Fisheye Magazine #15
Collections: open house
Obviously, this was bound to happen to us. More than two years wondering about photography, we were bound to come across the subject of the collection. To choose our files, we put all the themes that pass through our head on small pieces of paper in a jar, we mix and we ask the youngest to draw lots. We were trying to avoid the collection, but there, we had no choice, there was only one left. We had to stick to it. We started with those we like, the authors, these photographers who have things to express through their images. They often have a place of choice in private or public collections, such as those of the Maison Européenne de la Photographie or the Fonds National d’Art Contemporain, which opened their doors to us. And then, we rubbed shoulders with collectors before tackling the psychological aspect of the thing. But the real problem of the collection is that of meaning. What meaning do we give to a collection, as owners or viewers? Is it an artistic or mercantile act to collect? In the end, this theme wasn’t so bad. Very nice, in fact. But we’ll have to put some papers back in the jar.
In this autumn issue, we tried to bring out little nuggets, like Stephan Vanfleteren’s incredible work (yes, really) on Charleroi or Olivier Jobard and Samuel Gratacap’s long term reports on the migratory phenomena started many years ago. We also have some in-depth papers, like the one on Arab photography, and very poetic portfolios such as the one by Juliette-Andrea Elie or the one by the South Korean artist Mi-Yeon.