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poetry

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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Ces photographies sont extraites d’une série en cours d’accomplissement : Après tout. Elle sera montrée en novembre 2012 à Paris.
Au commencement, aucun souci d’unité thématique. Si des liens entre les images se tissent après coup, je les assimile à des terminaisons nerveuses. Vouloir parler de la vie de son esprit en plein milieu du monde sans être saisi par le délire, c’est un souci quotidien. La seule question qui vaille pour moi aujourd’hui.

These photographs are from a series is being made: Après tout. It will be shown in Paris in November 2012. Initially, no worries of thematic unity. If links are forged between the images after the fact, I equate them with nerve endings. Want to talk about the life of my mind in the middle of the world without being seized by the delirium is a daily concern. The only valid question for me today.

Amaury da Cunha

www.saccades-images.blogspot.com
www.amaurydacunha.com

Domingo Milella : A view from Castelmezzano

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

David Favrod

Omoide Poroporo
50 pages
21.4 x 24.5 cm
signed and numbered + 1 unbund photograph
First edition of 100
ISBN 978–3–03747–019–0
KODOJI PRESS

I usually find it hard to speak about myself. I always stumble in the paradoxes of «who am I ?».

In terms of factual information, I surely appear to be the most well informed person about my own self. But as soon as I need to communicate about who I am, I tend to do it through filters, selecting what I want to communicate, and how I wish to do it, in accordance with my interests and sensitivity.

So what can be the objective value of the way that I picture my family and my life ? How much does it concretely relates to reality or not ?

David Favrod 2010


Softcover 15 x 19 cm., 64 pages, Schaden.com 2009, ISBN 3-932187-75-X, EURO 18.00

The Singled Person was originally conceived as a projection for seven screens, viewable simultaneously. Seven photographers are presented in this book, sharing their different visions of the singled person.
Yet, who is this singled person; the photographer, the subject or both?
Whether the subject is physically alone or in a group, everyone here remains in a state of alienation, just as the photographer, no matter how intimate or close he is to his subject, remains alone.

In order to transform the projection into print form the different artists’ works are intermixed, emphasizing the central concept rather then the individual photographer and allowing the viewer to connect emotionally, as recurrent moments of life are summarized, displaced, connected, or just pass by.

With photographs by Michael Ackerman, Morten Andersen, Thorsten Kirchhoff, Peer Kugler, André Lützen, Hisashi Murayama and Filippo Romano.

Peer Kugler

Thorsten Kirchoff

Michael Ackerman

André Lüetzen

Hisashi Murayama

Morten Andersen

Fillipo Romano

Projection – installation views

Cyrille Weiner

“La valeur des villes se mesure au nombre des lieux qu’elles réservent à l’improvisation” Siegfried Kracauer, Rues de Berlin et d’ailleurs, 1964

Le ban des utopies, 2007

album japonais Moleskine, 60 pages pliées en accordéon, tirages jet d’encres pigmentaires, tampons d’encre

édition limitée à soixante exemplaires, pour Cheminements 2008 Le paysage comme terrain de jeux, Centre de photographie de Lectoure

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