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 #21
Fisheye MagazineAfrica revealed by itself
We've been circling around African photography for a while now without really managing to find the right angle. Obviously, since Fisheye's inception, we've done a lot of articles on the subject, but it seemed to deserve more. The creativity, energy and talent of African photographers are obvious. Beyond the founding fathers, notably Malians or South Africans, it is a whole new generation that displays its style, its point of view and its aspirations in a global impulse that celebrates the multiple influences of the continent. With this dossier, we have tried to share our view of this fundamental movement without trying to be encyclopedic. In this issue 21 with its increased pagination (148 pages), you will also find a focus on Polish photography, a report on the Valparaiso festival, several portfolios, from adolescence seen by Steeve Iuncker to the situation in Syria seen by four Syrian artists. Not to mention all our usual sections: music, video, exhibitions, books, politics, education... plus a new "cooking" page.
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Fisheye Magazine #15
Fisheye MagazineCollections: 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.
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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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Fisheye Magazine #25
Fisheye MagazineArles Special - Make beautiful encounters
For the 4th anniversary of Fisheye, the editorial staff has prepared a generous 140-page issue with a special report on the Rencontres d'Arles, which includes a review of the exhibitions not to be missed: whether it's the highlights on Colombia and Iran, the program of the Fisheye Gallery, which is taking up its summer quarters in the South, or the VR Arles Festival, which is shifting into high gear with some 20 films shown over two months. You will also find the amazing story of Isabelle Mège, the woman with 140 portraits; a portfolio on Lauren Greenfield's Generation Wealth, a twenty-five year investigation on consumer society; politics in glitter mode by the Myop agency; the latest work of Valérie Belin; or the portrait of Agnès b. on the occasion of the presentation of her photo collection in Avignon. Not to mention our games, music, lab, video and Tumblr pages... among others.
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