painters, sept. 2010

History Of Monuments:

« Since August 2009, I started to work with two hundred models over fifteen    days, shooting the 42-metre-long History of Monuments. This work is my reflection on what is told about civilisations, beauties, virtues, standards and norms The models are smeared with mud and placed into the carved out contours of the photo backdrop. Chinese traditions are handed down from generation to generation with many documents on the historical figures, poetries, literature, dramas, etc. Often the powerful people like to summarize their achievements during their reign times. So each dynasty has its interpretations of its dynasty and the former dynasties. It is undeniable that many such versions are misguided. » Wang Qingsong

History of Monuments, new book by Editions Bessard

It has been a very challenging project to make the 130 foot long photo into a book. The artist himself was involved in each and every step, from start to the ‘ok to print’..

The result a handmade book opening to a 27,56 feet long accordion page. One can discover the timeline of famous monuments by totally unfolding the story, or flipping pages almost like in a normal book. The back pages present the artist’s blueprint as he was preparing the sculptural parade in his Caoching studio.

We have made two collections to cast this incredible work:

–   the Classic collection: is a book coming into a very elegant purple box. It’s hand bound in two covers and presented in a handmade slipcase box. It’s printed in an edition of 450 copies numbered from 001 to 450. Public price 85 euros.

–   Bronze collection: For the Collector Bronze Serie, Martin Salazar, was invited to realize a bronze cover. He is a Peruvian sculptor known for his work on Chinese figurine. This book is a crossroad where two artists coming from a totally different world are joining into their own celebration of foreign cultures. This precious collection is limited to 50 ex, presented in a handmade “Bordeaux” box, numbered and signed by Wang Qingsong. Public price 3 000 euros.

Copies can be ordered via  contact@editionsbessard.com

Éditions Bessard, 12 rue de Rivoli 75004 Paris, France

 

 

REEL – UNREEL

Francis Alÿs, REEL-UNREEL

Kabul, Afghanistan 2011

In collaboration with Julien Devaux and Ajmal Maiwandi

20:00 min.

Francis Alÿs

Nomads

CONCRETE GEOGRAPHIES [ NOMADS ]
A new book by Xavier Ribas with Bside Books
Book release in June 2012

84 pages
Page size_ 24 x 30 cm. / 9,5 x 11,7 in.
33 tritone B/W + 3 CMYK photographs
Paper_ Gardapat 13 Kiara 115 g
Hardbound_ cloth
Limited edition of 687 copies signed and numbered
ISBN_ 978-84-615-7229-8
With the support of the University of Brighton

On the 24th of February 2004, heavy machinery entered an empty industrial plot in Barcelona occupied by some sixty Gypsy families. Over a few days two diggers drilled and lifted up the concrete floor of the site, intimidating the Gypsies and finally pushing them out. They left behind a contorted surface, like a horizontal wall, to protect the site and keep it empty. This method of dissuasion demonstrates the economic value of violence and destruction in order to control space. The broken ground, the fissures and fragments of concrete slabs standing up like remnants of ancient Mayan stelae give testimony, still today, of this displacement.