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Vincent Delbrouck

AS DUST ALIGHTS

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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

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Max Pinckers

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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.

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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

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

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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

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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 – 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

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

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!

Francis Alÿs, REEL-UNREEL

Kabul, Afghanistan 2011

In collaboration with Julien Devaux and Ajmal Maiwandi

20:00 min.

Francis Alÿs

New book by Nina Poppe

88 pages, hardcover, first edition 800
Published by Kehrer Heidelberg Berlin 2011

Photographer Nina Poppe (Germany, 1979) has spent a significant and intensive amount of time together with the Ama. These legendary fisherwomen of the Japanese island of Ise-Shima dive for Abalone, using no equipment, in water that is up to 30 metres deep. Abalone is a type of sea snail that is considered a delicacy and that commands high prices. The diving is dangerous and tiring, yet the divers often continue to practise their trade into old age.

Within this centuries-old tradition a big shift is occurring; more and more young women choose life in the cities instead of diving. The abalone are becoming scarcer too, due to the water temperature rising as a result of climate change.  In contrast to earlier photo reportages about the Ama that concentrated on the diving itself, Poppe’s work emphasises the community of the Ama, which is principally run by women.

Nina Poppe photographed the life of the Ama both in the water and on the island. Her images reveal the social context in which these women live. At times, the images seem slightly alien: the women, clad in black wetsuits, large gloves and a white scarf wrapped around their heads, sometimes seem to have stepped out of another world. Poppe’s photographs are characterized by a clear composition and a soft colour palette in which the blue of the sea and the sky is a recurring theme. Besides the photos by Poppe, the exhibition will also include films that contributed to the myths surrounding the Ama – many thought that the women, who in earlier times dove without masks and wearing just loincloths, were searching for pearls.

Nina Poppe was born in 1979 in Münster, Germany. She earned a bachelor’s degree in photography from the Utrecht School of the Arts (2003) and a degree in film and photography at the Academy of Media Arts in Cologne (2011). She participated in a number of exhibitions in museums including the Fotomuseum Winterthur, Zürich (2007), the Goethe Instituut, Rotterdam (2008) and Kunstverein Leverkusen, Leverkusen (2012). Poppe has produced two films; Sunrise Dacapo (2008) and Stichtdag (2009). In 2010, Kehrer Verlag published her book Ama

source : foam

Ama by Nina Poppe can be seen from 11 may to 27 june 2012 at Foam. Open daily 10 am – 6 pm, Thurs/Fri 10 am – 9 pm.

Foam

Keizersgracht 609
1017 DS Amsterdam
phone: + 31 (0)20 5516500
www.foam.org

 

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