| | | | | | | | | Paris Photo 2021. © Photo Florent Drillon. | | | | | Paris Photo 2023 Grand Palais Ephémère | Champ-de-Mars, Place Joffre | 75007 Paris
Wed November 8 : by invitation only
Thu-Sat November 9-11 : 1 pm - 8 pm
Sun November 12 : 1 pm - 7 pm
www.parisphoto.com | |
| | | Paris Photo announces more than 200 exhibitors.
SOLO SHOWS | Hassan Hajjaj » 193 GALLERY* | Alberto García-Alix » ALBARRÁN BOURDAIS* | Matei Bejenaru » ANCA POTERASU | Omar Victor Diop » Lee Shulman, The Anonymous Project » BINOME & MAGNIN-A | Tom Wilkins » CHRISTIAN BERST ART BRUT | Jung Lee » CHRISTOPHE GUYE | Samuel Fosso » CHRISTOPHE PERSON* | Anastasia Samoylova » DOT FIFTYONE* | Johannes Brus » JUDITH ANDREAE | Ray Mortenson » L. PARKER STEPHENSON | Guido Guidi » LARGE GLASS* & VIASATERNA* | Nino Migliori » M77* | Gyula Zaránd » OLIVIER WALTMAN* | Sandra Kantanen » PURDY HICKS* | François Halard » RUTTKOWSKI;68* | Pascal Convert » RX | Juergen Teller » SUZANNE TARASIEVE | Paul Kooiker » TEGENBOSCHVANVREDEN* | Vasantha Yogananthan » THE PHOTOGRAPHERS' GALLERY* | Jean-François Lepage » TOBE
DUO SHOWS | David De Beyter » Thomas Devaux » BACQUEVILLE* | Barbara Probst » Guy Tillim » KUCKEI+KUCKEI | Ken Ohara » Melissa Shook » LA PATINOIRE ROYALE BACH* & MIYAKO YOSHINAGA | Judith Stenneken » Krisa Svalbonas » MARSHALL* | Milagros de la Torre » Roberto Huarcaya » ROLF ART
CURIOSA | Nhu Xuan Hua » (1989, Paris, France) ANNE-LAURE BUFFARD* | Jonathan Rosić » (1979, Tirlemont, Belgique – Bruxelles, Belgique) ARCHIRAAR | Andrés Barón » (1986, Bogota, Colombie – Paris, France) DS GALERIE* | Ilanit Illouz » (1977, Paris, France) FISHEYE* | Massao Mascaro » (1990, Lille, France – Bruxelles, Belgique) GALERIE C* | Felipe Romero Beltrán » (1992, Bogota, Colombie – Madrid, Espagne) HATCH* | Constance Nouvel » (1985, Courbevoie, France – Paris, France) IN SITU - FABIENNE LECLERC* | Rebekka Deubner » (1989, Munich, Allemagne – Paris, France) JÖRG BROCKMANN* | Yelena Yemchuk » (1970, Kiev, Ukraine – New York, États-Unis) KOMINEK* | Hubert Crabières » (1988, Aix-en-Provence, France – Argenteuil, France) MADÉ* | Hoda Afshar » (1983, Téhéran, Iran – Melbourne, Australie) MILANI* | Kara Springer » (1980, Bridgerton, La Barbade – Toronto, Canada) PATEL BROWN* | Silvia Bigi » (1985, Ravenna, Italie – Milan, Italie) RED LAB* | Vivian Galban » (1969, Buenos Aires, Argentine) ROLF ART | Chen Ronghui » (1989, Lishui, China - Shanghai, China) UP* | Eleonore Lubna » (1989, Paris, France) | Louis Matton (1989, Paris, France) YOUNIQUE* | | | | |
| | | | | | | | | | | | | | | | | | | | | | Hassan Hajjaj
Eyes on me, 2000 / 1421
Digital C Type on Fuji Crystal Archive Paper
Frame: Wood with Arabic Alphabet Legos
Framed: 62 x 87 x 4 cm
Edition of 10 plus 3 ap | | | | | | Solo Show Main Sector - Booth F11 | | | | | | | | | | | | | | | | Hassan Hajjaj
L.V. Posse B&W, 2000 / 1421
Digital C Type on Fuji Crystal Archive Paper
Frame: Hand made in walnut with mixed cans
Framed: 128.8 x 100 cm
Edition of 7 | | | | | | 1445 in Paris
Hassan Hajjaj evolves between several artistic universes: photography, fashion, music, cinema and design, while presenting a critical and uninhibited point of view on consumer society. 193 Gallery presents a selection of works based on musical rhythm, flow and interaction, invoking a plurality of series. '1445' is the current year in the Hijri calendar (Muslim calendar). "1445 Paris" thus presents a selection situated in the time and space of Paris Photo 2023, underlining that standards can differ from one person to another. The exhibition compels a sharing and an empathetic understanding conveyed by universality.
Hajjaj's works are in important museums collections like: Victoria and Albert Museum (UK), Guggenheim Abu Dhabi, Los Angeles County Museum of Art (LACMA, US), Virginia Museum of Fine Arts (US), Institut des cultures islamiques de Paris (France).
In 2019, the artist had a major retrospective at Maison européenne de la photographie in Paris. In 2023, his work has been exhibited at Brooklyn Museum (US), Tate Modern (UK), at Saint Louis Art Museum (US) and National Portrait Gallery (UK).
Hassan Hajjaj was born in 1961 in Larache, Morocco. He lives and works between Marrakech and London. | | |
| | | | | | | | | | | | | | Frank Horvat
Shoes and Eiffel Tower, for Stern, Paris, France, 1974
Gelatin silver print, printed later in 2004 by Hervé Hudry / Laboratory Publimod
Image size: 9 x 14 inches | Print size: 12 x 16 inches
© Frank Horvat Studio | | | | | | Main Sector - Booth F08 | | | | | | | | | | | | | | |
Romain Urhausen
Squatting Nude, 1957
Vintage gelatin silver print, printed by the artist
Image size: 16 1/2 x 12 1/4 inches | Print size: 16 1/2 x 12 1/4 inches
© Estate Romain Urhausen |
Roger Catherineau
Etude d'après un visage n°15, 1960-1961
Vintage gelatin silver print, printed by the artist
Print size: 12 x 8 7/8 inches
© Estate Roger Catherineau |
| | | | | | Born in Italy in 1928 into a Jewish family of doctors of central European origin, Frank Horvat (FR-IT, 1928-2020) lived by turns in Switzerland, Italy, Pakistan, India, England and France, where he settled in the late 1950s, while regularly visiting the United States and travelling often in Europe, North and South America and Asia. He took his first photographs in Italy with a humanist angle and was definitively marked by Henri Cartier-Bresson whom he met in Paris and who convinced him to use a Leica and to head for India. In the 1950s and 60s – and even afterwards as well – being a 'fashion' photographer necessarily meant working in a studio, respecting the numerous codes that helped to 'show off' clothing, by repeating poses and framing certain details, among other things. Frank Horvat, who loved capturing the animated streets of Paris, shaping them, summarizing them in an instant, was the first photographer to bring models out onto the street, to fit them back into the flow of life. While revolutionizing approaches to fashion, Horvat nevertheless remained faithful to his endlessly benevolent curiosity for the essentially human and to a way of practicing photography with presence and elegance in free and ultimately joyful snapshots.
Vast, but also little known in France, the photographic works of the artistic pioneer from Luxembourg, Romain Urhausen (LU, 1930-2021) are marked by his singular style, a mixture of the French humanist school and the German subjective school of the 1950s and 60s, to which he actively contributed. Often a pretext for formal and poetic exploration, his photographic subjects, tinged with humor, go beyond a classical representation of reality. He brings an experimental, artistic approach to bear on daily life, a man at work, an urban landscape, a nude or a self-portrait. The subjective aesthetic he learned from Otto Steinert marked his formal language, his way of treating contrasts and composition, but also his way of looking differently at the world. In 2022, the Rencontres d’Arles dedicated a retrospective to him called, In His Time; the catalogue was published by Delpire & Co.
Born in 1925 in Tours, Roger Catherineau (FR, 1925-1962) studied drawing and painting at the École du Louvre and the École des Arts de Paris before initiating his photographic practice. Disappointed by laboratories, he would proceed and print his photographs himself. He soon developed an abstract expressionist style. Since 1948, Roger Catherineau's photographic work has been built as a quest for experimentation. Rejecting any notion of depiction of reality, he elaborates unreferenced, troubled, and most often abstract images. Developing the notion of "productive transformation", he wishes to compose from scratch the image he has of an object, and not to reproduce it. In 1955 he was invited to participate in the major exhibition Subjektive Fotografie 2 in Saarbrücken. His work was also exhibited in France, Belgium and Germany and published in numerous international magazines and compilations. His photographs are in the collections of the French Musée National d'Art Moderne, the Bibliothèque Nationale de France and the Folkwang Museum in Essen (Otto Steinert collection). | | | | |
| | | | | | | | | | | | | | Louisa Clement
hands are tired 1, 2021
Inkjet Print
45 x 63 cm
Edition of 5 | | | | | | Solo Show DIGITAL SECTOR | | | | | | | | | | | | |
Louisa Clement
hands are tired 7, 2021
Inkjet Print
55 x 45 cm
Edition of 5 |
Louisa Clement
skin interlacing 4, 2021
Inkjet Print
80 x 60 cm
Edition of 5 |
| | | | | | Louisa Clement‘s practice delves into the ever-shifting notion of identity as our society gets confronted with new forms of communication, standardisation and recognition brought along with the digital age. Through photography, video, sculpture, installation and VR, her practice questions physicality and the dynamics of collective interaction at a time where the virtual has long outgrown its own sphere and the fragile categories of individual and reality escape their traditional paradigms. Clement’s essential aim at dissolving defined structures is also emphasized by the constant swinging of her work between abstraction and figuration and by her making use of a broad range of media to mimic the fluidity of the subject she examines, which indirectly reflects the extent of her investigation rooted in the fluctuating and networked condition of our times.
In the center of the booth we present Louisa Clement’s newest work, "compression" (2023), which makes use of a new bio-cybernetic method of storage: DNA data storage. Digital data can be translated from the binary code into the DNA code based on four amino acids. Clement uses this technology to translate her entire oeuvre up to now into a sequence of adenine (A), thymine (T), cytosine (C), and guanine (G). The resulting double helix is preserved in a tiny stainless-steel casing. The body itself can thus become a carrier medium for an enormous amount of data. In combination with the sculpture we will show some of her most recent and former photo series.
Louisa Clement (b. 1987) lives and works in Bonn, Germany. She graduated in 2015 at Kunstakademie Düsseldorf as master student of Andreas Gursky. She has exhibited in various institutions and museums including, Haus der Kunst Munich, Casino Luxembourg, Ramat Gan Museum, Israel, WEST Den Haag, AXART, Los Angeles, Bundeskunsthalle Bonn, Marta Herford Museum, Sprengel Museum, Hannover. Her work is part of important collections. | | |
| | | | | | | | | | | | | | Guy Tillim
Harare, Zimbabwe
2016
Pigment ink on cotton paper
2 parts, 135 x 90 cm each
Edition of 5 + 2AP | | | | | | Duo Show Main Sector - Booth C26 | | | | | | | | | | | | | | | | | Barbara Probst
Exposure #120: Brooklyn, 1177 Flushing Avenue, 11.15.16, 5:06 pm
2016
Ultrachrome ink on cotton paper
3 parts: 168 x 112 cm /66 x 44 inches each | | | | | | Barbara Probst was born in Munich in 1964. She studied at the Academy of Fine Arts in Munich and at the Art Academy in Düsseldorf. Her photographs have been exhibited widely in Europe and the USA, including in 2006 in the exhibition series "New Photography" at the Museum of Modern Art in New York. She has presented her work in solo exhibitions at the Centre PasquArt, Biel, Switzerland; Domaine de Kerguéhennec, Bignan, France; Museum of Contemporary Photography, Chicago; National Museum of Photography, Copenhagen; Stills Centre for Photography, Edinburgh; Madison Museum of Contemporary Art, Madison, Wisconsin; Oldenburger Kunstverein, Oldenburg; Rudolfinum, Prague; Le Bal, Paris; Kunsthalle Nürnberg; Triennale, Milan. Kuckei+Kuckei is pleased to announce her upcoming retrospective "Subjective Evidence", which will be shown 2024 at Kunstmuseum Luzern, at the Contemporary Arts Center Cincinnati and at Sprengel Museum Hannover.
Guy Tillim was born in Johannesburg in 1962, and lives in Vermaaklikheid in South Africa. Tillim has received many awards for his work including the HCB Award in 2017 for his series 'Museum of the Revolution'. This body of work was exhibited at the Fondation Henri Cartier-Bresson in Paris in 2019, accompanied by a book published by Mack. These photographs were taken on long walks through the streets of the African cities of Johannesburg, Durban, Maputo, Beira, Harare, Nairobi, Kampala, Addis Ababa, Luanda, Libreville, Accra, Abidjan, Dakar and Dar Es Salaam between 2014 and 2018. The series takes its title from the Museum of the Revolution on the Avenida 24 Julho, in Maputo, the capital of Mozambique. The avenue was named soon after the establishment of Lourenço Marques as the Portuguese colonial capital. The 24th of July 1875 marked the end of a Luso-British conflict for possession of the territory that was decided in favour of Portugal. | | |
| | | | | | | | | | | | | | Roger Eberhard
Wave, 2022
Archival pigment print
154 x 126 cm
Edition of 5 + 2AP | | | | | | Main Sector - Booth A28 | | | Book Signing: Mårten Langes' new publication "Threshold":
Saturday, November 11, between 2-3pm | | | | | | | | | | | | |
Hannah Hughes
Lith I, 2023
Archival Pigment printed papers
12.8 x 9.4 cm
Unique collage |
Michael Lange
CM 16792, 2017
Pigment print
133.3 x 100 cm
Edition of 4 + 2AP |
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| | | | | Hannah Hughes is a visual artist working across photography, collage and sculpture. Her work explores the relationship between image, sculptures and language, focusing on the potential of negative space, and the salvaging and re-use of discarded materials. Hughes' practice involves strategies of fragmentation and reconstruction. Her two-dimensional collages are often described as either flat sculptures or sculptural photographs. The shapes in the collages originate from outside edges and negative areas surrounding figures and objects, which have evolved into an ongoing regenerative alphabet of forms. Hannah Hughes (*1975, UK) graduated from the University of Brighton in 1997 and has since exhibited in the UK and internationally.
In Switzerland, if you order coffee, it invariably comes with a portion of cream served in a small, brown plastic pot sealed with a peel-off foil lid. Since 1968, these lids have always featured a photograph. Over the years, a never-ending array of thousands of series of small images have circulated throughout the country and have formed an important part of the people’s collective visual memory. In his series "Escapism" Roger Eberhard appropriates these pictures using a high-resolution camera to create extreme close-ups. The final print is an enlarged reinterpretation of the original photograph, the CMYK color separation process is revealed. These patterns show the ink that constitutes the reproduction dot by dot, as with a multitude of brushstrokes. These patterns blur the lines between painting and photography, digital and analog, past and future. Works by Roger Eberhard (*1984 Zurich, Switzerland) are exhibited internationally and can be found in important collections both public and private. The book to the series is published by Édition Images Vevey. Roger Eberhard lives and works in Stallikon (CH).
The objects in these images have been sitting on shelves for decades, sometimes centuries. They are models, artifacts, natural specimen and teaching objects – a collection of objects that embody the human struggle for knowledge. Over twelve years in the making and numbering hundreds of images, the project inventories what the two women have unearthed traveling to search through archives and collections of European universities and natural history museums. Dutch art historian Flor Linckens calls it »a series of enigmatic and decontextualized objects that are given a new life« and in her review of the work in the summer of 2022, she writes: "Elements from science, advertising, religion, art and nature are isolated and combined effortlessly in what could be described as encyclopedic cabinets of curiosities. In the work of Amuat and Meyer, the past and the present enter into a new relationship." Lena Amuat (*1977) & Zoë Meyer (*1975) live and work in Zurich and Berlin. They both graduated from the University of the Arts in Zurich and collaborate since 2008. The book to the series "Artefakte und Modelle" was published by About Books, Zürich in 2021.
Over a period of six years, photographer Michael Lange (*1953) embarked on extensive journeys to various regions of the French Alps. He created a collection of impressive, meditative landscape images, set between light and dark, silence and storm. He became known for meditative investigations of landscapes. The series "Wald" (Forest) was published in 2012 by Hatje Cantz and gave Michael Lange international recognition as an artist working in photography. Just as in the follow-up project "Fluss" (River), also published by Hatje Cantz in 2015, Lange is concerned with the search for stillness and an emotional relationship with nature. The publication of "Cold Mountain", available from Hartmann Books, concludes this trilogy of landscape projects. Michael Lange lives and works in Hamburg. | | | | | | |
| | | | | | | | | | | | | | | © Hideyuki Ishibashi | | | | | | Main Sector - Booth E08 | | | | | | | | | | | | |
© Renato D'Agostin |
© Renato D'Agostin |
| |
| | | | | Space and matter: a conjugation of the senses
For the 2023 Paris Photo edition Bigaignon presents an acute selection of photosensitive works focusing on the way artists re-appropriate space, through a physical and mental engagement in their own creative process. Immersed in personal relationships with space, and using a variety of techniques (silver gelatin, piezography, collage, engraving, digital...), artists Renato D'Agostin, Hideyuki Ishibashi, Jean de Pomereu, Thierry Urbain and Lionel Bayol-Thémines explore the range of possibilities offered by the photographic matter to reveal all its nuances in unique and poetic styles.
Last but not least, the gallery unveils for the first time at Paris Photo, historic works from 1975-1977 by Bernard Joubert, a major artist of the minimal movement. | | | | | | |
| | | | | | | | | | | | | | Ellen Auerbach
Klärchen, 1930/1984
17.2 x 19.1 cm | 6 ¾ x 7 ½ inches
Gelatin silver print on Agfa paper
Provenance: Estate of Gerd Sander | | | | | | Main Sector - Booth C11 | | | | | | | | | | | | |
Claude Tolmer
Untitled (Advertisement for "Suze"), 1930/1935
19.1 x 15 cm
Vintage gelatin silver print hand tinted
Provenance: Estate of Claude Tolmer
© Claude Tolmer |
Grete Stern
Dream No. 1: Electrical Appliances for the Home, 1949
18.9 x 16 cm
Vintage gelatin silver print
Provenance: From Grete Stern to Gerd Sander
© Grete Stern |
| | | | | | Galerie Julian Sander is showing works by photographers Grete Stern and Ellen Auerbach, who operated under the studio name ringl + pit from 1929 to 1933, as well as their contemporaries Elfriede Stegemeyer and Claude Tolmer.
The centerpiece is Grete Stern's (1904 - 1999) series Sueños/Dreams, a group of 38 photomontages dealing with dreams, fantasies, and the subconscious. These works were originally published between 1948 and 1951 in the Argentine women's magazine Idilio, where they served as illustrations for a regular column entitled Psychoanalysis Will Help You. At that time, psychoanalysis and dream interpretation were gaining popularity, and female readers were invited to send in recordings of their dreams to be analyzed and interpreted. Using the technique of photomontage, Stern created surreal-looking and highly symbolically charged scenes in her Sueños that, like the readers' dreams, are open to interpretation and interpretation. The Sueños are not only visually impressive, but also represent a remarkable contemporary document, reflecting the changing reality of life for Argentine women in an era marked by political and social upheaval. The extremely extensive literature on Stern's series that has been published to date accordingly comes from very different disciplines such as art history, history, psychology, political science, and sociology.
Grete Stern became internationally known in particular through her collaboration with Ellen Auerbach (then Ellen Rosenberg/ 1906 - 2004). They had met at their mutual teacher Walter Peterhans, whose Berlin studio they took over after his move to the Dessau Bauhaus and ran under the name ringl + pit. Their work is considered groundbreaking for portrait and advertising photography of the interwar years and influenced numerous European and American artists. From Stern's and Auerbach's creative years together, Galerie Julian Sander presents the portfolio Fotografie ringl + pit, edited by Gerd Sander in 1985, with 12 of the best-known photographs from this period.
With Elfriede Stegemeyer (1908 - 1988) Galerie Julian Sander shows another outstanding photographer of the 1930s. Born in Berlin, she studied at the local Staatliche Kunstschule Berlin-Schöneberg under the painter Curt Lahs before specializing in photography at the Cologne Werkschulen in the early 1930s. Her interest in everyday objects, their potential for form and design, as well as material structures and connections, characterize the core of her photographic oeuvre. In Cologne, she was in close contact with the Cologne Progressives, and it was here that her pictorial ideas and love of experimentation developed. Using her preferred techniques of the photogram and photomontage, she created visually complex compositions in which she pushed the boundaries of the medium and explored new possibilities of visual expression during her occupation with photography, which lasted only six years.
The presentation is complemented by works of the French photographer and graphic artist Claude Tolmer (1911 - 1991). Son of the founder of Maison Tolmer, a manufacturer of packaging and printed products for luxury goods known at the time for its avant-garde designs, he trained as a painter under André Lhote before joining the family business as a commercial artist and art director. Fascinated by the possibilities of photography, he experimented with photograms and montages in combination with painting and drawing. Some examples were published in 1931 in his father's canonical book on graphic design, Mise en Page: the Theory and Practice of Layout. With ringl + pit, he shares an interest in the materiality of the objects depicted as well as a sense of pictorial compositions that are as humorous as they are delicate. | | | | |
| | | | | | | | | | | | | | Jung LEE
LOVE #1, From the series 'LOVE', 2019
C-Type Print, Diasec
Sheet 160 x 200 cm (63 x 78 3/4 in.)
Frame 166,8 x 206,9 x 3,5 cm (65 5/8 x 81 1/2 x 1 3/8 in.)
Edition of 5 plus 2 ap | | | | | | Solo Show Main Sector - Booth C07 | | | | | | | | | | | | |
Jung LEE
Have You Ever Loved Me?, From the Series 'Aporia', 2010
C-Type Print, Diasec
Sheet 125 x 100 cm (49 1/4 x 39 3/8 in.)
Frame 127,3 x 102,4 x 3,2 cm (50 1/8 x 40 3/8 x 1 1/4 in.)
Edition of 5 plus 2 ap |
Jung LEE
You, You, You......, From the Series 'Aporia', 2010
C-type Print, Diasec
Sheet 125 x 100 cm (49 1/4 x 39 3/8 in.)
Frame 127,3 x 102,4 x 3,2 cm (50 1/8 x 40 3/8 x 1 1/4 in.)
Edition of 5 plus 2 ap |
| | | | | | | Christophe Guye Galerie is pleased to present a solo exhibition by the Korean artist Jung Lee (*1972, Seoul). On view are works from the series 'Aporia' and 'LOVE' – some of which have never been shown before. Jung Lee is best known for her photographs of text-based neon light installations set directly into the landscape. By contrasting sentimental phrases juxtaposed with stark layouts of deserted plains or barren snow fields, she makes strong emotional statements. One of her sources of inspiration for many of her artworks is Roland Barthes’s book 'A lover’s discourse'. Lee slows everything down patiently, analysing the most intense and overwhelming of states; unanswered desire – the language of complete love and the deep solitary state it throws the lover into. She collects clichéd expressions of love and hatred such as ‘I am lost in you’ and 'Have you ever loved me?' and gives them resonance in form of powerful proclamations. | | | | |
| | | | | | | | | | | | | | Michael Wesely
Stilleben (24.4 - 2.5.2020), 2020/2023
100 x 115 cm | | | | | | Main Sector - Booth E16 | | | | The works at our Paris Photo presentation deal with the concept of time. Far removed from Henri Cartier-Bresson's "decisive moment", the artists have created photographs that play with time, sometimes taking several years to create an image. | | | | | | | | | | | | | | | | Pangaea 2020 © Vincent Bousserez
Pigment print on archival paper, 390 x 195 cm
Unique piece | | | | |
| | | | | | | | | | | | | | Tarek Haddad
A Case of Sea, 2023
Photographic installation made of a set of 36 unique cubes
Photographs mounted on wood, wooden box, variable dimensions | | | | | | Main Sector - Booth E07 | | | | | | | | | | | | | | | | | Elger Esser
Mont Saint Michel IV
2020 C-Print
Diasec Face Forex
184 cm x 248 cm
Edition 7 + 1 AP | | | | | | La mer dans tous ses états
Galerie Tanit is pleased to present "La mer dans tous ses états" at this year’s edition of Paris Photo. The sea has long inspired countless artists throughout history; poets, travellers, painters and photographers... The group of works showcases the many aspects of the sea, from its tranquil beauty to its nurturing nature and its unpredictable power.
Each of the photographers brings a unique perspective to the subject of the sea. Elger Esser, Gilbert Hage and Giulio Rimondi’s atmospheric seascapes convey a sense of timelessness, while Sonja Braas, Joumana Jamhouri and Vladimir Antaki’s surreal images play with our perceptions of scale and distance. Randa Mirza and Nadim Asfar’s photographs pay tribute to the traditions and customs of coastal communities and reflect the essence of the Mediterranean atmosphere.
Franck Christen and Rania Matar highlight the intersection of the natural and the man-made, hinting at Man’s abusive tendencies towards our oceans with frantic fishing and massive pollution. Serge Najjar and the duo Laetitia Hakim & Tarek Haddad’s minimalism are an exercise in simplicity and restraint. Together, these works offer a multifaceted and nuanced view of the sea and its many meanings.
From the sublime to the everyday, the tranquil to the turbulent, and the natural to the man-made, these photographs remind us of the complexity and beauty of the sea. This exhibition is an invitation to reflect on the beauty and power of the sea and to think about our responsibility to protect and preserve our oceans for future generations. | | | | | | |
| | | | | | | | | | | | | | Thorsten Brinkmann
Pearlche, 2023
© Thorsten Brinkmann
VG-Bildkunst, Bonn, 2023 | | | | | | Main Sector - Booth A29 | | | | | | | | | | | | |
Annegret Soltau
Selbst (danach) I, 1978
31 x 25 cm
© Annegret Soltau
VG-Bildkunst, Bonn, 2023 |
Jürgen Klauke
Transformer, 1973,
120 x 100 cm
© Jürgen Klauke
VG-Bildkunst, Bonn, 2023 |
| | | | | | Identity and Self-portrait
Annegret Soltau, Jürgen Klauke, Thorsten Brinkmann, and Isabelle Wenzel explore the idea of identity and self-portrait. The four artists represent different gender and generational perspectives: they act and perform with their own bodies in their distinct expression.
The showcased photographs show the body as sculpting material, as an expression of psychological processes or question the self-portrait as a representation of identity. The presentation reflects on human and societal conditions of the last four decades. | | |
| | | | | | | | | | | | | | Timm Rautert
Unitled (Variationsreihe), 1967
Vintage Fibre based Chromogenic Print
Image 55 x 40 cm, Object 58 x 43 cm | | | | | | Main Sector - Booth A26 | | | | | | | | | | | | |
Detlef Orlopp
Unitled, 1956/57
Vintage Gelatin Silver Print
40 x 30,2 cm |
Bernard Venet
In the Bubble Chamber (I)
Gelatin Silver Print
47,5 x 36,5 cm |
| | | | | | ASPECTS OF ABSTRACTION
In our eleventh PARIS PHOTO presentation, the selection of works shown focuses on abstract photography in its heterogeneous manifestations. Be it through proximity, distance, overexposure, blurring, chemistry, camera-lessness or other imaging processes, central is the claim to explore the photographic medium, to de-limit and re-adjust it.
For the first time at PARIS PHOTO, we are presenting photographic works by the French minimalist Bernar Venet. In addition, we are showing works by three former students of Otto Steinert who themselves became influential teachers: Kilian Breier, Detlef Orlopp and Timm Rautert. Finally, with "Indociles" we present the latest series by the Swiss artist Yann Mingard.
In contrast to the figurative photography of the real, which took up a lot of space in the decades after the war, there was a stronger formalist and concrete photography. Drawing on the experimental photography of the historical avant-gardes, the possibilities and limits of photographic abstraction were explored anew. This trend was stimulated by several international movements, but especially by the two German currents, Subjective Photography and Generative Photography. | | | | |
| | | | | | | | | | | | | | Vincent Munier
Col de fourrure (Tibet), 2016
Inkjet print on Arches paper
100 x 150 cm | | | | | | | | Main Sector - Booth 31 | | | Book signing by Charlotte Dumas at the booth, on Thursday, 9 November, 4:30pm. | | | | | | | | | | | | |
Charlotte Dumas
Maxi II, 2023
High pigment print
19 x 28 cm |
Leila Jeffreys
Prudence, Moluccan Cockatoo, 2017
Archival fiber based cotton rag paper
112 x 89 cm |
| | | | | | Photography from an ethological perspective
The presentation at Paris Photo will show work of a variety of artists, both national as international, who explore the behaviour of animals and the relationship between animals and human beings, in terms of the contemporary challenges of biodiversity.
FLAT // LAND will present the monumental and quiet work by Vincent Munier, France's leading photographer and documentary maker, who travelled to the most remote areas of Tibet. He recently received a César Award - France's most important film prize - in Cannes for his documentary 'The Velvet Queen', which he made together with director Marie Amiguet and writer and adventurer Sylvain Tesson. Munier's work proves how at a certain point documentary photography transcends itself and becomes visual art. Munier will sign his new monograph at the booth on Saturday, 11 November, 3pm.
In addition, the gallery will bring new work by Kim Boske, created during her stay in Japan. In some of these works, no photographic lens was even used. Boske’s work 'Kawa no nagar' (river flowing) consists of only washi paper with recycled indigo and even solely of washi paper that she created herself. Working with natural materials reflects both literally and figuratively the importance of biological diversity through the presence of the many soil microorganisms in her work.
We are also very pleased to bring Charlotte Dumas to Paris Photo for the second time. She will show new work entitled 'Entendue' in which she discusses various aspects of the history of elephant exploitation and the use of ivory. EEntendue; what is heard, what is remembered. In addition, she has published a new publication 'Terra', in which this time she has included all her found stray dogs from Palermo. There will also be a book signing by Charlotte Dumas at at the booth, on Thursday, 9 November, 4:30pm.
Finally, we are proud to show the powerful photos of the Australian Leila Jeffreys. Jeffreys is known for her portraits of birds that reflect her involvement with the subject. The self-awareness of animals, who are always vulnerable but nevertheless possess a beautiful self-esteem and urge to survive, is clearly evident. FLAT // LAND brings 'Emerald Dove' and 'Moluccan Cockatoo' to be shown in Paris. | | | | |
| | | | | | | | | | | | | | Guido Guidi
Gibellina, 1989, 1989
Contact C-type print
Image: 19.5 x 24.5 cm
Edition of 5
© Guido Guidi | | | | | | Solo show Main Sector - Booth B06 | | | | | | | | | | | | | | | | | Guido Guidi
Cesena, 1985, 1985
Contact C-type print
Image: 19.5 x 24.5 cm
Edition of 5
© Guido Guidi | | | | | | Guido Guidi: View Into Landscape
Large Glass (London) and Viasaterna (Milan) are proud to present a solo presentation of works by the renowned Italian photographer Guido Guidi at this year’s Paris Photo. With a focus on landscape, we made a selection in collaboration with Guidi encompassing 50 years (1972- 2023).
Guido Guidi is one of Italy’s most respected photographers, with a career spanning more than five decades. Neorealist film and conceptual art have played a significant role in shaping his unsentimental but also intensely personal vision. He has mostly focused his lens on rural and suburban geographies close to his home and occasionally wider afield in Europe.
"View into Landscape" draws on the underlying vision in his work, the transformation of contemporary landscape, the rural and urban terrain near his home in Cesena and around Italy.
Guidi is a key figure in a group of photographers, born in the 1940s who in the 1970/80s were establishing links between photography and other disciplines from literature to architecture, from city planning to sociology and anthropology in order to consciously shape the cultural significance of Italian photography. We take a journey through Guidi’s rural, industrial and personal landscapes, shot on 35mm, medium and large format 8x10” film, and presented here as C-type and Gelatin silver prints (both vintage and contemporary). | | | | |
| | | | | | | | | | | | | | | © Sven Johne | | | | | | Main Sector - Booth D24 | | | | | | | | | | | | | | | | | © Peggy Buth | | | | | | On Vanishing
The subject of 'disappearance' is being interpreted with an entirely open approach and examined from the most diverse points of view: from questions on the materiality and aesthetics of the photographic in the digital age and the timeless poetry of abstract pictorial forms, the arc spans to political and socio-ecological dimensions, where social utopias and the promises of a globalized economy are brought into alignment with the factual reality and its temporality.
With an understanding of the urban space as a place where the social and the economic overlap, for her extensively researched, serial image cycle MLK Blvd. (Martin-Luther-King Boulevard) (2015) Peggy Buth makes use of a direct, undistorted but still subjective image language and creates a 'visibility' which frees the geographically and temporally specific situation, and its associated connotations, from its historical attributes. With the visual maelstrom a connection is made between the 'tale' of the failed utopias and social experiments of the last century and the current discussions around commodification of living conditions, around marginalization, around revaluation and suppression in the context of turbo-gentrification in the capitols of the world, and around the advancing division of globalized societies.
Alternating between fiction, narration, and documentation, Sven Johne approaches general and highly subjective topics of our time with humor and subversiveness: the question of self-optimization, specific fear of exclusion and failure, the search for individual fulfilment and the promise of a better, fairer world. A specific interest lies in looking into areas and situations that could be called 'model regions', where the effects of the 'neoliberal turn' of the last decades are becoming more and more visible. I wonder what's in those containers' (2023) asks a simple and obvious question. We catch sight of the massive accumulation of overseas containers – the tectonics of a world economy that has come to a temporary almost-standstill under the burning glass. In a text module – commentary and picture section in equal measure – the distortions and abysses that lie behind the surfaces of the pictures are revealed in Johne's very own language between laconic description and poetic intensification.
"Poet-photographer"... this pairing of terms probably most aptly describes the approach and œuvre of American artist Erica Baum. Fascinated by the printed word, concrete poetry, and the beauty of language permeating our daily lives, she develops her photographic works in the tension between text and image. Her works are 'photographic' in a very specific fashion: alongside the fleeting and ephemeral quality of the 'visual overload' on our displays, she places an object-like presence and a precise interest in the material context of photography. The secret-language-like puzzles of basic graphical modules of her series Piano Rolls (2008) translate, when perforated into paper and read by a self-playing piano, as a lead sheet, an operating system for music. these poetic and concrete photographs show a semantic system, a loose narrative that is not readable for the human eye, but printed sound, ultimately functioning as the image itself and speaking to multilayered forms of translatability.
For many years, Adrian Sauer has been dealing in manifold ways with the medial characteristics of digital images in particular, questioning the fundamental problems of imaging and perception – of analog and digital realities. As a consequence, he conveys an independent, new understanding of the concept of photography. The work 256 Graustufen (2021) refers to the capacity of digital photography to depict exactly 256 shades between black and white. These 256 possibilities are the archetype of image computing: additive process, visual composition, and the apparently endless layering of chromatic abstraction. Working with this media-analytical approach, all the works shown have a formal and thematic quality that is also expressed in the specific form of presentation - direct, reportage-like techniques alternate with the image-making of classic studio practice or even completely digitally generated image worlds. | | | | |
| | | | | | | | | | | | | | | | | | | | | | | Susan Meiseles © Florent drillon / Raymond Depardon © Florent Drillon / SMITH © Marc Domage | | | | | Paris Photo 2023 - 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 2023 publishers & art book dealers... » | | | Paris Photo 2023 - Booksignings | | | | | | More than 300 artists join Paris Photo this year to sign published works, a unique occasion to meet your favorites artists.
www.parisphoto.com/.. | | | | | | |
| | | | | | | | | | | | | | | Daniel Salemi | | | PhotoBook Awards
Paris Photo–Aperture Foundation | | | Initiated in November 2012 by Aperture and Paris Photo, the Paris Photo–Aperture PhotoBook Awards celebrate the photobook’s contribution to the evolving narrative of photography, with three major categories: First PhotoBook, PhotoBook of the Year, and Photography Catalogue of the Year.
The winners will be announced at Paris Photo on November 10th at 3pm. | | | PHOTOBOOK OF THE YEAR
Vince Aletti» The Drawer SPBH Editions, London
Frédérique Bangerter, ed.» Archivo Nómada Vol. 1: 1975-1981 Alberto García-Alix Editorial Cabeza de Chorlito, Madrid
Felipe Romero Beltrán» Dialect Loose Joints, Marseille, France
Lynne Cohen and Marina Gadonneix» Observatories/Laboratories and Laboratories/Observatories Atelier EXB / Centre Pompidou, Paris
Samuel Gratacap» Bilateral Poursuite, Arles, France
Mikiko Hara» Small Myths Chose Commune, Marseille, France
Thomas Locke Hobbs» L.A. Vedute The Eriskay Connection, Breda, Netherlands
Bharat Sikka» The Sapper Fw:Books, Amsterdam
Hristina Tasheva» Far Away from Home: The Voices, the Body and the Periphery Self-published, Bodegraven, Netherlands
Ruth van Beek» The Oldest Thing Van Zoetendaal Publishers, Amsterdam
FIRST PHOTOBOOK
Thaddé Comar » How was your dream? Mörel Books, London
Luis Corzo » Pasaco, 1996 » Kult Books, Stockholm
Star Feliz » When Eye Land Printed Matter Inc., New York
Liss Fenwick » Humpty Doom Bad News Books, Wellington, Aotearoa/New Zealand
Christopher Gregory-Rivera » El Gobierno Te Odia Self-published, Penumbra Foundation, New York
Steve Harries » RVB Books, Paris
Samuel James » Nightairs; Fw:Books, Amsterdam
Clifford Prince King » Orange Grove; TIS Books, New York
Anu Kumar » Ghar; Perimeter Editions, Melbourne
Jan Mammey and Falk Messerschmidt » Statues Also Die; Kodoji Press, Baden, Switzerland
Alejandro "Luperca" Morales » El Retrato De Tu Ausencia (The Portrait of Your Absence); Kult Books, Stockholm, and Los Sumergidos, New York/ Mexico
Ronit Porat » Hunting In Time; Sternthal Books, Montreal, Quebec
Lúa Ribeira » Subida al Cielo; Dalpine, Madrid
César Rodríguez » Montaña Roja; KWY, Lima, Peru
Keisha Scarville » lick of tongue, rub of finger, on soft wound; MACK, London
Kristof Titeca, ed. » Nasser Road / Political Posters in Uganda The Eriskay Connection, Breda, Netherlands
Bindi Vora » Mountain of Salt Perimeter Editions, Melbourne
Carla Williams » Tender TBW Books, Oakland, California
Alice Wong » Painting Photographs TBW Books, Oakland, California
Yao Yuan » 1 2 3 2 1 Self-published, Antwerp, Belgium
Photography Catalogue of the Year
Casa Susanna: L’histoire du premier réseau transgenre américain, 1959–1968
Isabelle Bonnet and Sophie Hackett, Editions Textuel, Paris
Japanese Photography Magazines: 1880s to 1980s
Ryuichi Kaneko, Masako Toda, Ivan Vartanian; Goliga, Tokyo
Källström-Fäldt; Klara Källström and Thobias Fäldt; Verlag der Buchhandlung Walther und Franz König, Hasselblad Foundation, B-B-B-Books, Gothenburg, Sweden
Recaptioning Congo: African Stories and Colonial Pictures; Sandrine Colard
Lannoo Publishers, Tielt, Belgium, and Fotomuseum FOMU, Antwerp, Belgium
The Public Life of Women: A Feminist Memory Project; Diwas Raja Kc and NayanTara Gurung Kakshapati
Nepal Picture Library / photo.circle, Kathmandu, Nepal | | |
| | | | | | | | | | | | | | | | | | | | | | ELLES Collectif
Elles × Paris Photo
7 x 23 cm, Paperback with dust Jacket,
312 pages, 39 €
Release Date: November 8, 2023 | | | | | Elles x Paris Photo 2023 | | | | A circuit dedicated to women photographers | | | | | | | ellesxparisphoto.com/en/ | | | Elles x Paris Photo was initiated in 2018 by the Ministry of Culture as part of its policy promoting women - men equality. Carried out in close partnership with Paris and Women In Motion, a Kering programme, this pathway encourages galleries at the fair to promote the work of women artists, both among collectors and institutions. This initiative shows very encouraging results, increasing the presence of women photographers at the fair to 36% in 2023, compared to only 20% just five years ago. Fiona Rogers, curator of the Parasol Foundation Women in Photography at the Victoria & Albert Museum in London, is overseeing the curation of this year’s Elles x Paris Photo pathway. 38 photographers are being highlighted, whose commitments ‘challenge otherness and provide a more equitable way of looking, representing and recording’. From identity to politics, history, culture, relationships, and sexuality, the artists chosen by the curator ‘present a provocation to photography’s history, adopting creative approaches to express emotions, process trauma, advocate for change and encourage empathy in others’.
Published on the fifth anniversary of Elles x Paris Photo at éditions Textuel, the book ELLES highlights a selection of photographers who have been a part of this adventure. Elles x Paris Photo has now become an eagerly anticipated event in the fair’s program, through which, year by year, the visibility of women photographers continues to grow within its aisles. | | |
| | | | | | | | | | | | | | Jess T. Dugan
(American, b. 1986)
Erica and Krista, 2012 Pigment print
25 1/4 x 20 1/4 x 1 3/8 in. | | | GLOBAL VISIONS | LOCAL VOICES | | | | ICONIC & RECENT PHOTOGRAPHS IN THE JPMORGAN CHASE ART COLLECTION | | | | | | For 12 years, J.P. Morgan has served as lead partner of Paris Photo, exhibiting the full breadth of our esteemed modern and contemporary art collection. This year, we are excited to present highlights of the JPMorgan Chase Art Collection – championing the dynamic lenses of geographic & cultural diversity, with an emphasis on NextGen artists. Global Visions convenes 10 photographs by artists from Europe, the Middle East, Africa, Asia, Latin America and North America. The artworks reflect our firm’s global reach and long history of supporting emerging, developing, & under-recognized artists.
The photographs in the exhibition express a powerful range of photographic imagination and visual power. Both collectively and individually, the works reveal the deft and varied ways artists transform traditional genres. Whether portraiture, landscape, abstraction or documentary, the presentation mirrors J.P. Morgan’s global 21st-century business and social priorities—reflecting diversity of all kinds through visually compelling images. The exhibition is supplemented by historical and documentary photographs from JPMorgan Chase Corporate History and Corporate Responsibility. | | |
| | | | | | | | | | | | | | DAIDO MORIYAMA – THE TOKYO TOILET, Hiroo Higashi Park, 4-2-27 Hiroo, Tomohito Ushiro - 2022
© Daido Moriyama Photo Foundation | | | | | THE TOKYO TOILET / PARIS | | | | | | | After the Milan Salone, THE TOKYO TOILET / PARIS - DAIDO MORIYAMA / MATCH&CO / SKWAT will be the second presentation of this project abroad, at PARIS PHOTO 2023. It will bring together world-renowned photographer Daido Moriyama, Satoshi Machiguchi and SKWAT. On the stand dedicated to TTT／Paris set by SKWAT under the artistic direction of Satoshi Machiguchi, will be unveiled a stunning installation featuring toilet paper specially designed for this project. Made from recycled cardboard, on which photographs by Daido Moriyama are printed, they appeal to visitors' curiosity. TTT/Paris will continue to explore the theme of space as a new form of photographic expression, adding value and creating an original public space. Artistic performances to clean up the stand will take place every day. Daido Moriyama's photobook dedicated to the TTT project, designed by Satoshi Machiguchi, will be on display at the Bookshop M stand in the Editions section. | | |
| | | | | | | | | | | | | | | Huan A Hei, The Daughter of The Moon | | | | | | OPPO Imagine IF Photography Awards | | | | Beyond the Image，Beyond Imagination | | | As an associate partner of this Paris Photo edition, OPPO, an exhibitor from China, showcase the spectacular winning artworks from the 2023 Imagine IF Photography Awards and presents a retrospective of the remarkable works from this year Imagine IF Photography Project, a global platform to encourage users worldwide to explore the experiential and artistic possibilities of mobile photography. These photographs were evaluated by contemporary photography artists such as Pulitzer Prize-winning Photographer Liu Xiangcheng, Hasselblad Master Tina Signesdottir Hult, Wang Jianjun, and Hasselblad Ambassador Yin Chao under the theme of “Beyond the Image，Beyond Imagination" to highlight artistic expressions and captivating storytelling through thoughtful curation.
Huan A Hei's photography work "The Daughter of The Moon", which won the Master of the Year, is named after a traditional legend about a girl from the Yi nationality who became the moon's daughter because of her miraculous weaving skill. With a focus on highlighting female power through his photographs, Huan A Hei spent six years capturing the daily lives of local people to convey Yi culture and aesthetics.
Aside from the award-winning pieces in the exhibition, ten samples taken by photography masters and official institutions will be presented like Tina Signesdottir Hult who provides a portrait of a girl amidst a bed of flowers or Yin Chao who ceaselessly breathes life into static images. Wang Jianjun has also captured the striking geological features of the Ebo Liang landform in the Cold Lake town of Qinghai province. Apart from professional independent photographers, OPPO Imagine IF Photography Awards has also collaborated with Chinese National Geography to launch the "Marvelous Landscapes" monthly artwork collection campaign. | | |
| | | | | | | | | | | | | | | © adagp, Paris 2023 et courtesy Constance Nouvel & Galerie In Situ- Fabien Leclerc | | | | | | MAISON RUINART PRICE 2023 | | | | For its fifth year, the Maison Ruinart Prize is awarded this year to French photographer Constance Nouvel. The prize, awarded as part of Maison Ruinart's sponsorship program, recognizes an emerging photographer selected from the Curiosa section of Paris Photo. Following her residency in Champagne this summer, Constance produced the Mirées series, which will be presented for the first time at the 2023 edition of Paris Photo, from November 9 to 12, at the Grand Palais Éphémère. Constance Nouvel is interested in representations that evoke nature. If, for the artist, our environment is increasingly shaped by human intervention, the images that emanate from it reflect the world and things around us. But like thought, the way we look around us is plastic, dependent on a context, a reality imbued with imagination. Throughout Champagne, Constance Nouvel has produced ten images based on typical locations: the archaeological museum, the Ruinart Champagne house and other touristic sites in the region. The result is a deliberately offbeat photographic record, showing landscapes that may not actually be landscapes at all | | |
| | | | | | | | | | | | | | Fred W. McDarrah, Untitled
(Craig Rodwell, gay rights activist and founder of the Oscar Wilde Memorial Bookshop),
New York, New York, October 14, 1969 | | | | | | PRIDE AND PROTEST | | | | MUUS COLLECTION - NEW JERSEY, USA | | | In the summer of 1969, on New York City’s Christopher Street, an uprising broke out at the Stonewall Inn. Fred W. McDarrah, the resident photographer for the Village Voice, was one of the first photographers to make it to the scene, and the images he took there and at subsequent protests and marches immortalized the beginning of the gay rights movement. In addition to photographing some of the most pivotal moments in American history, McDarrah’s pictures capture the struggles and joys of LGBTQ+ New Yorkers leading the way towards liberation.
The MUUS Collection is a body of preeminent American photography archives that mark formative shifts in American history. With nearly half a million prints, negatives, contact sheets, and other ephemera, MUUS seeks to preserve and share these seminal works with new audiences. | | |
| | | | | | | | | | | | | | | OMAR VICTOR DIOP - Quai des Yatchs, in Louis Vuitton Fashion Eye Deauville © Éditions Louis Vuitton | | | | | Éditions Louis Vuitton | | | | | | | Celebrating the art of travel since 1854, Louis Vuitton once again invites you to escape, and this autumn adds three new titles to its Fashion Eye collection of photographic albums: with affection and wit, Austrian photographer Stefanie Moshammer plays with the clichés attached to Vienna, delivering an unsuspected portrait, while French photographer Frank Horvat reveals the Hong Kong of the 1960s in mostly unpublished black-and-white shots, where streets brimming with passers-by never seem to run out of steam. For his part, Senegalese photographer Omar Victor Diop focuses on the iconic seaside resort of Deauville, magnifying its streets while linking it to his native Dakar. As in previous editions, each book presents a country, region, city or place through the eye of a fashion photographer. | | |
| | | | | | | | | | | | | | | Louise Desnos, Nadine, 2019 | | | | | (RE)PAYING ATTENTION TO THE FUTURE | | | | RECENT ACQUISITIONS OF THE CENTRE NATIONAL DES ARTS PLASTIQUES | | | | | | | For this new edition of its participation in Paris Photo, the Cnap presents a selection of five photographers emblematic of its acquisition policy, whose work is entering its collection for the first time. As they are not yet represented by galleries, their presence at Paris Photo is an obvious choice, and reaffirms the commitment of both institutions in favor of emerging artists on the French scene. (re)paying attention to the future : inspired by Isabelle Stengers, this title expresses the idea of relearning the art of paying attention, specific to photographic art, particularly in its documentary practices, with a moral concern for the future. These five photographers are gathered here to explore the issues that run through contemporary society. Louise Desnos highlights the role of representation as a vector for female empowerment, while Sébastien Arrighi explores the imaginary world of Corsica through vernacular images that testify of the artist's intimate relationship with his native island. Nina Ferrer-Gleize and Gilberto Güiza-Rojas have conceived theatrical scenes in which the body, the instrument of productive labour, is performed as a place of resistance. Finally, Carly Steinbrunn evokes the relationship between the human species and its environment, through a reflection on the photographic medium as a tool of knowledge. | | |
| | | | | | | | | | | | | | | ALAIN DELORME, Murmurations | | | | | | Murmurations | | | | PRIX DU PUBLIC - UNE AUTRE EMPREINTE 2023 | | | | In his series Murmurations - Ephemeral plastic sculptures , Alain looked to the plastic bag as the starting point of this project. It is the quintessential consumer object : it is made in a few seconds, its use only lasts a handful minutes however it will forever remain on our planet. Through his travels, Alain noticed that plastic bags are everywhere in nature and like birds, these bags migrate. Plastics are also present in large quantities in the air we breathe. Alain used popular imagery, that of the flock of birds to better plunge the viewer in the graphic turmoil. The title Murmurations derives from the English language. It designates the phenomenon of flocks of starlings. In French the verb murmurer means to whisper. And, as with a whisper, one must get closer to understand the image. | | |
| | | | | | | | | | | | | | INSOLARE II, Eva Nielsen - BMW ART MAKERS, 2023
Acrylique sur papier et photographie numérique sur calque taille variable. | | | | | | INSOLARE - Eva Nielsen and Marianne Derrien | | | | LAUREATES OF BMW ART MAKERS | | | | Each year, the bmw art makers program nominates an artist/curator duo to lead an innovative project in the visual arts and its implementation in space. With INSOLARE, Eva Nielsen explores climatic and geological phenomena, bringing back the spectra of both rural and industrial reality. She crosses her road-trip trajectories with those of the territories at the gateway to Arles, where the Camargue begins. In a visual confusion, the artist creates a play of resonances between photography, silkscreen and painting. Contrary to any official cartography, the paths taken trace a subjective geography tinged with hydro-feminism. The sedimentation of these solar and liquid landscapes gives rise to a horizon of experience, a feminine gaze where body and water connect. In collaboration with BMW, Eva Nielsen and Marianne Derrien have created a scenography with the help of Ghosthouse that minimizes the environmental impact of their project. | | |
| | | | | | | | | | | | | | | Artist Talks 2021 © Florent Drillon | | | Paris Photo 2023 - 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 2023 - 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 his artistic practice, his editorial approach and realization.
In an intimate atmosphere, each artist shares with the public his experience around his 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 9th to Sunday 12th at 2pm, 3pm and 4pm » | | |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | A PPR OC HE 2023 | | | | A salon dedicated to experimentation of the photographic medium | | | Thu 9 November : upon invitation
Fri 10 November : 1-8pm public by reservation
Sat 11 November : 1-8pm public by reservation
Sun 12 November : 1-6pm public by reservation | | | | | | Le Molière 40, rue de Richelieu, Paris 1e
Free entrance upon reservation
www.approche.paris
| |
| | | | | | Founded in 2017 by Emilia Genuardi, a ppr oc he is an independent boutique art fair with a curatorial gaze, designed as an exhibition.
A salon consisting exclusively of solo shows, combining so-called traditional photographers with artists who use photography in three dimensions, on non-traditional media such as wood, leather, Perspex, glass and metal, going beyond the frame into the territory of installations. | | | Ibrahim Ahmed » (KW) TINTERA (EG)
Tomás Amorim » (BR) Galerie du Jour agnès b. (FR)
Yoan Béliard » (FR) Galerie Valérie Delaunay (FR)
Marguerite Bornhauser » (FR) Porte B (FR)
Anne Lise Broyer » (FR) Galerie S (FR)
Guillaume Chamahian » (FR) Analix Forever (CH)
Kensuke Koike » (JP) Open Doors (UK)
Vuyo Mabheka » (ZA) AFRONOVA (ZA)
Victoria Marques-Pinto » (PT) Black Box Projects (UK)
Sakiko Nomura » (JP) Galerie Echo 119 (FR)
Thomas Paquet » (FR) – Résidence PICTO LAB / EXPÉRIMENTER L'IMAGE (FR)
Jannemarein Renout » (NL) Galerie Bart (NL)
Jean-Vincent Simonet » (FR) Intervalle (FR)
Laure Winants » (BE) Fisheye Gallery (FR)
Sophie Zenon » (FR) Galerie XII (FR) | | | | |
| | | | | | | | | | | | | ... more ... Photo - Book - Art Fairs Photo Discovery, the fair! | Offprint | Polycopies | | |
| | | | | | | | | | | | | | Polycopies 2023 a bookfair with 50 publishers, booksellers and photographers from all continents. |
| | | | | | Wed November 08 : 3pm - 10pm
Thu November 09 : 11am - 9pm
Fri November 10 : 11am - 9pm
Sat November 11 : 11am - 9pm
Sun November 12 : 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 2023
9 - 12 November 2023 | |
| | | | | | | | | | | | | | From November 9 to 12, 2023, Offprint Paris will host at the Pavillon de l'Arsenal a selection of independant, experimental and socially engaged publishers in the fields of art, architecture, design, humanities and visual culture. | | | | |
| | | | | | | | | | | | Magnum Book Fair a series of talks, film screenings, and book signings
Saturday 11 November 11:00 - 18:15 | |
| | | | | | | | | | | | | | In parallel with Paris Photo, Magnum will host a number of free events around the fair as Magnum photographers gather in the city. Join us at the Magnum Gallery in the 11th arrondissement on Saturday, November 11, for a program of talks and book signings with 10 Magnum photographers. The event opens at 11:00 a.m. and visitors are invited to come and go as they please as talks and signings take place throughout the day. | | | | |
| | | | | | | | | | | | Photo Discovery, the fair! dealers & collectors | |
| | | | Saturday 11 November | | | | | | | | | | | | | | | | |
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