André Frère Éditions


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André Frère Éditions André Frère Éditions

Cofondateur et éditeur chez Images en Manoeuvres Éditions, après avoir obtenu en 2011 le prix Nadar avec Jean Christian Bourcart pour l’ouvrage Camden et en juillet 2012 le «Prix du livre historique» aux Rencontres d’Arles pour l’ouvrage Les livres de photographie d’Amérique Latine de Horacio Fernandez, André Frère crée sa propre maison début 2013.

Chez Images En Manœuvres, André Frère développa de nombreuses coéditions avec des éditeurs étrangers et il suivit en particulier des auteurs comme Antoine d’Agata, Anders Petersen, Vanessa Winship, Patrick Tournebœuf, Christopher Anderson, Martin Parr, Thibaut Cuisset, Dulce Pinzon, et de jeunes talents comme Marion Gronier, Hana Jakrlova, Arja Hyytiainen ou Alexa Brunet.

Issu des arts graphiques et directeur artistique de formation, André Frère s’est toujours attaché dans ses productions à explorer le travail de la forme, des matières et du graphisme, chaque livre est adapté au travail du photographe afin de le servir et de l’exprimer au mieux.

  • The Tourist –
    Kourtney Roy - The Tourist

    Kourtney Roy – The Tourist

    "Some contexts make our intentions so clear that we don't even need to express them to be understood. With The Tourist, Kourtney Roy once again distinguishes herself as a virtuoso of contextual creation. The Tourist contains all the Roy trademarks we have come to love and expect: self-portraiture, a cinematic approach, her distinctive color palette, and a tension between the witty and the sinister, the conventional and the bizarre, the chic and the fake. We also discover with pleasure that the boundaries between reality and fantasy are blurred. But the outstanding quality of The Tourist lies in the meticulous organization of the moment when we leave our extensive world and enter his intensive one. Roy creates a visual metaphor for a world we think we know. Yet his masterful use of juxtaposition tells us that this is not the world we thought it was. The details are meticulously chiseled and arranged, the scenes both familiar and strange. The diving mask over the mouth from which a cigarette hangs, the pool boy's mop abandoned near a fake temple; the furry mules near the water are never a good idea, nor are the stilettos on the slippery edge of a pool. The overall effect is that of a big hammer blow to the vacation cliché. According to many studies, most people prefer the anticipation and memory to the actual experience of their vacation. That's why photos are so important to them. They eliminate disappointment and create a pearly memory of pleasures that never happened. Roy reverses the ritual by taking us to a setting that is seemingly glamorous, but is actually much closer to our own experience: one-night stands turned into romantic affairs; boredom that leads to emptying a bottle of booze in an extreme version of the cocktail enjoyed poolside; ice cream that melts and sinks among the knock-off jewelry; a sense of trepidation, as if someone is about to yell "Shark!", but not to signal the presence of a turquoise plastic bladder..."

    Del Barrett, extract

  • Mathias Depardon – Transanatolia
    Mathias Depardon – Transanatolia

    Mathias Depardon – Transanatolia

    TRANSANATOLIA is a peregrination to the borders of Anatolia. For 5 years, Mathias Depardon has been photographing the new Turkey, right up to the borders of the Caucasus. From the recently settled urban areas in the west of Istanbul to Turkish Kurdistan, where a civil revolution is brewing and a real water war is raging, he questions the notion of peripheries and borders. These remote places help to understand the great mutations that agitate the region. Through portraits and landscapes, Mathias Depardon probes a country torn between modernization and Ottoman reminiscence. The "New Turkey" of Turkish President Recep Tayyip Erdoğan, in power since 2003, is the affirmation of a power and an ambition. Thanks to its strategic geographical location and imperial history, Turkey wants to play a central role in the march of the world. Erdoğan sees himself as the caliph of a vast Turkish-Islamic space whose contours, "the borders of the heart," evoke a mythologized past. The fragmentation of the Ottoman Empire at the end of the First World War remains a trauma and the Turkish leader imposes an authoritarian, paternalistic and police state to regain the lost territories. The method is often brutal. The transformation of society that he imposed was radical. In this book, Mathias Depardon attempts to image the borders of the heart evoked by the Turkish President. To probe the "Turkish soul" and perceive the complexity of its identity construction, one must project oneself to its borders and even beyond. In Azerbaijan or in Crimea, Turkey remains the "mother country". It radiates, spreads its "soft power" from the Balkans to Asia, from the Black Sea to the Red Sea. It exports its washing machines and its very popular television series to dozens of countries. Its influence extends to all the former Ottoman territories and, beyond, to the borders of China, in Central Asia, the distant homeland of the Turkish people.
  • Myop – Sine Die
    Myop – Sine Die

    Myop – Sine Die

    (*without seeing the end) A photographic chronicle, conceived as a line, to document this historical moment. An artistic, plural and collective response to remember the common time of the pandemic and the containment. Every day, since the announcement of the containment, on March 15th 2020, the photographers of the MYOP agency put together their images of the day before. Each day, 6 to 10 images are selected and sequenced together in the form of a line highlighting the richness of situations, statements and photographic writing. Each day the "line" formed by these images is posted on instagram, thus drawing, like a leporello, a vast temporal fresco. Every day... sine die. The work takes the form of a leporello of 120 pages with on one side an image per page and per day or 56 images and on the back we find the complete selection of images in their chronology from D to D + 55. Michel Poivert was freely inspired to write a series of photographic anti-legends.

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