Archive

photo books

Vincent Delbrouck

AS DUST ALIGHTS

delbrouck_IMG_3840

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

delbrouck_IMG_3841 delbrouck_IMG_3848 delbrouck_IMG_3855 delbrouck_IMG_3856 delbrouck_IMG_3866 delbrouck_IMG_3883 delbrouck_IMG_3893 delbrouck_IMG_3898 delbrouck_IMG_3929

Max Pinckers

70_max-pinckersthe-fourth-wall012

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.

70_max-pinckersthe-fourth-wall004

70_max-pinckersthe-fourth-wall005

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

70_max-pinckersthe-fourth-wall031

70_max-pinckersthe-fourth-wall052

70_max-pinckersthe-fourth-wall073

70_max-pinckersthe-fourth-wall028

70_max-pinckersthe-fourth-wall057

69_max-pinckersthe-fourth-wall20

70_max-pinckersthe-fourth-wall106

69_max-pinckersthe-fourth-wall06

70_max-pinckersthe-fourth-wall099

70_max-pinckersthe-fourth-wall112

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

69_max-pinckersthe-fourth-wall02

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

69_max-pinckersthe-fourth-wall01

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.

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!

“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/

© 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

 

 

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.

 

 

La Montagne était à l’origine un projet commandé par la ville de Clermont-Ferrand. Il devient aujourd’hui le nouveau livre de Christophe Bourguedieu.

La Montagne

photographie Christophe Bourguedieu, texte de Michel Poivert

format 28×23 cm, 64 pages, 26 reproductions quadrichromie

Editions Loco, juin 2012

 

L’articulation des photographies, par « phrases » rythmées, dévoile progressivement une autre lecture du récit : dès l’ouverture, la rue qui mène à l’usine Michelin et à ses cheminées fumant sous un ciel orangé apparaît comme le théâtre d’une tragédie provinciale, les colonnes ainsi figurées annonçant le bois enchanté dans lequel veille un chien blanc. Des passions étouffées s’agitent. Un homme tire au pistolet, une jeune femme détourne la tête, des rugbymen épuisés s’effondrent sur le terrain comme des chevaliers vaincus. La Montagne nous montre comment l’univers de Christophe Bourguedieu s’adapte pour décrire nos contemporains, le mélange des temps, la présence des « gens », et s’engage sans hésiter dans un prosaïsme réenchanté.

 

« Aux États-Unis (Éden), en Finlande (Tavastia) ou bien encore en Australie (Les Passagers), Christophe Bourguedieu travaille depuis longtemps à saisir par les corps, les regards, les chemins et les architectures, le sentiment d’un monde contemporain occidental. Ce que l’artiste perçoit est le réservoir des humains. Des lieux où une communauté maintient dans un transparent secret l’héritage démocratique. Pour une fois en France, il nous livre avec La Montagne une ballade – genre réservé à la musique, mais dont je vois ici un équivalent –, une ballade photographique donc, pour se plonger dans l’espace de la collectivité. » (Extrait du texte de Michel Poivert)

 

Signature le mercredi 20 juin 2012, librairie photographique le 29

Une exposition des œuvres de Christophe Bourguedieu se tiendra du 15 juin au 19 septembre 2012 au Centre photographique de Clermont-Ferrand.

%d bloggers like this: