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Monthly Archives: November 2008

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photographies Julien Magre nouvelle Marc Villard

Ed. Biro Coll. KB6

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photographies Julien Magre

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Beyond History
Havana 1998 – 2006
Poetic Documentary vs Dirty Realism

Photographs, artwork and texts: V.D. (Vincent Delbrouck)
Poems: Pedro Juan Gutiérrez
Published by BOLD PUBLISHING (Amsterdam)

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Photographs, artwork and texts ©Vincent Delbrouck

Thanks to Olivier Thebaud / Streetpulse

http://saccades-images.blogspot.com/

Un espace où tout ce qui est dit ou vu est un horizon de projets ; hypothèses de travail, notes, photographies en cours, bribes de textes — laboratoire éphémère.

photographies d’Amaury da Cunha

Clémentine D. Paris, novembre 2008.

Clémentine D. Paris, Novembre 2008

Bruxelles, octobre 2008.

Bruxelles, octobre 2008

Paris, juin 2008.

Paris, juin 2008

Bruxelles, octobre 2008.

Bruxelles, octobre 2008

Photographier, une urgente insistance. Contre la déprimante homogénéité des apparences, maintenir le cap dans le flux saccadé du temps. Après une saisie morcelée (par des photographies & de courts textes) qui a nourri ce blog et dont les matériaux vont bientôt donner lieu à un livre (“Saccades” aux éditions Yellow Now) — l’œil prend maintenant de la distance.  Dans l’éloignement, il fait apparaître une monde habitable qui me ressemble davantage. Il était temps.  Pour la première fois, je peux apporter une légende aux images comme si les photographies étaient en voie de réconciliation avec le langage et enfin ouvertes aux histoires. On appelle ce nouveau mouvement Après tout le temps. Affaire à suivre si l’on veut.

Amaury da Cunha, novembre 2008

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From the Series Seedlings, 2004. (buttons) 21 x 31,5cm, ed 5

(also 47 x 69cm, ed 4), chromogenic colorprint on aluminium.

My interest towards photography is closely related to time in the past tense, to the possibility of being able to make a moment motionless, to make something stand still. That something has existed, and has now been set in static state. There is a certain aspect of lost moments and a feeling of letting go when looking at photographs. They exist at the intersection of the momentary and the constant, between the fleeting feeling of being alive and consciousness of the moments passing by.

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From the Series Seedlings, 2004. (landscape) 21 x 31,5cm ed. 5

(also 47 x 69cm ed. 4) chromogenic colorprint on aluminium.

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From the Series Seedlings, 2004. (bird)
47 x 69cm, ed. 7, chromogenic colorprint on aluminium.

In my pictures, attempts in recognising and lighting of obscure and vague movements, are made visible. I want to approach the momentariness of living through constancy. The paradox is that when you try to conserve or protect a moment by stopping it, by photographing it, you inevitably lose it at the same time. I am interested in exploring these contradictions and borderlines between things, how distance relates to closeness.

Symbolic meanings are essential in my works. I am interested in how the concrete surface of reality and photographs relate to metaphorical things that can be found underneath. I try to trace those kinds of occasions of seeing when words dissolve and scatter apart, objects and incidents intensify into symbolic language, silent information and intuitive interpretation. What fills the room behind the picture, allows one to step closer. Thoughts of incompleteness and insecurity are also important to my works.

Objects and spaces can occur to be like transparent routes between the inside and the outside, between the seen surface and unconscious content. Museums and miniature rooms become entrances to each other. Balance and its fragility, delicacy are present simultaneously.

How to stop a feeling, a memory? By binding it to visible objects, facades of material things, attaching it to a room´s walls, the surface of photographs. Like translucent skin with unforeseen memories beneath.

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From the Series Seedlings, 2004. (the river) 47 x 69cm, ed. 7,
chromogenic colorprint on aluminium.

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From the Series Possibility of Constancy, 2006. (Qualities: careful)
31 x 46cm, ed.7, (work in progress) chromogenic colorprint on aluminium.

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Prairie, 2008
c-print diasec, edition 1/5 90x135cm

I suggest: we can be multiple. Touch your enviroment and it will show itself as fantastic. People are unpredictable. They are male and female at the same time. Eyes whisper sparks.

The water is the most remarkable. It carries bodies. Water is colour. The shimmer and the deep green. My challenge is to see the reality in a non-traditional light. When I am shooting pictures, I have a premonition that something strange is about to happen.

I follow the logic of colours, when I combine places, people and objects. To me the most important quality of photography is it´s capability to convey emotions.

I suggest: imagine the details a bit further. Who is drawing trees in to the pond. When you touch the surface of the house it turns out to be your companion.

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Emilia, 2008
c-print diasec, edition 1/5 90×135 cm

I throw myself into a fictive reality in the shootings. My heart beats wildly when I can feel the presence of surprises. When you´re in love, but bid farewell to the channel. You forgot the ship and it sinks. When the fall is unreachable behind the grey sorrow.

I want to narrate feelings like in novels. The reader of images gets a chance to handle her lost and encounters. There is a place for danger. Did you die when you saw the shadow of the bird?

The language is a map and draws around us, unknown and familiar.

I believe in a single image. It breaths strong.

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Mykines
2007, 70x105cm
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