Nofound to New Documents #1 is a travelling exhibition (on-line/off-line) curated by young photography intensive seeker Emeric Glayse. The exhibition is based on the website Nofound he founded a couple of years ago. The idea was to show unedited, intimate and diary snapshots pictures, mostly of young emerging photographers, and from a few more established ones.

From the web to the exhibition space, the show will evolve with time and space, with a first stop in London  at Viktor Wynd Fine Art. This art gallery is also a place to find all sorts of travel discoveries and treasures from collector Victor Wynd, which reminds of Emeric’s work, spending extensive time seeking images on the internet. This first subjective retrospective materializes an obsessional relationship Emeric has with photography and photographers, based on sensitivity and a powerful desire to discover. A matter of feelings.

(Read these two interesting interviews of Emeric on Dazed Digital : this one on Nofound, this other one on Nofound to New Documents)

Installation view of the exhibition Nofound to New Documents, Victor Wynd Fine Art, London


The exhibition name is a wink to John Szarkowski’s exhibition New Documents, one of the first museum exhibition dedicated to snapshot photography, with the works Lee Friedlander, Diane Arbus and Garry Winogrand (Moma, 1967). The photos were exhibited as a line of small framed prints. A concept that shapes Nofound to New Documents #1 ‘s installation, and a way to link with the original blogroll structure of Nofound.

The new website dedicated to the exhibiton will also be an evolving space and a base for the future exhibitions. This makes Nofound to new document a refreshing in progress curatorial project.

Installation view of the exhibition New Documents, The Museum of Modern Art, New York, 1967. Photo Diane Arbus.

Participating photographers include Agnes Thor, Alexander Binder, Ana Kraš, Bjarne Bare, Chris Heads, Elena Chernyak, Elinor Carucci, Emanuele Cardesi, Erik Van Der Weijde, Giasco Bertoli, Henry Roy, Jackson Eaton, Jerry Hsu, Jonnie Craig, Keiichi Nitta, Lina Scheynius, Linus Bill, Logan White, Nicole Lesser, Noël Loozen, Olivia Malone, Peter Sutherland, Peter Zachary Voelker, Philippe Gerlach, Rasha Kahil, Ren Hang, Rikki Kasso, Roberto Rubalcava, Thobias Fäldt, Todd Fisher, Tod Seelie, Valia Fetisov, Vincent Delbrouck and Yi-Qing Liu.

Lina Scheynius, Untitled from Diary Summer 2009, 2009
Inkjet print on Baryta paper, 24cm x 16cm (9.4″ x 6.3″), Ed. of 9.

Vincent Delbrouck, 003 from A grass fire, 2009
Inkjet print on Baryta paper, 24cm x 16cm (9.4″ x 6.3″), Ed. of 9.

The exhibition runs through February 28, 2011
Viktor Wynd Fine Art
11 Mare street, E8
London, UK

Tell Mum everything is ok #3, A postmodern world

Fanzine printed on “Cyclus offset” 140g, a wood-free paper
Cover : Pantone Offset on 300g
Format : 143 x 195 mm
Extend : 80 pages
Type used : ITC Officina Sans et Serif

Lin Zhipeng

Amy Stein / Franck Juery

Marlon Kowalsky / Charlotte Tanguy

Contributors: Lin Zhipeng, Doug Dubois, Bryan Formhals, Missy Prince, Keith Davis Young, Kirill Kuletski, Alain Roux, Amy Stein, Franck Juery, Shane Lavalette, Jacob Wolf Miller, Romain Bernardie James, Vincent Bordet, Yann Gross, Peter Baker, Peter Granser, Nick White, Leo Postma, Vincent Aubert, Tim Davis, Matthew Genitempo, Daniel Gebhart de Koekkoek, Jeremy R. Jansen, Pedro Ramos, Quentin Roux, Julien Pebrel, Yann Orhan, Marlon Kowalski, Charlotte Tanguy, Bridget Collins, Diana Kraus, Agnes Thor, Sabrina Bte Abdullah, Ana Kraš, Bob Myaing, Jennilee Marigomen, Michael McCraw, Kyle Scully, Landon Metz, Allie Mount, Alistair Dickinson, Brent Boggs, Daniel Augschoell, Tagger Yancey IV, Gregory Halpern, Juan Chao,  Yosigo and Ramon Haindl

Tell mum everything is ok is a participative photo review edited by Frederic Pierre and Camille Françoise – Editions FP&CF

Curated by Maxime Milanesi and designed by Claire Schvartz

Romancing the banal in a post-print world

Spread around Paris, Lyon, Barcelona and New York the friends Jeremy Egry (b. 1979), Aurélien Arbet (b. 1985), Marco Barrera (b. 1985) and Nicolas Poillot (b. 1978) get together in JSBJ. These French photographers not only produce their own zines and larger collaborative photographic publications, they also host the portfolio based website where they promote a large number of new and talented photographers.

Google Street Photography competition

San Francisco


Google Map offers a Street View from its website thanks to a smart camera. To see this street views, simply zoom on the map. Then you’ll be able to navigate inside this virtual space of the city and the country.

This competition is based on this incredible bank of images, and only pictures from Street View can be used for it.

The question of photography in this competition deals with images, mechanically taken. Technique is thought differently: what you need is not a camera but a computer screen.
For the first time, street photography doesn’t need the usual technical aspect of photography. Also, it deals only with wandering and observation. Free of a major restraint, this is a new proposition of representation, of an experimental practice.

see also on Streetpulse :

A post from Mrs. Deane





… We could not immediately find out where the depicted ruins are (or were) located. The Hungarian names might just have been that: Hungarian versions of geographical names (and they have some funny ones: Lengyelorzsag for Poland, no one has been able to explain me this), but they could also have been names for places that once belonged to the Austro-Hungarian Empire or parts of Trans-sylvania, now Romania. I did a short web query and found out that, yes, there are many many ruins in Romania (see e.g. this web-archive), but I could not locate these particular ones. Not that it really matters, we are not planning to re-photograph them, and it is the photographs we are interested in, and how they can transform a place and give it a new presence. I don’t how this is for other people, but for me photography is so little about the what of the image and so much about the how it lets appear things, people, situations. Perhaps that is why it is not a problem for me to see, for example, twenty different portfolio’s made in another recent ruinous place, New Orleans. What could be a problem, is if they all look the same to me. It simply cannot be [or perhaps I should say: I refuse to believe] that a certain place appears the same to each and every photographer that comes along. It would be the death of plurality if a thing or a place has a singular mode of being present in the minds of its beholders, and that, to me, would be the real ruin of our world.”

“Nothing is too amazing to be true”


Hand tinted image. Otaue shinji (Rice planting rites) in Sumiyoshi taisha in Osaka.

visit Mrs Deane blog at :

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