| | | | | | | | | | | | | | | | | | | | | | | | Gottfried Jäger
Polarisationen (Polarizations) (Cliché cellophan series 6-6, 17. Light graphic work), 1965
Four unique gelatin silver prints on Agfa Brovira type 111 and thirteen unique chromogenic
prints on Agfacolor type MCN 111
9 1/10 x 11 4/10 in., 23.1 x 29.0 cm
Unique | | | | | | | Solo show Paris Photo Booth A4 | | | | New publication + Presentation of the Deluxe Edition: Friday 12 November, 1pm | | | | | | | | | | | | |
Gottfried Jäger
Multiple Optics. Four Variations of the series 4.21, 1973
Multilens, Chromogenic film, Photo montage
11.7 x 9.4 in.
Vintage
Unique |
Gottfried Jäger
Multiple Optics, 4.51, 1980
Pigment Glossy Print on Fujicolor 27 3/5 x 19 7/10 in.
70 x 50 cm
Edition of 5 |
| | | | | | For the occasion of Paris Photo 2021 Sous Les Etoiles Gallery presents a solo show dedicated to the German artist and photographer Gottfried Jäger, showcasing a selection of his color works from the 1960s to the early 2000s. His first monography of color works "Intersection of Color" is published and edited by Sous Les Etoiles Gallery in a limited edition of 100 copies. The Deluxe Edition of the book, which includes a backlit print with a size of 12 x 9 inches / 30 x 24 cm numbered and hand signed by Gottfried Jäger. This limited edition of 10 copies will be presented for the first time at Paris Photo.
Known as one of the greatest figures in German photography, Gottfried Jäger (b. 1937, Burg near Magdeburg) is an experimental artist who, over the years, redefined the term "photography". In breaking the boundaries of what the camera can accomplish, Jäger reexamines the objectivity of the photographic process. In 1968, during the move-ment of Concrete Art, Jäger developed the concept and theory of Generative Photography. In his words, it consists of "finding a new world inside the camera and trying to bring it out with methodical and analytical methods."
Jäger’s generative color work derives from the color spectrum and the refraction of white light. Whether analog or digital, the work is not a representation of color but a reflection of it. In his "color space," Jäger creates paths, crossing from experimentation to programming, from abstraction to concretion, and from analog to computed color photo-graphs. Over the long course of his career, through his use of multiple lenses combined with algorithms and computer programs, Gottfried Jäger has developed a new aesthetic. | | |
| | | | | | | | | | | | | | Kourtney Roy
Message, 2016
pigment inkjet print on archival paper | | | Deux Accrochages | | | | | | | | | | | | | | | |
Albarrán Cabrera
The Mouth of Krishna, #888, 2021
Pigments, Japanese paper and gold leaf |
Thierry Cohen
April 24 N°2, 2020, 2020
Tirage pigmentaire, encadrement bois, verre |
| | | | | | Both born in 1969 and living in Barcelona, Anna Cabrera & Angel Albarrán have been working together for almost twenty years and form a rising duo on the photographic scene. Together, they develop a photographic universe, poetic and sensible where the emotion from the subject meets the beauty of the print. Experts in alternative printing processes and photo preservation, they frequently use historic processes such as cyanotype, platinum-palladium and other analogic technics but also invent original processes that they combined with precious materials like Japanese papers, pigments, minerals or gold leaf. Questioning identity and the traces the camera keeps of the past, their various open series evoke our relationship to time and memory and our perception of the photographic image between reality and illusion.
Born in 1963, Thierry Cohen has been a photographer since 1985 and was one of the first to take an interest in digital technologies applied to the still image. In 2008, with the series Binary Kids, he questioned the future of future generations confronted with digital networks and technologies, both the origins and consequences of growth. From 2010 to 2019, between megacities and deserts, he was working on Villes éteintes to show the stars in cities and to raise public awareness of the problem of light pollution, a consequence of human activity. Carbon Catcher, a new series in progress since 2018, questions the relationship between Man and his habitat and the role of forests as carbon sinks that are essential to curb global warming. Beyond the spectacular magic of his images, Thierry Cohen uses the possibilities of photography to question the over-consumption of energy in Western societies and the place of Man in his environment. | | | | |
| | | | | | | | | | | | | | Susa Templin
My private Idahoe, 2001
Analogue photography, handprinted by the artist
107 x 72 cm each
Edition of 3 | | | | | | | | | | | | | | | |
Annegret Soltau
Mutter-Glück - mit Tochter und Sohn, 1989-90
Fotovernähung |
Christiane Feser
Sonderedition Berlin, 2020
two-stage Photo-Object
Archival Inkjet Pigment Print
38 x 28 x 1 cm
Edition: 30 |
| | | | | | How does perception work in a built space and how can spatial experiences be put into pictures? These are questions SUSA TEMPLIN (*1965 Hamburg, Germany) has been concerned with for a long time. The artist, who lives in Berlin and in Frankfurt am Main, works with photography and three-dimensional spatial models. This is a concept that she concretized during a studio scholarship in New York and has expanded since then. Templin uses her extensive archive of photographs of room fragments — which are always photographed analogously and processed in her own laboratory — for new, atmospherically dense spatial designs. These fragments can be a corner of a room, a piece of curtain or a certain doorway. With the technical possibilities of photography and installation, the artist creates subjective architectural atmospheres and spaces: places that are associative and real at the same time, like the work "Folded Spaces" — a group of works from the current exhibition at the Braunschweig Museum of Photography — that counter the physical manifestations of space, object and body.
ANNEGRET SOLTAU (* 1946 in Lüneburg, Germany) is a pioneer of feminist art and body art. Since the 1970s, the artist has been reflecting on the states of her mental and physical being. At the beginning of her work there are mostly private performances, which she captures in video and photography before being modified in a further step. The aim is to capture states of consciousness and unconsciousness in real life. She mostly serves herself as a model, including family members and friends in her work. Through an intensive research in her archive, coherent groups of works have recently been uncovered that are practically unknown. Among these we find the series Tagesdiagramme, which works like a diary of the artist's physical and mental experience. In these diagrams the artist records the cornerstones of her daily experiences and arguments. Terms such as rejection, encounter and losscan be found, whether as a whole word or in a deconstructed form. The lines that connect these terms with each other are partly drawn with colored felt-tip pens and complemented by small drawings. This year the artist celebrated her 75th birthday.
CHRISTIANE FESER (*1977 Würzburg, Germany) has identified new facets to the question of what we actually see in a photograph. Her compelling works reject the traditional two-dimensional approach and construct a three-dimensional layer that re-thinks the medium as a whole. Her work operates on the border between photography and object, between the human, dynamic perception of space and the static, two-dimensional pictorial space of photographic images. Her working method questions the concept of photography and at the same time expands it in a playful manner. Simple elements such as threads, pins and blank sheets of paper are transformed into complex nested structures, so-called photo-objects, which cast their own shadow, in which the present and the past intertwine and suggest false transparencies. The photographic objects enable the viewer to adopt different perspectives and at the same time challenge him or her to look analytically. | | |
| | | | | | | | | | | | | | Aino Kannisto
Nixies Children, 2015
Chromaluxe Aluminium Print, 76 x 100 cm
Edition: 6 | | | | | | | | | | | | | | | | | |
Evelyn Hofer
Queensboro Bridge, New York, 1964
Dye Transfer, 42,5 x 33,6 cm |
Thomas Florschuetz
Untitled (Framing) 26, 2019/2020
Archival Pigment Print, 152 x 102 cm
Edition 3 + 1 AP |
| | | | | | After 20 years of self-portaits Aino Kannisto » made a series of photos working with children as protagonists in the photographs. Kannisto focused the attention to the mystery and beauty the children were carrying within.
Information about the photographic series Children Pictures »
Thomas Florschuetz » : The Dominican priory of La Tourette near Lyon, built by Le Corbusier in the late 1950s, provided Thomas Florschuetz with the motifs for his Framing series from 2019, which shows significant details of the architecture in reduced images.
The dynamics of the artist’s compositions are inspired by the lines of the building elements as well as their surface textures, coloring and the momentary lighting situation. Minimal deviations in perspective result in images that appear abstract in large part, the architectural references fading into the background and only remaining evident in isolated areas. The focus thus oscillates between planar composition and depth effect, between abstract picture and a visceral sensation of space.
Further information about the series Framing » | | | | |
| | | | | | | | | | | | | | Stéphane Couturier
La Havane - mur no. 1, 2005
C-Print
107 x 84 cm
Edition 8 | | | | | | | | | | | | | | | |
Walter Schels
New York, US-Flag, 1967
Archival Pigment Print
30 x 21 cm
Edition 5 |
Fréderic Brenner
Zerheilt #42, Berlin, 2018
Archival Pigment Print
40 x 30 cm
Edition 20 + 3 ap |
| | | | | | Stéphane Couturier’s large-scale, captivatingly composed, almost painterly photographs of buildings or architectural structures which showcase how architecture and everyday life are deeply connected.
The psychological black and white portrait photographs of animals by Walter Schels, one of the most prestigious German photography artists, concentrate on the physiognomic landscape of the face. In his images, the animals appear as if they are humans.
Frédéric Brenner is one of the most outstanding photographers of our times. Our presentation focuses on his life-long engagement with Jewish life in our times; from the black and white photographies of his "Diaspora" series to his newest project "Zerheilt", which is currently on view at the Jüdisches Museum in Berlin.
David Meskhi's images of young athletes floating in front of abstract coloured surfaces unconstrained by the laws of physics are presented as both an autobiographical visual diary as much as a social documentary. | | | | |
| | | | | | | | | | | | | | LINA SCHEYNIUS (*1981, Sweden)
Untitled (Diary), 2013
Analogue c-print
40 x 60 cm
Edition of 3 + 2 ap | | | | | | | | | | | | | | | |
A MI YOON (*1985, Korea)
Untitled, from the series 'At Night', 2010
Pigment print
90 x 60 cm
Edition of 5 |
BRIGITTE LUSTENBERGER (*1969, Switzerland)
Not titled yet, from the series 'A Gaze of One’s Own', 2021
Silver gelatin print on Baryta paper
70 x 70 cm
Edition of 5 + 2 ap |
| | | | | | At this year’s edition of Paris Photo Christophe Guye Galerie presents a selection of female artists only, all of whom work with different forms of self-portraiture or with portraiture of female figures, offering unique artistic expressions to capture their own view of themselves as well as of other women.
We will exhibit artists such as Jun Ahn (KR), Rinko Kawauchi (JP), Brigitte Lustenberger (CH), Marianne Marić (FR), Lina Scheynius (SWE), Emma Summerton (AU), Dominique Teufen (CH) and A Mi Yoon (KR), who through the female body and the photographic settings they construct, all take control of its representation. Their portraits – whether in the form of performative self-portraiture, performative portraiture of other women or as a representation of their own selves – hinge on the act of looking, but the significance of their works lies in their articulation of what it means to be 'seen' as a woman and what they choose to do with that knowledge. With more than 20 exhibited works, we show how these artists explore their identities and use their works as a vehicle to achieve self-expression by negotiating the gap between seeing and being seen. | | | | |
| | | | | | | | | | | | | | Andrea Grützner
Erbgericht Untitled 27, 2020-2021
Archival pigment print
150 x 100 cm
Edition of 5 +2AP | | | | | | | | | | | | | | | | | |
Jessica Backhaus
CUT OUT 30, 2020
Archival pigment print
112,5 x 75 cm
Overall-Edition of 5 + 2AP |
Mårten Lange
Steam rising (Shanghai), 2019
Archival pigment print
105 x 70 cm
Edition of 3 + 2AP |
| |
| | | | | Andrea Grützner’s artistic work deals with the emotional and visual perception of spaces. She seeks the familiar and at the same time unfamiliar, asks questions about the memory of places and our orientation in the designed space. Using mostly photographic means, she finds and creates images as well as objects that oscillate between photography, painting and collage. She explores questions of documentary, surreal, abstraction and visual irritation. Andrea Grützner currently lives and works in Berlin.
Jessica Backhaus (*1970, Cuxhaven, Germany) is considered one of the most important voices in contemporary photography out of Germany. In her search for new means of expression, she varies her work between documentation and abstraction. The artist deals with objects and situations of everyday life and views the world through her camera again and again from unusual perspectives. Staged still lifes, collages and minimalistic color and light experiments have recently emerged from her free play with materials. Jessica Backhaus studied photography and visual communication in Paris and lived in New York between 1995 and 2009. Since 2009, the artist lives and works in Berlin.
The artistic work of Mårten Lange (*1984, Gothenburg, Sweden) often revolves around nature, technology, architecture and the urban environment. Using a photographic language of reduction and concentration, Lange turns everyday phenomena into images that are clear, poetic and direct. He currently lives and works in Berlin, Germany. His work is published and exhibited internationally. | | | | | | |
| | | | | | | | | | | | | | Edward Burtynsky, Sulfur Springs #2, Dallol, Danakil Depression, Ethiopia, 2018
© Edward Burtynsky; Courtesy NICHOLAS METIVIER GALLERY, Toronto | | | | | | | | | | | | | | | | | |
Lynne Cohen
Untitled, 2011
c-print, ed. of 3 61.5" x 76.5"
© Lynne Cohen; Courtesy of Olga Korper Gallery, Toronto |
| | | | | | The presentation this year will feature an exclusive release of new photographs from Edward Burtynsky's forthcoming project on the subject of Africa. Looking at both the natural African landscape as well as areas that have been transformed through resource extraction, Burtynsky creates otherworldly compositions that are punctuated with intense colour and remarkable detail.
We will also feature a selection of seminal photographs by Lynne Cohen, shown in partnership with Olga Korper Gallery. Two of Canada's most important photographers, this will be the first time their work has been exhibited together. Burtynsky and Cohen shared a mutual respect for each other's practices, both using the latest photographic technologies and finding deep and otherwise undetected beauty in the man-made.
Edward Burtynsky's (1955 - ) forthcoming project on the subject of Africa is scheduled for worldwide release in the fall of 2022. This presentation offers an exclusive release of several new images from the latest series with a focus on natural landscapes as well as the otherworldly effects from coal, gold and diamond mining. With Africa, the last of the continents to experience rapid industrialization, Burtynsky is once again at the forefront of documenting its historic transition. Burtynsky has expanded his use of the aerial perspective while drawing us in with arresting abstraction, colour and scale.
Lynne Cohen (1944 - 2014) earned international acclaim for her extraordinary images of domestic and institutional interior spaces including uninhabited living rooms, public halls, spas, laboratories, offices, and showrooms. Devoid of human presence, Cohen’s work focuses our attention on the strangeness and contradictions in our constructed environments. Her highly-detailed photographs transform ordinary spaces into alien territory, calling attention to the wealth of materials, patterns and textures present in our everyday surroundings. This presentation concentrates on seminal works and those with a focus on colour, form and space. | | | | |
| | | | | | | | | | | | | | Arno Fischer
Abflug / Ankunft Berlin-Schönefeld, 1967
© Arno Fischer | | | | | | | | | | | | | | | |
Rudolf Schäfer
Der ewige Schlaf – Visages de morts *1946 † 1981 Berlin, 1981/2021
© Rudolf Schäfer |
Gabriele Stötzer
Voreinander, 1984
© Gabriele Stötzer |
| | | | | | Arno Fischer’s work for Sibylle turned what many initially regarded as an 'old-fashioned magazine' into a coveted cultural item from the early 1960s onwards. He found his natural-looking models on the streets of East German cities and photographed them either on the move or posing against the backdrop of ruins and voids (traces of Germany’s past) and new building projects (signs of East Germany’s future). He also photographed his models on sets and in the studio and experimented with props. By doing so, he quickly changed the standards of East German fashion photography and attracted the attention of Sibylle Bergemann (1941–2010), Roger Melis (1940– 2009), Brigitte Voigt (*1934), Elisabeth Meinke (1937–2006), and Michael Weidt (*1946), photographers who, together with Fischer, made up Gruppe DIREKT. The subject of an exhibition that the Loock Galerie presented at the 2019 Armory Show in New York, this group of photographers would also go on to work for Sibylle and would essentially transform the landscape of East German illustrated magazines.
Rudolf Schäfer will be presented with "Reproduktion", his large-scale study of East German society, which LOOCK exhibited during the summer of 2021—for the first time since this body of work was initially exhibited in 1984. Divided into the five chapters — Kriegsspuren, Totengesichter, Porträts, Stadtbild and Generation — the images paint a subtle picture of society, which deviated from the cultural policy promoted by the state party. Among other things, Schäfer photographed the emptiness and decay of East Berlin‘s urban topography, groups of young people and the recently deceased. All of these themes relate to questions of impermanence and the nature of time. Schäfer’s compositional restraint and the technical precision of his large format camera create an 'imagined objectivity' — an impression suggesting that he has a mere documentary interest in his subjects. However, despite being firmly connected to specific places and dates, Schäfer’s impartial depiction transfers the motifs into a sphere, in which their analysis is not predetermined by their temporal or spatial qualities. His unsentimental yet dignified imagery is a means to an end: death, destruction and generational change—they all take on a more static aura to allow for a focused meditation on the essence of things.
Gabriele Stötzer will present a selection from her photographic oeuvre from the 1980s as well as a video installation. Working across a variety of different media, Stötzer is now widely considered to be one of the most important German feminist artists of her generation. Defying the confines imposed on her by the repressive political system of the GDR, she developed an art practice that pioneered many themes of contemporary political art by questioning gender roles and cultural norms through performance, photography, textiles, writing, painting, ceramics, and film. Centered around the body as the starting point and object of her artistic output, Stötzer created a body of work that is unique in its scope. In this context, the female body unfolds its immanent potential to challenge the status quo, to provoke what is forbidden and to confront the viewer with a subversive counter-image to the state-sanctioned version of being a woman. Stötzer's photographic work is exemplary of this. The depicted bodies are 'social sculptures', resilient figures that occupy and open up new spaces for themselves instead of serving as mere surfaces onto which male gaze and thought is projected. By exploring the body through her distinctive use of photography, she managed to capture brief moments of liberation from the constraints of life in East Germany. | | |
| | | | | | | | | | | | | | | Oliver Abraham: Gerd und Julian Sander, 2020 | | | | | | | | | | | | | | | |
Marionette, ca. 1950
© Daniel Frasnay |
Portrait of Derain, 1955
© Umbo (Otto Maximilian Umbehr) |
| | | | | | The Gallery Julian Sander is pleased to announce a very special exhibition in honor of the passing of Gerd Sander.
In 1940 Gerd Sander was born into a country at war. In the following four years Gerd Sander would experience the gradual and then very sudden destruction of his home town Cologne together with his mother Gertrude. In 1944 Trude would move with the young Gerd Sander to Gummersbach where they would remain until the end of the war. During this time Gerd’s father Gunther was a soldier who was drafted into the German regular army as were all young men who were physically able to fight. At the end of the war Gunther found himself in an American POW camp from which he was released in August of 1945.
Gunther returned to his wife and son to help rebuild what was left of their lives in Cologne. In the fall of 1945 Gunther brought his only son Gerd to his parent’s house in the Westerwald. This is where Gerd would begin his journey of visual discovery. August Sander had managed to save a small portion of his work and his library from the bombings of Cologne. As Gerd could not read at age 5 he would spend time looking through the pictures in the books that August had salvaged. Among them was, of course, Antlitz der Zeit.
August, with his never-ending passion for his work, introduced Gerd to the camera, and the dark room. More importantly he took his grandson with him to photograph. This is where Gerd Sander had his first lessons in seeing and finally reading photographs, and all art for that matter. The curiosity that grew in him through the early engagement with August Sanders mind and eye has remained a primal part of Gerd Sanders activities throughout his career as a photographer, a gallerist, an archivist, a historian, a curator and most importantly as a collector.
The international museum world is indebted to Gerd Sander for his engagement and his lifelong dedication specifically to photography as an art form. Most importantly he built the collection of his grandfather’s work which would become the August Sander Archive founded in 1984 in New York City.
The exhibition presented at this year’s Paris Photo is a reminiscence of Gerd Sanders life in the art world. It is also a platform to talk to the photo community about him and give people an opportunity to exchange ideas. The works shown represent a careful selection across all genres of Gerd Sanders collection. In a manner it is also a reckoning with a changing cultural landscape and a reminder that we, as viewers, have just as much responsibility for the arts as the artists who produce it. | | | | |
| | | | | | | | | | | | | | Erica Baum
Dreaming, 2021
archival pigmentprint
40,6 x 40,6 cm
Edition 6+2 ap | | | | | | | | | | | | | | | |
Jan Groover
160, 1983
platinum-palladium contact print
30,7 x 37,8 cm, ed. 10. |
Adrian Sauer
16.777.216 Farben in unterschiedlichen Anordnungen
Rotes Dreieck, Farbton, 2019
dig. c-print
100 x 100 cm ed. 3+1 ap |
| | | | | | Klemms will be showing new works by Erica Baum, especially selected for Paris Photo, taken from her pivotal series 'The Naked Eye'. Baum has become internationally known for her photographic practice based on found texts and images. With her reflected, nonchalant use of strategies akin to the work of the Pictures Generation, conceptual art, and minimalism, Erica Baum has developed a unique and truly authentic visual language. For two decades now, her enigmatic closeups of books, newspapers, and other printed matter have been investigating the nature, traditions, and essences of the photographic, steadily "re-materializing" its visual, haptic and thematic qualities.
A selection of rare vintage works by Jan Groover is also part of the presentation. In the course of her artistic development, she eliminated the documentary elements from her photographic works little by little and challenged the limits of the medium, investigating the relationship between the elements of an image — the aesthetic effect of structure and form — instead. Everything became form. Not just in her well known still lifes, for which she made her kitchen sink the site for formal-aesthetic experiments, but also in the early movement studies, the intimate figure photographs and the late, almost scenographic-looking arranged ensembles.
Finally Klemms is happy to celebrate the 'market premiere' of the work series "16,777,216 colors in various arrangements" by Adrian Sauer. With his artistic-conceptual modus operandi Sauer explores the very conditions of the photographic image and its changed functionality. In this way, he doubts the great promise photography makes of being a mirror image of reality. A past fixed in the image always has something intrinsically deceptive and constructed. After a succesful solo presentation in 2019 at the Sanaa Building Folkwang-University in Essen (Germany), a selection of the works will be on view for the first time in the context of a fair. | | | | |
| | | | | | | | | | | | | | | 'Beaugency II' 2001 France, C-Print, Diasec Face, 140 x 184 x 5 cm © Elger Esser | | | | | | | | | | | | | | | | | |
Sonja Braas
The Other Day M III, 2020 |
Antoine Rozes
Série L’hors de moi en bois - V - HDM D 2012- 03H12 |
| | | | | | Book Signing
Thursday November 11, 1:00 pm
Serge Najjar » Beirut
TANIT, C04
Saturday November 13, 4:00 pm
Antoine Rozès » Photographies 2011-2021
TANIT, C04 | | | | | | | | |
| | | | | | | | | | | | | | Timm Rautert
Nr. 2, 1969
negative collage, color photography on Baryt paper, mounted on board
65 x 55 cm, image 55,5 x 48,1 cm, framed 85 × 70 cm | | | | | | | | | | | | | | | |
Pieter Laurens Mol
Vera Histora, 1979
8 color photographs on cardboard and 1 letterpress text on gray ingress paper
9 artist frames, 51,4 × 41 cm each |
Clare Strand
from the series: The Colour of Class (An Illustrative Map of London), 2001–2021
fibre based black and white print with tinted acrylic
24 × 30,5 cm |
| | | | | | As Pieter Laurens Mol (* 1946, Breda) states, art is about the quest to find pictures for an "extreme existence". His "artistic life" represents such an existence, one which he invites the viewer to share, although the artist’s life is nothing but an image of man's "creative life" per se. This creative life is based on physical (or other, higher) principles, which his works explore and poeticise. Next year the Stedelijk Museum Breda will dedicate the artist a major retrospective.
Timm Rautert (* 1941 Tuchel, West Prussia) is considered one of the most outstanding contemporary German photographer. Over the decades, he has not only been able to anticipate the most important trends in photography, but also to have a decisive influence on them - as a studio photographer for galleries, as a photo journalist, as a chronicler of the changing world of work and finally as a university professor who influenced subsequent generations. This year the Folkwang Museum, Essen, dedicated the artist a major retrospective.
Clare Strand (*1973 Brighton) is British artist, working with and against the photographic medium. Over the past two decades she has worked with found imagery, kinetic machinery, web programmes, fairground attractions and most recently, large scale paintings. She often rejects the subject-based qualities and the immediate demand of information, so often associated with the photographic image and instead, and without apology, adopt and welcome a subtle, slow burn approach. Works by Clare Strand are currently shown in "Masculinities: Liberation Through Photography", FOMU Antwerp; "The Edge of Time" Leuven University Library, Belgium; "Constellations: Photographs in Dialogue" MoMA San Francisco and Power and Paper, Atelier NOUA, Bodo, Norway. | | | | |
| | | | | | | | | | | | | | Gosette Lubondo #1
Imaginary Trip II series (2018)
Inkjet print on Hahnemühle Photo Rag 308 g paper.
50 x 75 cm | Edition : 5 + 2 E.A. | | | | | | | | | | | | | | | | | |
Gosette Lubondo #18
Imaginary Trip II series (2018)
Inkjet print on Hahnemühle Photo Rag 308 g paper.
50 x 75 cm | Edition : 5 + 2 E.A. |
| | | | | | | In Imaginary Trip II, created with the support of the musée du quai Branly – Jacques Chirac, Lubondo takes over a former school founded in 1936 by missionaries and located in the modern-day Kongo central. This prestigious boarding school had up to 500 pupils, but did not survive President Mobutu’s policy of Zairianization in the 1970s. The school was to all intents and purposes abandoned, and the heritage of the past reduced to a ghostly place. For the artist, bringing the school back to life is a way of preserving the memory of this place, which she regards as being part of her country’s “historic, colonial and postcolonial heritage. | | | | |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | A PPR OC HE 2021 | | | | A salon dedicated to experimentation of the photographic medium | | | Thu 11 November : 11am-2pm Press preview | 2-10pm upon invitation
Fri 12 November : 11am-1pm upon invitation | 1-8pm public by reservation
Sat 13 November : 11am-1pm upon invitation | 1-7pm + 7pm-10 pm public by reservation
Sun 14 November : 11am-1pm VIP, upon invitation | 1-6pm public by reservation | | | | | | Le Molière 40, rue de Richelieu, Paris 1e
Free entrance upon reservation
www.approche.paris
| |
| | | | | | This year sees a ppr oc he reach the important milestone of its fifth year in existence, demonstrating that its unique format, unlike existing models, has won over collectors, art lovers, participating artists and galleries, as well as professionals in the contemporary art world. A milestone marked by a return to normality at the Molière, the private mansion that has hosted the salon since its inception, and now emblematic of its more intimate format. To mark this event, I invited 5 curators to present one or two artists each, with the same ambition: to expand horizons, initiate encounters, and forge new ties.
The artists selected this year reflect the major concerns of many of their contemporaries. Exploring new territories, whether geographical, scientific or imaginary, is central to works by Caroline Corbasson, Grégoire Eloy, Sylvie Bonnot and Ilanit Illouz. While Kim Boske and Bertrand Hugues lend a new form to reality through precise and calculated gestures. The experts of traditional techniques, Antony Cairns, John Chiara and Yasmina Benabderrahmane, experiment from the shooting and chemical bath processes, to the media used for printing. Mouna Saboni and Vasantha Yogananthan document and revisit their personal memories, somewhere between fact and fiction. While Camille Bénarab-Lopez and Alix Marie waver between photography, sculpture and installation, Marleen Sleeuwits and Laurent Millet go so far as to become set designers of the photographed in situ installation. Finally, David Weber-Krebs proposes a new form of experimentation, through an online performance which takes the form of a late-night Zoom call in which an over-stimulation of images leads to a shared sleep experience between the performer and the viewer.
The content is rich and diverse, with a series of discoveries that will encourage collectors and visitors to reflect on the current state of experimentation in the medium. | | | Yasmina Benabderrahmane » Galerie Bacqueville (fr,nl)
Camille Benarab-Lopez » Galerie Chloé Salgado (fr)
Sylvie Bonnot » Ségolène Brossette Galerie (fr)
Kim Boske » FLATLAND (nl)
Antony Cairns » Intervalle (fr)
John Chiara » Galerie Miranda (fr)
Caroline Corbasson » Galerie L'inlassable (fr)
Gregoire Eloy » Tendance Floue (fr)
Bertrand Hugues » Galerie Eric Mouchet (fr)
Ilanit Illouz » Galerie Fontana (nl)
Alix Marie » Ncontemporary (it)
Laurent Millet » Galerie Binome (fr)
Mouna Saboni » Galerie 127 (fr, ma)
Marleen Sleeuwits » Galerie Bart (nl)
David Weber-Krebs » secteur a ppr oc he (be, de)
Vasantha Yogananthan » The Photographers' Gallery (uk) | | | | |
| | | | | | | | | | | | | | JOHN CHIARA
Variation, Népsziget u. on Népsziget island, Budapest, Hungary, 2019
Negative image on Fujiflex Crystal Archive paper 50x30 inches / 127 x 76 cm
Unique
© John Chiara / Galerie Miranda | | | | | | Angyalföld: angel dust | | | | | | | | | | | | | | | | JOHN CHIARA
Madarász Viktor u. at Föveny u (left), Pintér József u. at Tompa u. (right), Budapest, Hungary, 2019 (Diptych)
Negative images on Fujiflex Crystal Archive paper 2 Photographs each 50x30 inches / 127 x 76 cm
Unique
© John Chiara / Galerie Miranda | | | | | | John Chiara is a landscape photographer whose art is grounded in the physical process of the medium. “The subject of my work is photography itself,” says Chiara. “...(and) its manifestation through its means.” Chiara often chooses deliberately nondescript places to photograph, in urban, rural or semi-rural places, seeking what he calls “in-between spaces...the type of places you would normally walk past without paying much attention”.
Chiara’s giant cameras are transported to locations on a flatbed trailer and allow the artist to simultaneously shoot and perform his darkroom work while images are recorded directly onto oversized photosensitive paper. Designed and built by the artist, the camera’s very large size and 18th century technology force part of his process beyond his control: through the barrel lens, images are projected directly onto the scroll of photographic paper fixed inside the camera ‘chamber’ and, during exposure, Chiara manually burns, dodges and filters the light entering through the lens, working to change the temperature of light and spectrum of color as if in the darkroom. Every John Chiara photograph is unique.
During an artist residency at the Budapest Art Factory, Chiara photographed the Angyalföld neighborhood, whose name translates as ‘the dust of angels'. Working with negative photographic paper, he captured the urban juxtaposition of different architectural periods punctuated with advertising billboards, trees and electrical cables.
Graduate in Photography (2004) from the California College of the Arts, in 2015 John Chiara featured in the landmark exhibition Light, Paper, Process, Reinventing Photography, at the J. Paul Getty Museum in Los Angeles. Today his works are in major collections including the National Gallery of Art, Washington, DC; J. Paul Getty Museum, Los Angeles, CA; Los Angeles County Museum of Art, CA; Fine Arts Museums of San Francisco, CA; Museum of Fine Arts, Boston, MA; George Eastman Museum, Rochester, NY; and the Harry Ransom Center, Texas. | | |
| | | | | | | | | | | | | AKAA - Also Known As Africa 2021 | | |
| | | | | | | | | | | | | | | | | | AKAA - Also known as Africa | | | | | | to discover 35 galleries and 150 artists from 25 different countries inside the beautiful Carreau du Temple. Three days to share the African energy, hear its hum and feel its vibration.
VIP preview Thu 11 Nov 2pm-6pm | Opening Thu 11 Nov 6pm-10pm
Fri/Sat 12/13 Nov noon-8pm | Sun 14 Nov noon-6pm | | | | | | | | | | | | | | | | |
| | | | | | | | | | | | | | Saïdou Dicko
LINE, 2021
Hand painted (ink) on photography and digital collages without retouching
Archival Pigment Print on 325 g Hahnemühle Fine Art Baryta
75 x 100 cm
© Saïdou Dicko | | | | | | | | | | | | | | | | | |
Imraan Christian
GORGEOUS BUSHMAN I, 2021
Archival Print on Photo Paper
A0 (118,9 cm x 84,1 cm)
© Imraan Christian |
Toyin Loye
SAMUEL, 2021
Fine Art Print on Hahnemühle Photo Rag, Bright White, ripped
112 x 82 cm
© Toyin Loye |
| | | | | | Saïdou Dicko (born in Burkina Faso in 1979) is a self-taught visual artist. At the age of five, Dicko, a Fulani Shepherd, learns to draw by collecting shadows of his sheep on the Sahel soils. Naturally, the shadow is present in all of his work. In 2005, he embarked on photography. Six months after his photographic debut, he presents his first exhibition in the 2006 Dakar Biennial Off, where he won a prize, the first in a long series. Through painting, photography, video or installations, Dicko transforms the representation of forms giving life to visual phenomena, to physical and psychological events of light, uniting the two extreme values that are at the heart of black and white contrast. He lives and works in Paris, France.
Imraan Christian (born Cape Town, SA) identifies as a son of the soil, a visual artist and an activist with the connecting thread being mysticism in its many forms. He is a Brand Ambassador for South Africa, and in this capacity has been chosen to represent the freedom of expression for his nation. His documentation of the Student uprising of 2015/2016 in South Africa catapulted his work into the international spotlight. With grassroots activism and a particular focus on decolonization and innovation as his chosen voice, he then blazed a trail through the art, and advertising world collaborating with entities such as UNICEF, CNN, BBC world services, Highsnobiety, Nike, Vogue Italia’s Photo Vogue, MTV, Brand South Africa and many more. He currently lives and works in Cape Town.
Toyin Loye (born 1959 in Nigeria) studied Fine Art at Obafemi Awolowo University in Ile Ife. He is is a representative of the African artistic tradition who portrays his cultural heritage in his work. Each and every element in the work of Toyin Loye has a specific significance. His cheerful animals and masked human figures are attributes of his culture. They are symbols of the Yoruba people to which he belongs. This is also reflected in his poetry, which is often integrated in his paintings. He has even moved further by experimenting with photographs and carved papers. Toyin Loye lives and works in The Hague, the Netherlands. | | | | | | |
| | | | | | | | | | | | | | | | | | | | | | | Antoine d'Agata © Florent Drillon | | | | | Paris Photo 2021 - Book sector | | | Book sector publishers and specialized art book dealers are reunited in the center of the Fair, recognized for their role in the continuing narrative of photography and the advancement of its artists. One of the Fair’s most animated sectors, visitors are offered an important selection of limited and rare editions and may attend book launches and over 300 signature sessions with renowned artists.
See the 2021 publishers & art book dealers... » | | | Paris Photo 2021 - Booksignings | | | | | | More than 300 artists join Paris Photo this year to sign published works, a unique occasion to meet your favorites including Antoine d’Agata, Sophie Calle, Raymond Depardon, Claudio Edinger, Bruce Gilden, Paul Graham, Susan Meiselas, SMITH, Mario Testino, Paolo Ventura, Alex and Rebecca Norris Webb, Sabine Weiss, among many more.
www.parisphoto.com/.. | | | | | | |
| | | | | | | | | | | | | | | Daniel Salemi | | | PhotoBook Awards
Paris Photo–Aperture Foundation | | | Initiated in November 2012 by Aperture Foundation and Paris Photo, The PhotoBook Awards celebrate the photobook’s contribution to the evolving narrative of Photography.
The 2021 PhotoBook Award winners will be announced during Paris Photo on Friday, November 12, 2021.
Three prizes will be awarded in the following categories | | | THE FIRST PHOTOBOOK PRIZE
Andrea Alessandrini Piccola Russia Witty Books, Turin, Italy
Indu Antony Why can’t bras have buttons? Mazhi Books (self-published), Bangalore, India
Archivo de la Memoria Trans Argentina CHACO, Buenos Aires
Melba Arellano Carretera Nacional Los Sumergidos, Hudson, New York
Wiosna van Bon Family Stranger Eriskay Connection, Breda, Netherlands
Deanna Dikeman Leaving and Waving Chose Commune, Marseille, France
Jeano Edwards EverWonderful Self-published, Brooklyn
Nancy Floyd Weathering Time GOST Books, London
Will Harris You Can Call Me Nana Overlapse, London
Jana Hartmann Mastering the Elements Eriskay Connection, Breda, Netherlands
Joe Johnson Office Hours There There Now, Columbia, Missouri
Tarrah Krajnak El jardín de senderos que se bifurcan Dais Books, Casper, Wyoming
Luke Le What are you looking for? Perimeter Editions, Melbourne, Australia
Kanta Nomura The Yoshida Dormitory Students’ History Reminders Photography Stronghold, Tokyo
Sasha Phyars-Burgess Untitled Capricious Publishing, New York
Pacifico Silano I Wish I Never Saw the Sunshine Loose Joints, Marseille, France
Sebastian Stadler A Close Up of a Large Rock, I Think Kodoji Press, Baden, Switzerland
Al J Thompson Remnants of an Exodus Gnomic Book, Portland, Oregon
Eva Veldhoen Play Self-published, Utrecht, Netherlands
Elliott Verdier Reaching for Dawn Dunes, Paris
THE PHOTOBOOK OF THE YEAR PRIZE
Farah Al Qasimi Hello Future Capricious Publishing, New York
Jessica Backhaus Cut Outs Kehrer Verlag, Heidelberg, Germany
Alejandro Cartagena Suburban Bus The Velvet Cell, Berlin
Bieke Depoorter Agata Des Palais (self-published), Ghent, Belgium
Isaac Diggs and Edward Hillel Electronic Landscapes: Music, Space ... +KGP, Queens, New York
Muhammad Fadli and Fatris MF The Banda Journal Jordan, jordan Édition, Jakarta, Indonesia
Rahim Fortune I Can’t Stand to See You Cry Loose Joints, Marseille, France
Lora Webb Nichols Encampment, Wyomin Fw:Books, Amsterdam
Gilles Peress Whatever You Say, Say Nothing Steidl, Göttingen, Germany
Vasantha Yogananthan Amma Chose Commune, Marseille, France
THE PHOTOGRAPHY CATALOGUE OF THE YEAR PRIZE
André Kertész: Postcards from Paris Elizabeth Siegel, Art Institute of Chicago, Chicago
Mao Ishikawa Bad Ass and Beauty—One Love T&M Projects, Tokyo
Mirror with a Memory Dan Leers and Taylor Fisch, eds., Carnegie Museum of Art, Pittsburgh
The New Woman Behind the Camera Andrea Nelson, ed., National Gallery of Art, Washington, DC
What They Saw: Historical Photobooks by Women, 1843–1999
Russet Lederman and Olga Yatskevich, eds., 10×10 Photobooks, New York | | |
| | | | | | | | | | | | | | | | | |
Jessica Backhaus
CUT OUT 30, 2020
Archival pigment print
112,5 x 75 cm
Overall-Edition of 5 + 2AP
© Jessica Backhaus / Courtesy of Robert Morat Galerie |
Ahn Jun
Self-Portrait (Seoul), 2009
Archival pigment print, face mounted to Acrylic (Diasec)
Image 101.6 x 76.2 cm (40 x 30 in.)
Edition of 5, plus 2 AP
© Jun Ahn / Courtesy of Christophe Guye Galerie |
| | | | | Elles x Paris Photo 2021 | | | A circuit dedicated to women photographers
ellesxparisphoto.com/en » | | | | | | | Paris Photo continues its commitment to women in photography with Elles x Paris Photo, a program initiated in 2019 in partnership with the French Ministry of Culture to promote the visibility of women artists and their contribution to the history of photography. For this edition, Nathalie Herschdorfer, art historian specializing in the history of photography, will spotlight a selection of works online and at the fair by women artists and the galleries that support them. Selected artists will benefit from a one-year exhibition on the website ellesxparisphoto.com, a dedicated website and resource space continuously updated with interviews, articles and statistical data on the representation of women photographers.
Discover the Elles x Paris Photo fair path, a program initiated in partnership with the French Ministry of Culture and supported by Kering | Women in Motion. The Centre National des Arts Plastiques also shows its engagement to women in photography with the exhibition Corpus and unveils a number of acquisitions from Paris Photo 2021 exhibiting galleries.
For the 4th year, Paris Photo renews its commitment to women in photography, in partnership with the Ministry of Culture and Kering | Women in Motion. Explore 170 years of photographic history through a selection of artworks by women artists curated by Nathalie Herschdorfer. | | |
| | | | | | | | | | | | | | | Fatima Mazmouz, Des Monts et Mères Veillent, VADERETRO – 1 – L’œil, 2019, FNAC 2021-0328, Centre national des arts plastiques © Adagp, Paris, 2021 / Cnap, Crédit photo © Fatima Mazmouz / Courtesy Galerie 127 | | | | | Corpus | | | | | | "A corpus is not a discourse, and it is not a narrative. It is a corpus that it would be necessary here. Here, there is like a promise that it must be about the body, that it will be about him, there, almost without delay. A kind of promise that will neither be the object of a treatise, nor the subject of quotations and recitations, nor the character or the setting of a story. There is, to say the least, a kind of promise to remain silent." Jean-Luc Nancy, philosopher
Seven women artists explore issues of body and identity, resistance to alienation and reification, resilience and emancipation, the body as seen and the body as shown, the relationship between bodies, in public and intimate space, between human and non-human bodies, between bodies and architecture, the encounter between body and history.
« Corpus » est un choix dans les acquisitions récentes d’œuvres photographiques du Centre national des arts plastiques. | | |
| | | | | | | | | | | | | | | © Deborah Turbeville | | | | | | PASSPORT | | | | MUUS COLLECTION | | | | The remarkable archive of Deborah Turbeville – one of the few female photographers working for fashion magazines along Helmut Newton and Guy Bourdin – includes a multitude of unseen photographs, collages and ephemera. Spending time reworking her prints, Turbeville created over four decades unique objects that have been triturated, manipulated, torn, glued together. The American artist began making collages in the late 1970s, playing with images and negatives, xeroxing, cutting, scraping and taping, pinning the prints together, writing words in the margins, thus giving her work a very unique touch. Never seen before, MUUS reveals at Paris Photo ‘Passport’ – a body of work from the 1990s that can be seen today as the artist’s biography. In this series that includes120 collages with texts, Turbeville proposed a narrative sequence that is very cinematographic. Her unique signature style is recognizable in ‘Passport’: a certain timelessness, melancholy, and patina emanate from these hauntingly beautiful photographs. With her incomparable vision, Turbeville can not be confined to fashion photography. Offering a new insight into her work, the MUUS Collection generates new scholarship and understanding of 20th century photography. | | |
| | | | | | | | | | | | | | Prince Gyasi (Ghanaian , b. 1995)
Protection II
© Prince Gyasi
Nil Gallery, Paris | | | AN OVERWHELMING ILLUSION | | | | JPMORGAN CHASE ART COLLECTION | | | | | | J.P. MORGAN - OFFICIAL PARTNER - CELEBRATING 10 YEARS OF PARTNERSHIP
For 10 years as lead partner with Paris Photo, J.P. Morgan has exhibited highlights of our esteemed modern and contemporary art collection. We celebrate this milestone as we all navigate new ways of connecting. This year, we are excited to present highlights of the JPMorgan Chase Art Collection through the dynamic lenses of technology and sustainability with 3 distinct facets.
First, we feature An Overwhelming Illusion: New Media in the JPMorgan Chase Art Collection, an exhibition highlighting recently acquired digital and video artworks by three generations of international artists. Our AI-generated title is inspired by Petra Cortright’s signature digital artwork that likewise employed AI in its creation.
We also present a digital overview of selected exhibited Paris Photo in special exhibitions 2011-2019, and an exhibition of our newest acquisitions from Paris Photo 2021. This year’s multi-faceted presentation reflects J.P. Morgan’s global 21st century business and social priorities - reflecting diversity of all kinds. | | |
| | | | | | | | | | | | | | | Vendange © Gosette Lubondo Diakota RUINART | | | | | | LA MAISON RUINART PRIZE | | | For its third edition, the Maison Ruinart Prize is awarded this year to the Congolese photographer Gosette Lubondo. The prize, awarded by Ruinart with the support of the Picto Foundation, recognizes an emerging photographer selected within the Curiosa section of Paris Photo.
The series of works was born out of her confrontation with the places in which the process of creating champagne wines takes place. The title of the series, Manu solerti ("with an expert hand"), translates the savoir-faire of the men and women who work to make champagne. | | |
| | | | | | | | | | | | | | | Family Identity © Almudena Romero – BMW Residency | | | | | | The Pigment Change | | | | Winner of the 2020 BMW Art & Culture Residency | | | Official partner of Paris Photo since 2003, BMW has created the BMW Residency to support young creation, by giving, each year, carte blanche to an emerging photographer. BMW will exhibit the ninth winner of the BMW Residency, Almudena Romero in collaboration with the Gobelins where she was in residence.
With her project The Pigment Change, Almudena Romero, winner of the 2020 BMW Residency, relies on an ecological awareness and on the use of plant materials that refers to an aesthetic of fragility, even disappearance. The Pigment Change is the consequence of the intrinsic qualities of the plant, and in particular of its exposure to light and particular wavelengths. | | |
| | | | | | | | | | | | | | | © Olivier Culmann | | | | | | THE CONVIVIALITY CONNECTION | | | | 12TH PERNOD RICARD CARTE BLANCHE | | | For its 2021 artistic campaign, the Pernod Ricard group is expressing its support for people who run cafés and restaurants in France. This year the group has given Carte Blanche to Olivier Culmann, whose photographic series provides a glimpse into the lives of the people who make cafés and restaurants so lively and friendly - and who have withstood the health crisis. He invites us on an artistic journey to ten villages and cities: a marathon project that has taken him all over France.
Olivier Culmann pays tribute to “popular” photography in the noblest sense of the word - photography that shares the stories of real people and places. | | |
| | | | | | | | | | | | | | | © Olivier Löser | | | | | | AT THE HEART OF SCENTS | | | | A JOURNEY TO THE SOURCE OF MUGLER FRAGRANCES | | | THE EXHIBITION
The creation of a perfume is before all a human adventure, a journey into the world of nature’s most precious raw materials.
For MUGLER, photographer Olivier Löser has captured the women and men at the origin of each scent. From Sambava in Madagascar to Kerala in India, he reveals each moment of the harvesting of the Bourbon vanilla or the sambac jasmine.
His work is at the crossroads of humanist photography and press coverage, placing the human being at the heart of the elaboration of a fragrance, recognizing traditional know-how and celebrating local cultures.
THE PHOTOGRAPHER
Renowned for his ethnographic shots and his photo-essays, Olivier Löser is a nature lover who travels the world in search of the perfect shot. Here he explores the conservation and relationship between man and nature.
SUSTAINABLE BEAUTY
MUGLER has chosen a sustainable approach to beauty. The brand aspires to design fragrances that respect people, cultures and their environment. The natural ingredients in the MUGLER Fragrances are selected and harvested in a way that respects and preserves nature’s ecosystems.
An emphasis is placed on fair wages for producers, thus ensuring an ethical, responsible and respectful sourcing of raw natural materials.
An environmental and human commitment, for a sustainable and responsible luxury. | | |
| | | | | | | | | | | | | | | Our Dollhouse © Francesca Hummler | | | CARTE BLANCHE STUDENTS 2021 | | | | Paris’ Gare du Nord Train station from November 4th to December 15th | | | Paris Photo, Picto Foundation, and SNCF Gares & Connexions partner to organize a platform in promotion of the discovery and exposure of outstanding young talent within masters or bachelor programs in European schools for photography and the visual arts.
Four student projects, selected by a jury, will be presented in a large format exhibition in one of Paris’ train stations and in a dedicated space at Paris Photo. | | | Mina BOROMAND » (London Metropolitan University, UK)
Emile GOSTELIE » (Photo Academy, Amsterdam)
Francesca HUMMLER » (Royal College of Art, UK)
Emil LOMBARDO » (Royal College of Art, UK) | | |
| | | | | | --> | | | | | | | | | | Paris Photo 2021 - The Platform | | | | | | The platform is an experimental forum: 4 days of conversations with personalities from the world of art and photography. Simultaneous translation is available in French and English.
Conversations - PROGRAMME »
The videos of the Platform are available on parisphoto.com | | | Paris Photo 2021 - Artist Talks by The Eyes | | | | | | Conceived and organized by The Eyes’ team, the Artist Talks by The Eyes put into perspective the link between the artist and the book in their artistic practice, their editorial approach and realization. In an intimate atmosphere, each artist shares with the public their experience around their most recent publication in a set format of 15 minutes, followed by Q&A’s.
In all 36 artists selected by The Eyes participate in this unique program presented in French or in English.
From Thursday 11th to Sunday 14th at 2pm, 3pm and 4pm » | | |
| | | | | | | | | | | | | ... more ... Photo - Book - Art Fairs Photo Discovery, the fair! | Offprint | Polycopies | Vintage Photobook Fair | | |
| | | | | | | | | | | | Polycopies 2021
a bookfair with 50 publishers, booksellers and photographers from all continents.
10 - 14 November 2021 | |
| | |
Wed November 10 : 5pm - 10pm
Thu November 11 : 11am - 9pm
Fri November 12 : 11am - 9pm
Sat November 13 : 11am - 9pm
Sun November 14 : 12pm - 7pm | | | | | | | | | | | | | Since 2014 Polycopies has been organizing a fair with 40 specialized international photography book publishers once a year.
Founded and directed by Laurent Chardon and Sebastian Hau, Polycopies is an non-profit for the distribution and promotion of the photographic edition (books, multiples, paper objects and experimental publishing practices) which becomes a large ephemeral bookshop, a space completely dedicated to photo books, during the week of Paris-Photo
Although Polycopies is first of all a market place, it has also become an important spot to meet with a lively crowd of amateurs, collectors, photographers and publishers of different horizons sharing and confronting their ideas on photography, discussing the practices of publishing, exchanging on discoveries made and favorite books, or even showing their book dummies and new projects. | | | | |
| | | | | | | | | | | | Offprint Paris 2021
A walking tour of independent publishers
hosted in art bookstores, studios and galleries
11 - 14 November 2021 | |
| | | | | | | | | | | | | | For this special edition, OffprintOff invites a selection of publishers, special bookstores, graphic design studios, printers, to open their doors and host Offprint enthusiasts throughout Paris. This distributed edition provides a multiplicity of contexts to meet and share publisher’s recent work and keep print alive. | | | | |
| | | | | | | | | | | | Vintage Photobook Fair
11 - 13 November 2021 | |
| | | | Thu Preview 11-18:00 | Thu Opening 18-22:00 | Fri 11-20:00 | Sat 11-19:00 | | | | | | | | | | | | | | Today, photobook fairs seem to be spreading like wildfire all over the world. But at the same time, there seems to be an increasing focus on the newest books while vintage and out-of-print editions tend to be less and less visible. Paris Vintage Photobook fair has been initiated to offer an alternative to this situation. Some photobook sellers from different European countries have decided to pool their effort in order to draw attention to the vintage and out-of-print photobook, bring out its diversity and specificities, and give it the place it merits in the market as well as in the hands of collectors who value quality photobooks. | | | | |
| | | | | | | | | | | | Photo Discovery, the fair! dealers & collectors | |
| | | | Saturday 9:00 - 16:00 | | | | | | | | | | | | | | | | |
| | | | | | | | | |
|
|
