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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.

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Francis Alÿs, REEL-UNREEL

Kabul, Afghanistan 2011

In collaboration with Julien Devaux and Ajmal Maiwandi

20:00 min.

Francis Alÿs

Yousef Nabil, You never left

Solo exhibition at Galerie Nathalie Obadia, Paris

You Never Left #1, 2010
Diptych, hand colored gelatin silverprint, 27 x 39 cm/ 10,6 x 15,3 in. each photo
Ed. of 10

You Never Left # 2, 2010
Hand colored gelatin silver print, 39 x 27 cm/ 15,3 x 10,6 in.
Ed. of 10

You Never Left #IV, 2010
Hand colored gelatin silver print, 27 x 39 cm/ 10,6 x 15,3 in.
Ed. of 10

You Never Left #VI, 2010
Hand colored gelatin silver print. Installation of 12 different portraits
39 x 27 cm/ 15,3 x 10,6 in. each
Ed of 3

You Never Left #VII, 2010
Hand colored gelatin silver print, 50 x 75 cm/ 19,6 x 29,5 in.
Ed. of 5

You Never Left #VIII, 2010
Hand colored gelatin silver print, 115 x 75 cm/ 45,2 x 29,5 in.
Ed. of 3

Youssef Nabil observes his life as if he were in a cinema, watching and witnessing every minute of his own movie. When he realised, as a child, that many of his favourite Egyptian film stars were no longer alive, this kindled a desire to meet those who were still living and to immortalise them. In doing this, he created an imaginary reality that reflects both the paradoxes of the Middle East in our times and the fantasies and flamboyance of Egyptian movie stars in the cosmopolitan pre-revolutionary years.

Nabil began his photographic career in 1992 by staging tableaux in which his friends acted out melodramas recalling film stills from the golden age of Egyptian cinema. Later in the 1990s, while working as a photographer’s assistant in New York and Paris, he began a series of photographs of artists, portraying them in dream-like situations that were a long way from their public personas. On his return to Egypt in 1999 he further developed his unique photographic approach, hand-colouring his black-and-white gelatin-silver prints. Like the Egyptian films of his youth, this new approach removes the blemishes of reality and fuses contemporary art and popular culture. Now based in Paris and New York, Nabil also produces self-portraits reflecting his fragmented life away from Egypt.

You Never Left  was first shown in the exhibition Told/Untold/Retold, held to mark the inauguration of the Mathaf in Doha in December 2010, and met with great critical success, establishing Youssef Nabil as part of a “New Wave” of Arab artists injecting fresh dynamism into the international art scene.

You Never Left #XII, 2010
Hand colored gelatin silver print, 27 x 39 cm/ 10,6 x 15,3 in.
Ed. of 10

 

Gilles Peress
Autour du livre d’Alais Resnais, Repérages, 1974

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Repérages, Alain Resnais (1974) 
© Editions du Chêne

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Série Boogie Boy, New York, 2006
© Gilles Peress / Magnum Photos

Gilles Peress a réalisé à New York un carnet de repérages photographique d’un film fictif à venir dont il serait le réalisateur et l’acteur principal. Le projet tout entier est un hommage au livre Repérages d’Alain Resnais (1974), qui occupe une place capitale dans sa mythologie personnelle, car il s’agit du premier livre de photographies qu’il ait découvert. Qui dit repérages, dit scénario. Pour Gilles Peress, le scénario de ce film fictif est ouvert, et la narration plutôt flottante, mais organisée autour de quelques événements réels. Un des fils conducteurs est le thème de New York après le 11 septembre. Une ville où flotte une menace, et où le chaos est omniprésent. Gilles Peress montre ses photos documentaires et poétiques sous forme de bandes verticales. A la manière de rouleaux de pellicules posés à plat sur le mur. En somme, pousser la photographie autant que possible vers le cinéma.

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L’image d’après
Le cinéma dans l’imaginaire de la photographie
Dix photographes Magnum à la Cinémathèque française

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