Fisheye Magazine #30
Fisheye Magazine #30
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Social photography, activist practices
More than photojournalists who respond to press orders, the actors of social photography make their practice a life choice, which is also a political choice. With new writings to awaken our consciences. A photography of commitment that renews the classic approaches of photoreportage to move the lines. The authors presented in this dossier propose us to look at what we don’t see, what we don’t want to see, what we can’t see anymore.
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Fisheye Magazine #28
Fisheye MagazineChina in transition
It is to a real exploration that our dossier dedicated to the photographic creation in China invites you. In addition to a report that took us to Lianzhou to discover the first public museum of photography, to Xiamen for the second edition of the Jimei x Arles International Photo Festival, and to Hong Kong to visit the new galleries, you will find many portfolios and analyses to understand the reasons for this effervescence. Chinese photographers bear witness to the mutations of their country through their views and experiments, using in turn documentary images, staging, performance, vernacular images, video or virtual worlds.
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Fisheye Magazine #23
Fisheye MagazineMonth of Photography, the bet of Greater Paris
The new Month of Photography plays on openness and curiosity. Beyond the institutional venues and specialized galleries that usually mark out the event, this edition ventures into lesser-known places in the Parisian suburbs with an eclectic program and no less than a hundred exhibitions. The organizers do not produce, they federate, galvanize, highlight and attempt a collective adventure. In these mysteries, we went in search of meaning to offer you our reading. Are we objective? Certainly not, and this is what we propose: a reading of the world, a point of view through photography. We went to look at amateur photography and participative exhibitions: Le Grand Paris vu de nos fenêtres and L'Histoire est à Noue. We were interested in thematic exhibitions that tell us our history: Autophoto and L'Esprit français, 1969-1989, among others. And we went to discover the work of students, these researchers who question photography in their "laboratories". We have also prepared a selection of about twenty exhibitions not to be missed. In this issue, you will also find a focus on India, which explores the photo manifestations of the sub-continent. You'll go into photo novel mode in cities held by the FN, before venturing on Jack Kerouac's last road, making a detour to Upper Volta, and then visiting Stéphane Lavoué's Le Royaume, a new exhibition at the Fisheye Gallery (March 30 to May 6, 2017).
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Fisheye Magazine #17
Fisheye MagazineFamily photos tell us stories
Family photos occupy a singular place among the images that surround us. They explore the question of intimacy, the representation of happiness, the relationship to our loved ones, the traces we are left with and those we want to transmit. They are like concentrates of emotion that make us oscillate between joy and melancholy. From genealogists to collectors, they invite themselves into our lives beyond the traditional albums. Photographers, filmmakers, writers, theater people... artists are not to be outdone in questioning these images of our intimacy and developing the stories they conceal. If family photos and their uses have evolved with the changes in society, their relationship to the document is fading in favor of fictions that explore our realities. This is demonstrated by the fifteen or so photographers who tell us their stories, between reality and fiction, from Vik Muniz to Carolle Benitah, via Alain Keler or Louise Narbo. This issue will take you across the Atlantic to discover the new New York scene, and will make a detour to the Pompidou Center, which honors the photography of the 1980s. You will also be able to discover different works: that of the duo Epectase, which questions the political via their residency in Corbeil-Essonnes, as part of L'Œil urbain; Shane Lynam's new series on the seaside resorts built in the 1960s between Montpellier and Perpignan, presented at the Circulation(s) festival; not forgetting a portfolio by Amaury da Cunha, photographer, critic and writer, who sheds light on his work by answering questions from his former teacher, Arnaud Claass.
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