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  • Antoine d’Agata – Francis Bacon
    Antoine d’Agata – Francis Bacon
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    Antoine d’Agata – Francis Bacon

    Aesthetic parallel of two visceral works. This bilingual French-English double-book is a collection of 27 photographs by Antoine d'Agata and 25 graphic works by Francis Bacon. It establishes an artistic parallel between the contemporary work of photographer Antoine d'Agata and the expressionist painting of painter Francis Bacon. The two books, bound together, can be consulted side by side, creating a vis à vis between the works of the two artists. The texts are presented in independent notebooks so that it is possible to read the text while browsing the visual narrative. Antoine d'Agata is a photographer who lives on the edge. He immerses himself in his personal worlds, until he exhausts them. He transforms reality with the help of time, and shows us facts, events, mixed textures or diffuse colors that shape human forms that get lost. We perceive in some of Francis Bacon's works these photographs of D'Agata, the same worlds full of chiaroscuro, of continuous ups and downs towards hell, and this attempt to lengthen the moment of elation or solitude. Does the deformation of the bodies, caused by the trembling of the images, go as far as the dehumanization familiar to the painter? Antoine d'Agata would undoubtedly not refuse to affirm it. Is it not precisely the animality that he claims with insistence of the sexual relations that he photographs. Gilles Deleuze, philosopher, would have spoken of his "becoming-animal", a becoming-dog, to be precise. Integral part of his work, the man and the work struggle to exist. A chromatic struggle that is reminiscent of the colors of Francis Bacon, whose deformed flesh is also found, as if spread-evaporated. After a book devoted to the correspondence between the portraits of photographers Nan Goldin and Julia Margaret Cameron with the historian and collector Marwan T. Assaf, in this second volume, The Eyes Publishing proposes an encounter between the works of Antoine d'Agata and Francis Bacon with the complicity of the author Perrine Le Querrec, the art critic Léa Bismuth and the gallery owner Bruno Sabatier.
    45,00
  • Mathias Depardon – Transanatolia
    Mathias Depardon – Transanatolia
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    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.
    45,00
  • Myop – Sine Die
    Myop – Sine Die
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    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.
    39,00
  • Didier Bizet – Le grand mensonge
    Didier Bizet – Le grand mensonge
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    Didier Bizet – Le grand mensonge

    Travel to North Korea, the country where everything is true, but false. A trip to another world, which as soon as you cross its border transforms you into a visitor of the strange, can only be the one in North Korea. Officially "Democratic People's Republic of Korea", this country is the most secret state on the planet. Ruled since 2011 by Kim Jong-un, son and grandson of the previous leaders, the nation's official doctrine is Juche, based on autocracy and self-sufficiency whether military, economic or political. And that's about all we can say with certainty about this country... My photographs are an ironic metamorphosis of North Korean daily life. "The Truth if I Lie" or "The Big Lie" is a projection into the absurd, a ballad into the unreal or the real, it's up to you! This book is a photographic fable, a nonsense full of meaning, a satire of the true false, a visual poetry that changes the norm and that suspects Pyongyang of leading us astray. North Korea has invented the offbeat reality to keep us on our toes. Behind this great masquerade with benevolent decorations, where is this affabulation?

    Didier Bizet

    25,00
  • Cyril Abad – In god we trust
    Cyril Abad – In god we trust
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    Cyril Abad – In god we trust

    A journey into the eccentricities of faith in the United States. I grew up in a non-practicing Catholic family environment and I experienced, after having loosely validated certain stages of the Christian "curriculum", a form of emancipation. But the religious question has always aroused my curiosity. In 2016, when I was struggling to find new ideas for stories, I went back to reading Douglas Kennedy's 1993 documentary In god'country, a mocking immersion in the world of Christian fundamentalism along the Bible Belt in the southern United States. When I walk the streets of the Tenderloin, it's in search of C. Card, the loser detective, an unusual character in Richard Brautigan's A Private in Babylon, and when I walk under the damp, fragrant foliage of the Appalachian forests, it's because Ron Rash's words have led me there.

    Cyril Abad

    25,00
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    Miho Kajioka – So it goes
    Miho Kajioka – So it goes
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    Miho Kajioka – So it goes

    This edition is a revised and simplified version of the 2019 Nadar Prize winning book so it goes. In this book, Miho Kajioka presents work relating to the concepts of time, memory, and place. As in her previous works, the series reveals intuitive images of fragments of her everyday life, in different eras. Miho Kajioka's interest in this subject was sparked by reading Kurt Vonnegut's novel Slaughterhouse-five. Miho Kajioka has long been fascinated by the chronology and meaning of events. According to her, photography captures moments and freezes them; displaying impressions is like playing with the sense of time and getting lost in that chronology.
    55,00
  • Sète#20 – Clémentine Schneidermann
    Sète#20 – Clémentine Schneidermann
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    Sète#20 – Clémentine Schneidermann

    ImageSingulières is a festival of documentary photography created in 2009 in Sète. Each year a photographer is invited to look at the city and produce a series of images that is the subject of a book. In 2020 the carte blanche is entrusted to Clémentine Schneidermann. At the crossroads of fashion and documentary, this young artist plays with the codes of both disciplines by mixing reality and fantasy. In Sète, she boldly set off in the footsteps of Georges Brassens, a native of the "singular island" and an unavoidable figure in the local imagination. The places he frequented, the groupies of the first hour, the last friends of the poet-singer, his look-alikes, nothing escapes the photographer who metamorphoses Sète with humor and poetry, revealing, beyond the attachment to the singer, a whole part of the popular culture of the city.
    25,00
  • Sète#19 – Vanessa Winship
    Sète#19 – Vanessa Winship
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    Sète#19 – Vanessa Winship

    ImageSingulières is a festival of documentary photography created in 2009 in Sète. Each year, a renowned photographer is invited to look at the city and gradually build a portrait of it. Photographers as well known and different as Anders Petersen, Richard Dumas, Bieke Depoorter or Stéphane Couturier have lent themselves to the game. All of them have given birth to a photographic series, each of which was the subject of a book. A remarkable collection, like a lesson in photography, showing that there are multiple visual writings and thus revealing the different facets of contemporary photography. The 11th carte blanche has been entrusted to the portrait and documentary photographer Vanessa Winship, known for her long-term work, particularly in the Balkans, Anatolia or the United States, where she tracks the jolts of reality with immense sensitivity in landscapes and portraits. It is therefore in Sète that the photographer continues her rigorous work, both classic and contemporary, through which she seeks, by listening, to understand how the link between a territory and a person is articulated. It is in Sète, but it could also be elsewhere, as her vision is personal and can be seen as a winter stroll with melancholic and sweet accents. As with all the titles in the collection, Christian Caujolle, critic, international curator and artistic director of the ImageSingulières festival, accompanies this body of images with a text.
    25,00
  • Delphine Parodi – Out of Sight
    Delphine Parodi – Out of Sight
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    Delphine Parodi – Out of Sight

    The Fukushima nuclear disaster has permanently disrupted the once intense relationships between individuals, their communities and the cycles of nature. How then to live in a new environment? This is the question that this book evokes in a dialogue with several voices: that of the photographer Delphine Parodi, whose diptychs, between intimate landscapes and portraits of inhabitants, suggest the alteration of their relationship to place and the importance of individual memory. And the Japanese writer Yoko Tawada who, with 24 poems brought back from Fukushima, achieves a subtle balance between visible and invisible. By giving form to what remains a constant but imperceptible threat, this book is a universal reminder to the collective conscience in times of pandemic.
    29,00
  • Adrien Selbert – Les bords rééls
    Adrien Selbert – Les bords rééls
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    Adrien Selbert – Les bords rééls

    The Bosnian war ended 25 years ago and the country seems to be plunged into a lethargy where everyone is wandering in their own time and in their beliefs. The dead and the living, the Bosnians, the Serbs and the Croats, the veterans of the conflict and the youth born in its rubble. Bosnia revives old demons, plays with fire. It is no longer war, it is not peace. How to translate into photography the strange feeling of a time that never ends dying, the muted violence that runs through the country? How to summon the ghosts that stand in the background of the images? In this sense, this work is a state of time, more than a state of the place. The Real Edges is the image of Bosnia today: fragmentary, ghostly, disoriented, vibrant and chaotic at the same time. The photographer takes the bodies as witnesses. Gestures and postures translate the way the country stands, revealing the splintering into myriad communities and beliefs, as if after a blast. By investing this evanescent territory, it is the very limits of his practice - documentary photography - that Adrien Selbert challenges here.
    38,00
  • Shiraz Bazin-Moussi – L’écume des amnésies
    Shiraz Bazin-Moussi – L’écume des amnésies
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    Shiraz Bazin-Moussi – L’écume des amnésies

    When she was a child, Shiraz Bazin-Moussi spent her summer vacations with her family on the Kerkennah Islands, a rural and preserved Tunisian archipelago, where Farhat Hached, the independence leader assassinated in 1952, was born. A few years ago, she discovered that Google had forgotten to "map" one of the islands of the archipelago and that it had disappeared! Since then, the oblivion has been repaired, but the photographer has returned to the traces of her childhood, in search of the carefree images that her memory has blurred, just as the official images of the Tunisian national narrative were at the time of colonization, and then of the dictatorship. Using the Fresson printing process, she manages to give her photographs a dreamlike character and also questions the relationship between cartography and power.
    28,00
  • Denis Dailleux – Juliette
    Denis Dailleux – Juliette
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    Denis Dailleux – Juliette

    In Denis Dailleux's childhood village, in Anjou, lived a woman of character, a true character of a novel: Juliette, his great-aunt, who died in 2017 at the age of 100. Between the photographer and his model, between the old woman and the young man, a unique complicity has established for more than 15 years a serious and funny game, a mixture of seduction, harshness and malice. Like a model, Juliette accepts Denis' stagings which take advantage of the farm's decor, play with objects and plants. Over the years, the photographs become more daring and reveal an unexpected personality that seems to blossom under the lens. Through Juliette's portraits, magnificent in their accuracy, the reality of a modest and precarious rural world appears, with its social codes and values, where harshness sometimes prevails over wisdom. With her strong character and her refusal to accept what others say, Juliette is a resilient person, driven by her intuition and a sensitive intelligence. From then on, the act of photographing becomes a tribute to a modest but vibrantly human existence.
    35,00
  • Geoffroy Mathieu – La mauvaise réputation
    Geoffroy Mathieu – La mauvaise réputation
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    Geoffroy Mathieu – La mauvaise réputation

    The bad reputation is the latest work of photographer Geoffroy Mathieu. If at the beginning of the twentieth century the Aygalades stream was still a place of vacation, a century of urbanization and industrialization have taken away its continuity, its flow and its ecological balance to such an extent that some inhabitants have even forgotten its existence. Thus, in 2017, an expedition made up of artists, residents, researchers, and developers undertook an ascent with their feet in the water of the stream. They were all seized by the hidden beauties of the Aygalades. At the bottom of the bed of this damaged river, between two bushed segments, unfolds a space of luxuriant nature flooded with a zenithal light in which the primary colors of waste, plastics and heterogeneous objects, form with the vegetation paradoxical pictures. In Geoffroy Mathieu's photographs, bursting with color and extremely precise composition, the creek thus becomes a motive for poetic speculation on issues related to ecology, land use, and public space.
    25,00
  • Emma Grosbois – Comme
    Emma Grosbois – Comme
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    Emma Grosbois – Comme

    In 2013, Emma Grosbois began work on domestic altars in Palermo. This work on religious iconography continued in 2016 and 2017 in Beirut (Ceux qui nous regardent, which received the support of Cnap). However, these are only two parts of a long-term work that continued first in Florence and then in Marseille, and which focuses on "the Mediterranean city", generic subject, conceived as a palace of memory, and therefore as an eminently imaginary object. "I arrive at the domains and vast palaces of memory, where the treasures of innumerable images are found, which have been brought there by drawing them from all the things perceived by the senses [...] And I, with the hand of the spirit, chase them away from the face of memory, until the one I am looking for is revealed" (Confessions, X, 8): This quotation from Saint Augustine that Emma Grosbois chose to accompany her images allows us to better understand her approach to the urban phenomenon, which is based on psycho-geography and articulates, by engaging in a sometimes dizzying dialogue with the history of art and photography, two archaeologies: that of places (both intimate and public) and that of the gaze (and its hypothetical subject). The city as an image of images (constantly rearranged) and a multiplicity of points of view (nested or telescoped into each other). Folds, folds, and replicas: baroque game of sending and sending back that are projected to infinity.
    23,00
  • Fisheye Photo Review 2020.21
    Fisheye Photo Review 2020.21
    10,00
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    Fisheye Photo Review 2020.21 – Digital edition

    Digital edition to download 1.8 kg of photographs, 427 photographers, 706 images. This new opus of our annual curation includes a large selection of photographers published on our website fishyemagazine.fr. By its non-linear reading, without chapters and only oriented by the visual sensibilité́, this book will plunge you into a vision. Fisheye's vision of the authors, and the authors' vision of our times. The fruit of thousands of hours of research, it shapes a path that leads us to the limbo of our imagination and our expectations. Because our duty is to make us feel and transmit, we thought Fisheye Photo Review 2019.20 as a guide, a book of inspirations useful to all: photographers in the making and experienced authors, passionate about images and art, explorers, and you who wonder about life... Deciphering the world, yes, but how? In colour, and with surprising angles and experiments. Each of the authors gathered here offers paths of reflection and escape. In his book La Chambre claire, Note sur la photographie (1980), Roland Barthes stated: "Every photograph is a certificate of presence. "Here we bring together artists who affirm their presence in the world and, with them, bear witness to our own.
    10,00
    10,00
  • Mouna Saboni – Ce que pensent les lierres
    Mouna Saboni – Ce que pensent les lierres
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    Mouna Saboni – Ce que pensent les lierres

    Ce que pensent les lierres is the result of a solitary photographic residency on a natural territory in mutation, the ViaSilva eco-neighborhood, on the outskirts of Rennes. Mouna Saboni took the side of the contemplation of what is promised to be no more. The transformation of the landscape and the disappearance of the environment lead her to pose her gaze, both fragile and dreamlike. Preface by Fabien Ribéry.
    20,00
  • Irène Jonas – Crépuscules
    Irène Jonas – Crépuscules
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    Irène Jonas – Crépuscules

    As a child, there are the serious and sometimes painful faces of the adults who remain silent when she enters the room, then sentences that come in bits and pieces over the years. Names and places that are inscribed in the memory even before knowing who or what they correspond to. In this photographic quest conducted between 2018 and 2020, the thread is the name of these places marked by history: Munich, Dachau, Prora, Nuremberg, Prague, Terezin, the Wolf's Lair ... Starting from a black and white print that she enhances with oil paint, Irène Jonas accentuates the absence of reference points between past and present, the confusion between dream and reality to merge intimate and historical memory. The images, in addition to the introduction by Irène Jonas, are accompanied by texts by Camille de Toledo, writer, and Alain Keler, photojournalist (MYOP agency).
    35,00
  • Jeremias Escudero – De Agua
    Jeremias Escudero – De Agua
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    Jeremias Escudero – De Agua

    Jeremias Escudero is a Mexican photographer living in Rennes. De Agua is the result of a photographic residency in a territory in the making, the ViaSilva eco-neighborhood, on the outskirts of Rennes. Jeremias Escudero makes his Mexican culture, animist and ancestral, and the colossal construction site of a neighborhood emerging from the ground, overlap. His images portray him as a spirit of the place who observes the transformation of his world. The preface is by Pascal Therme, independent journalist and critic.
    20,00
  • Didier Bizet – Itinéraire d’une mélancolie
    Didier Bizet – Itinéraire d’une mélancolie
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    Didier Bizet – Itinéraire d’une mélancolie

    Itinerary of a melancholy is a beautiful and judicious title. Russia has been the land of asylum for all the sorrows of the soul. The isolation, the modesty, the hardness of life leave many people wondering. The language there says toska: "melancholy", "spleen". There is a languor in the spaces. In general, people defend themselves against it, they play the party to forget. We drink.

    Cédric Gras (extract from the book)

    It is a journey to the heart of a disenchanted Russia, in search of its lost splendor. From Moscow to Soudal, from Vladimir to Kazan, Didier Bizet photographed the Russians in their daily life, capturing the melancholy tinged with nostalgia that characterizes so well the "Slavic soul", on which Cédric Gras has put his words.
    35,00
  • Ulrich Lebeuf – Khāos
    Ulrich Lebeuf – Khāos
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    Ulrich Lebeuf – Khāos

    For more than 20 years, photographer Ulrich Lebeuf has been covering social events for the French and foreign press. In recent years we have seen the rise of extreme social violence with new territories of confrontation named ZAD, or in the streets of France since November 2018. These latest events have forced the press photographer to question his photography to no longer inform, but question by a more subjective and dark work. His colors - gray and black - melt the men to the decor of a theater of malaise, ghosts living this land as their tomb. This series oscillates between the essence of photography and the existence of a mental vision of chaos, a perpetual state of appearances and disappearances, actualizing a virtual reality rather than reproducing a tangible reality.
    30,00

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