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  • Natela Grigalashvili - La terre des Doukhobors
    Natela Grigalashvili - La terre des Doukhobors
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    Natela Grigalashvili – La terre des Doukhobors

    The Doukhobors appeared three centuries ago in Russia as a pacifist community that rejected the Church's liturgy and opposed all civil government. Their history was thus one of persecution, deprivation of freedom and deportation. Despite the difficult conditions imposed on them, they remained faithful to their convictions: exiled from Crimea to Georgia, they founded several villages in the Javakheti region. But to escape reprisals, a large part of the community chose to leave for Canada at the beginning of the 20th century, supported by Tolstoy and his supporters.
    30,00
  • Arnaud du Boistesselin - L'esprit de l'escalier
    Arnaud du Boistesselin - L'esprit de l'escalier
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    Arnaud du Boistesselin – L’esprit de l’escalier

    Arnaud du Boistesselin has lived in Cairo for fifteen years. His photographs are devoted to the richness and diversity of building interiors. They highlight a heritage that is much less visible than the façades. He transposes into his medium the plastic universe that permeates the soul and daily life of the inhabitants of downtown Cairo, something of a past history that continues to weave strong links with the present. Because taking the path of the spiral designed by this or that staircase every day, perhaps several times a day, is also physically inscribing in one's own body the memory of the design conceived for us by an architect. On the pages, Jean-François Galletout's mini-novellas give a very Cairo-like humanity.
    35,00
  • Raymond Depardon, Kamel Daoud - Son œil dans ma main
    Raymond Depardon, Kamel Daoud - Son œil dans ma main
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    Raymond Depardon, Kamel Daoud – Son œil dans ma main

    Algeria 1961 Raymond Depardon, at the age of nineteen, was sent by the Delmas agency to report on a country in turmoil - the last stirrings of the Algerian war of independence. The young photographer captures his images at high speed; he collects about a hundred of them, all of them striking. He readily says that his awareness and sensitivity were decisively forged during this journey. Raymond Depardon exhumed these photos (some of which were published in "Un aller pour Alger", Points, 2010), and in a very strong and generous gesture, offered them to Éditions Barzakh and then to Images Plurielles, two publishers of numerous authors with an international reputation. The idea was born that Raymond Depardon should make another trip in 2019 to complete the 1961 photos with a "postscript". This he did from 15 to 24 September 2019. He photographed Algiers, still in black and white, in its abundant contemporaneity. He also spent five days in Oran, where he met up with the writer Kamel Daoud for long strolls through the city. These proved so powerful that it was decided to keep about 30 of them. Kamel Daoud, delighted by the project, wrote several texts. They are almost disjointed from the photos, they will be meditations or wild reveries. If we take up the distinction elaborated by Barthes, dear to Raymond Depardon: far from being "anchor-texts", they will be "relay-texts", autonomous in relation to the latter, without any apparent link with it, like "vision" texts.
    35,00
  • Liu Silin - Celine Liu
    Liu Silin - Celine Liu
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    Liu Silin – Celine Liu

    Liu Silin creates through herself a character, Celine Liu, who traverses history, culture, politics and identity, while asserting that Celine Liu is in fact no one: she can be anyone, and anyone can be Celine Liu. In an age of image overload, Celine Liu uses herself as a medium to push back the boundaries between the real and the fictional, the mundane and the ritualistic, the private and the public, the individual and the universal, allowing the fictional character to circulate, evolve and be "consumed" in the virtual world of the Internet. In "I'm everywhere", the artist "falsifies history" by inserting herself seamlessly as Céline Liu into old photographs of celebrities, travelling in and out of major historical scenes, or chatting and laughing with them in private. In "Appme", she creates a series of hybrid self-portraits of Celine Liu using a selfie app, and depicts people from various decades and identities of the 20th century. In the "Siren" series, she travels through cities and villages looking for passers-by who can lip-sync and imitate the sound of mermaids with her. These people come from different parts of the world, have different identities, are well known or completely anonymous. While many artists choose to focus on the "art" aspect, Liu Silin instead diverts attention away from "art", trying to dissolve the "elitism" and limitations of art itself, in an effort to bridge the gap between art and the general public. As she said when working on the "Siren" series, "Everyone should have the right to express themselves and the awareness to do so." Through her self-constructed images, Liu Silin re-examines historical narratives and cultural memories, and reflects on the obsession with cultural icons and the value of commodity culture in the mass media environment. In his artistic practice, Liu Silin investigates and reinterprets the traditional social conventions of the "image cult", conventions that are constructed and shaped precisely by the mass media environment and our digital life.
    47,00
  • Li Lang - 1974
    Li Lang - 1974
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    Li Lang – 1974

    Each has a unique starting point in their own memory. For Li Lang, it all began in 1974. This work, "1974", consists of 390 slides played in a loop, accompanied by the artist's voice-over, 4 stories from his memory of 1974, and a summary of the important events of that year. Li Lang's work reconstructs his imagination from his memory, through a voice-over and old photos. The images and texts are no longer just traces of the past. They also explore the potential dialogue with reality, in the space between light and shadow. Li never asks the audience to accept his account of history. Instead, he invites us to join him as an explorer of the past.
    49,00
  • Zhen Shi - Tragédie, Coïncidence et La Double Vie de L.L.D.M
    Zhen Shi - Tragédie, Coïncidence et La Double Vie de L.L.D.M
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    Zhen Shi – Tragédie, Coïncidence et La Double Vie de L.L.D.M

    "Tragédie, Coïncidence et La Double Vie de L.L.D.M" is the second chapter of the "Memories of Things Past" trilogy, a fiction-documentary project based on historical documents that Zhen Shi started in 2015. She uses a nineteenth-century Belgian family diary as her source. Tracing a series of coincidences and tragedy that took place over the years. Combining text, images, correspondence, telephone records, archives and other media in its presentation, the book seeks to explore the complex relationship between reality and memory under the general proposition "Archive et fiction" / "Privé et public' in the context of contemporary art.
    45,00
  • Wang Juyan – Uncharted+
    Wang Juyan – Uncharted+
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    Wang Juyan – Uncharted+

    "Uncharted+" continues the dystopian character of Wang Juyan's work. As the title suggests, the book presents a series of unexplored landscapes, either through their physical existence or through digital collages, from Wang's "2084, 2085 and 2086" project. Somehow, through a bird's eye view, the perspective seems to be inhabited by a power. "Uncharted+" is inspired by the ambiguity of the power of aerial images, which do not contain a linear narrative but monumental and metaphorical landscapes.
    50,00
  • Sun Yanchu – Even Us Even Me
    Sun Yanchu – Even Us Even Me
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    Sun Yanchu – Even Us Even Me

    In the "Lost Souls" series that Sun Yanchu began in 2013, the subject, or object, can be a priori described as a landscape, but it seems to be much more. As through the evolution of 'shanshui' painting in China, in his work nature serves as a metaphor or vehicle to convey a state of mind. It may be the photographer's state of mind, but also that of his or her generation, the society in which he or she lives or the general aura of the time. A mix of "Obsessed", "Lost Souls" and Sun's latest work, "Ficciones", "Even Us, Even Me" is most appealing for its underlying sense of confirmation of the existence of a world outside ourselves. These quivering images attract us. We feel the vibrations of the elemental energy that flows through the vistas and carries us away in its currents. We lose ourselves in their movement, we step out of ourselves, while remembering moments when we found ourselves in the embrace of nature, braving the wind and realising how good, though sometimes difficult, it is to be alive.
    45,00
  • Yingguang Guo - The Bliss of Conformity
    Yingguang Guo - The Bliss of Conformity
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    Yingguang Guo – The Bliss of Conformity

    Her boyfriend's parents could not accept his age, and their relationship ended there. This is how Chinese photographer Yingguang Guo (b. 1983) became single at the age of 33, a "reject" in the eyes of contemporary Chinese society. Overwhelmed by all the questions she couldn't find answers to, Guo went to Shanghai's People's Park to play the role of her own "matchmaker", holding a sign with her own accomplishments, while parents came snooping around to assess whether she was suitable for their children. As well as being a place to relax, Shanghai People's Park is also a well-known matchmaking market that has been running for ten years. Hundreds of parents gather there every weekend, regardless of the weather, clutching information sheets of their children with their age, height, education, work, salary, etc., all in an effort to find an "acceptable" partner to marry them. By photographing the everyday scenes and adding personal elements, Guo also uses photo-engraving techniques to create a series of abstract images that reveal the turbulent truths of arranged marriages underneath the seemingly calm surface depicted by the peaceful images of the park, such as traditional inter-generational relationships and views on marriage, as well as discrimination against the so-called 'remaining women'.
    47,00
  • Frédéric Daubal - Overprint
    Frédéric Daubal - Overprint
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    Frédéric Daubal – Overprint

    A dense book of 312 pages for a flow of 560 "overprints" or an "everyday obsession". An intuitive and mocking project where everyone can find themselves. The overprint plays to deconstruct, deride, stare and distort this very stylized world of the magazine and more generally of the printed image. Half iconic, half ironic, Daubal's approach explores the themes of fashion, ecology and the human being in his environment. Her artisanal, even minimalist mode of production, made of recycling, cutting, and all kinds of tinkering, makes us react and think. She invites us to look differently at the subjects she tackles by deconstructing with fantasy the established codes and by colliding glossy paper and popular culture. Creating a dialogue by combining the improbable, provoking questions rather than providing answers. Absurd object or initiator of thought? Fruit of chance or deliberate choice? Meaningless or symbolic? Homage or cheese? A perpetual performance in which she rhymes fashion and onions!
    40,00
  • Stéphane Charpentier - The Eclipse
    Stéphane Charpentier - The Eclipse
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    Stéphane Charpentier – The Eclipse

    The Eclipse offers a panorama of photographs by Stéphane Charpentier in silver black and white, captured over the course of a decade in Greece, a country reflecting a world plunged into economic, political and human crises. But more than a documentary or an intimate essay, The Eclipse reveals different levels of reading and meaning. The book combines poetic images of a suffering humanity, with an iconography that is both symbolic and dreamlike, almost metaphysical. Interludes composed of mosaics of rephotographed prints evoke this density and this contemporary chaos, while the last sequence of images opens onto natural, virgin and dazzling spaces, from which all the light finally springs. The texts in English and French are transcriptions of recorded dialogues and form a background sound on this present torn between struggle and hope.
    38,00
  • Tabitha Soren - Surface Tension
    Tabitha Soren - Surface Tension
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    Tabitha Soren – Surface Tension

    The photographs that make up Tabitha Soren's book, Surface Tension are 20x25 room reproductions of her digital tablet screen. In the background, behind the fingerprints that cover the latter is a corpus of images from both her internet search history, the social networks she consults and the text messages she receives. Pictures of forest fires, protests, police repression, pictures that constitute the news and that we consult daily and often in a mechanical way. His artistic gesture highlights the constant interaction we have with our phone and evokes the collective reality of millions of humans constantly attracted by their screens and who, by dint of receiving an incessant flow of information in constant renewal, gradually forget that they also participate in the world physically and collectively. Surface Tension will be exhibited at Mills College Art Museum (September 2021 - December 2021), Pier 24 Photography (January 2022 - September 2022), and San Francisco Airport (October 2021 - April 2022). Soren has been a multidisciplinary visual artist for over 25 years, long interested in the intersection of culture, politics, the body, and psychology. She lives and works in California, and her work has been included in numerous private collections around the world (including museum collections such as LAC MA, The Getty, Harvard Art Museum, New Orleans Museum of Art, Cleveland Museum of Art, Eastman Museum of Photography, Museum of Contemporary Photography, Pier 24). The book is accompanied by an essay written by Jia Tolentino, a writer for The New Yorker and author of the collection of essays entitled "Trick Mirror: Reflections on Self-Delusion."
    29,00
  • Philippe Jarrigeon - Play
    Philippe Jarrigeon - Play
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    Philippe Jarrigeon – Play

    Whether still life, portraits, landscapes, architecture or fashion photographs, Philippe Jarrigeon revisits his archives and composes, for his first book with the obvious title "PLAY", an original sequence that covers more than 10 years of photographic practice. Adept at side stepping he has fashioned a singular and colorful universe, in which it is a question of the aesthetics of the TV sets of the 90s, English cinema, fun and fantasies. His personal vision of pop culture in short. Under the artistic direction of the Beda Achermann studio, the design of the book refers to the magazines from which these images come. The sequence is constructed according to a rainbow of colors and creates what the artist calls "a novel nuancier".
    38,00
  • Mazaccio & Drowilal - Paparazzi
    Mazaccio & Drowilal - Paparazzi
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    Mazaccio & Drowilal – Paparazzi

    In their series of images "Paparazzi", the artist duo Mazaccio and Drowilal use and misappropriate images from these image-hunting photographers, and establish a typology of celebrity behavior. "The Beach", "Bike Riding", "Surfing", their titles are more than explicit. If these representations tend to show that they lead a "normal" life (they shop at the supermarket, walk their dog), they nevertheless display the codes that mark their belonging to a class apart (sumptuous villas, heavenly beaches, etc.). Their activities come to be sponsored by brands that see this as a relevant product placement in view of the affects involved. By decontextualizing these models and by working on their accumulation, the artists neutralize the sensational charge inherent in their representation and expose the ideology and the model of society which hide behind this epiphenomenon. Defying the good taste, refuting any hierarchy between the noble image and the vernacular cliché, they operate detour, confrontations, juxtapositions, and by doing so, they deconstruct, the air of nothing, the representations which shape our contemporary imaginary.
    25,00
  • Antonio M. Xoubanova - Graffiti
    Antonio M. Xoubanova - Graffiti
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    Antonio M. Xoubanova – Graffiti

    The book Graffiti, although it refers to the urban art movement that appeared in the 1970s in New York, explores above all our relationship to the city. It is the act of marking the city with one's name, of repeating one's tag on a territory, of affirming one's existence that interests Antonio Xoubanova. The latter dissects this means of re-articulating the urban landscape, of gaining attention to the competition of advertising and signage. He insists on the multiplication and the redundancy of an essential self-affirmation, in a falsely chaotic sequence and a book form that, echoing graffiti, frees itself from the rules (no cover, apparent binding, destructured layout). The result is an object that can be described as baroque. The result of four years of shooting and a long collaboration with graphic designer David Mozzeta. Antonio Xoubanova is a member of Blank Paper, a collective of photographers who established themselves in Madrid in the early 2000s to develop and promote their work and create a common intellectual space. Since then, their photography has continued to evolve through a practice whose main characteristics are collaboration and exchange. Far from the official artistic circles and institutions, these photographers have managed to weave an independent network of production, exhibition and dissemination based on solidarity.
    38,00
  • Philippe Durand - Chauvet, l'aventure intérieure
    Philippe Durand - Chauvet, l'aventure intérieure
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    Philippe Durand – Chauvet, l’aventure intérieure

    Discovered in France in 1994 in the Auvergne-Rhône-Alpes region, the Chauvet cave is one of the major sites in the History of Humanity, as much for the technical and aesthetic qualities of its cave paintings as for the paleontological pieces present there. It is one of the oldest decorated caves in the world. Forbidden to the general public, it has always been an object of fascination for Man, marking a major turning point in cave art and the history of early man. Diving into the heart of this unique Paleolithic site involved a major artistic challenge for Philippe Durand. To understand the cave is to start from a closed universe, a quantifiable set of signs and a spectacular natural architecture, where time seems to have stopped. Philippe Durand has voluntarily moved away from objective representations to reveal a more intimate, more subjective cave. For this, he uses the technique of multiple exposures to which he associates color filters. Thus he defined a space of creation, of non-objective representation, in which each one can project himself differently. The color is no longer treated in its realistic dimension, it refers rather to an information, to a code, as in astronomical or microscopic photographs. He rediscovers the initial idea of a dreamed, fantasized cave, and takes us on a psychedelic exploration of the most famous site in prehistory. Philippe Durand is the winner of the 2nd edition of the photography contest initiated by the Association pour le Rayonnement de la Grotte Chauvet - Pontd'Arc. The awarding of this prize allowed him to go to the heart of the cave to carry out his photographic project, which led to the publication of the book "Chauvet, l'aventure intérieure" published by RVB Books.
    38,00
  • Marion Gronier - We Never Meant To Survive
    Marion Gronier - We Never Meant To Survive
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    Marion Gronier – We Were Never Meant To Survive

    U.S. history deconstructed in the silent power of spare portraits. A promised land for a handful of white religious dissenters fleeing Europe, North America was torn from its natives to be exploited by slaves imported from Africa. Through portraits of members of three founding communities - Native Americans, African-Americans and Mennonites - photographer Marion Gronier seeks to resurrect the ghosts that haunt the country's history and to attest to the persistence of societal violence inherited from the hierarchization of races. Questioning her position as a European artist, she uses the codes of anthropometric photography used in the colonial system at the end of the 19th century - immobile subject, frontal and neutral gaze, centrality of the framing - by altering them in order to better deconstruct them.
    38,00
  • Jean-François Spricigo - Oraison sauvage
    Jean-François Spricigo - Oraison sauvage
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    Jean-François Spricigo – Oraison sauvage

    Published November 10, 2021. A contemplative immersion in the fragility of the wild and animal world. Recognized artist, Jean-François Spricigo escapes trends and fashions to develop a personal work where photography is linked to literature, the theater, video and music. In Oraison sauvage, the artist brings together languages, writings and formats to tell the story of his intense relationship with nature, particularly with wild animals. A source of appeasement, this relationship is based not on a hierarchy but on an interdependence, and on a rediscovered balance between sense and intelligence, instinct and knowledge, honesty of emotions and determination of thought. Oraison sauvage brings together in a singular format several series of photographs taken by Jean-François Spricigo since his debut in 2003, in the black and white that is the strength of his writing - but also for the first time in color, and in a variety of formats (medium format, panoramic). The book also gathers texts of several registers and origins: a personal text by the author, an interview with his friend, the recently deceased Belgian writer Marcel Moreau, as well as a text that the latter had devoted to his work in 2004, and finally extracts from the texts of Jean-François Spricigo's theatrical creations, À l'infini nous rassembler, created in 2018 at the Cent-Quatre in Paris with the actress Anna Mouglalis and the dancer Josef Nadj, and Si l'orage nous entend, which will be created in the spring of 2022, and will once again bring together Jean-François Spricigo and Anna Mouglalis, with the countertenor Philippe Jaroussky.
    39,00
  • Teo Becher - Charbon Blanc
    Teo Becher - Charbon Blanc
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    Teo Becher – Charbon Blanc

    The industrial history of an alpine valley between documentary and poetry. The landscape of the Maurienne Valley in the French Alps is marked by its industrial history. Known as the "aluminum valley" because of the numerous factories that its torrent supplied with electricity, it is bordered by a highway and soon by a high-speed line. Most of the space in the Maurienne is, however, uninhabitable. In Charbon blanc, a patient documentary work carried out in this territory between 2016 and 2019, the photographer Teo Becher brings together traces of human activity and the mountain landscape photographed at the rhythm of walking, like two intertwined layers of the same history. Interdependence underlined by a dreamlike photography blurring the documentary codes.
    30,00
  • Paolo Pellegrin - Des oiseaux
    Paolo Pellegrin - Des oiseaux
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    Paolo Pellegrin – Des oiseaux

    A member of the Magnum agency, Paolo Pellegrin is one of the great photojournalists of his generation. The visual power of his images bears witness to the political, economic and ecological upheavals of the world. His inquisitive mind leads him to put his lens on subjects that are sometimes more contemplative, where nature holds a major place. Thus, during a stay in Japan, the photographer, who went to attend the famous sakura zensen or cherry blossom, is seized by the majesty of a colony of eagles. In Kyoto, the Shimogamo temple, located in the delta of the Kamo-Gawa river, stands in the heart of the Tadasu no Mori forest, or "forest of truth". This Shinto shrine, dating back to the 7th century, is nestled in the middle of a primary forest populated by eagles. Hovering above the visitors, emerging from the foliage with their wings spread, the eagles fly close to the photographer. Their dazzling speed is captured in tight framing: the birds seem to jump out of the frame or fly out of it at full speed. The choreographies follow one another: as a soloist, in duet or in group, these fascinating birds of prey seem to glide through space. Standing out against saturated black and white skies, Pellegrin's eagles stare at us, challenge us, surprise us. Their majesty forces the admiration: they glide, sketch many acrobatics. Their remiges become fingers, their wings become capes. Defying the laws of gravity, immersed in the depths of the undergrowth, Pellegrin's birds invite us to enter a mysterious and ghostly world, where only the animal presence reigns.
    35,00