| | | | | | | | | | | | | | | | | | | | | | | | Barbara Probst
Exposure #106: N.Y.C., Broome & Crosby Streets, 04.17.13, 2:29 p.m., 2013
Ultrachrome ink on cotton paper, 12 parts: 75 × 112 cm | 29 × 44 in each, Edition of 5
© Barbara Probst | | | | | | Solo Show MAIN SECTOR Booth C26 | | | | | | | | | | | | | | | | Barbara Probst
Exposure #174: N.Y.C., 555 8th Avenue, 05.24.22, 4:44 pm, 2022
Ultrachrome ink on cotton paper, 2 parts: 91 x 73 cm/ 36 x 29 inches, Edition of 5
© Barbara Probst | | | | | | On the occasion of Paris Photo 2022 Kuckei + Kuckei Gallery presents a solo show dedicated to Barbara Probst (*1964 in Munich) who lives and works in New York and Munich.
"I am very interested in the fact that we all have our own ways of seeing and perceiving the world, depending on our point of view, but also on our physical and psychological condition, our life story and experience, our beliefs and knowledge. We are all here on this planet, right now, looking at the world, each of us under diverse conditions and circumstances. So it is not surprising that we come to different conclusions about our observations. But what fascinates me is that all our viewpoints have the same value. I have learned this from my work. When you photograph a scene simultaneously from various viewpoints you obtain images that are compatible and equivalent. They are also non-hierarchical, since they are tied to the same moment, just like we humans are tied to the here and now." (Barbara Probst)
Barbara Probst studied at the Akademie der Bildenden Künste, Munich, and the Kunstakademie Düsseldorf. She had exhibited widely in Europe and the US. Her work was shown in „New Photography“ at the Museum of Modern Art New York, in 2006. She has had solo exhibitions at Centre PasquArt, Biel, Switzerland; Domaine de Kerguéhennec, Bignan, France; Museum of Contemporary Photography, Chicago; National Museum of Photography, Copenhagen; Stills Centre for Photography, Edinburgh; Madison Museum of Contemporary Art, Madison, Wisconsin; Oldenburger Kunstverein, Oldenburg, Germany; Rudolfinum, Prague; Le Bal, Paris; Kunsthalle Nuremberg, Germany; Triennale, Milan, Italy. | | |
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Ron Jude: Black Ice at Glacier Terminus #1 (glacier 005), 2019
106.7 x 142.3 cm © Ron Jude |
Jessica Backhaus: Cut Out, 2020
60 x 40 cm © Jessica Backhaus |
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Hannah Hughes: Mirror Image #53,2020
16.2 x 13.2 cm, collage © Hannah Hughes |
Bill Jacobson: when is a place #350, 2019
91.4 x 76.2cm © Bill Jacobson |
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| | | | | Historically, two of the most relevant subject matters in photography have always been landscapes and still lives. Both disciplines experience interesting new developments recently, are placed in new contexts and are utilized to convey new messaging. At Paris Photo 2022, Robert Morat Galerie, Berlin, presents a curatorial concept that assembles works by four contemporary photographers whose practice has given them distinguished positions in their respective fields.
"12 Hz" - the lowest sound threshold of human hearing - suggests imperceptible forces, from plate tectonics to the ocean tides, from cycles of growth and decay in the forest to the incomprehensibility of geological spans of time. The photographs in Ron Jude's (*1965 US) "12 Hz" allude to the ungraspable scale and veiled mechanics of these phenomena, while acknowledging a desire to gain a broader perspective, beyond the human enterprise, in a time of ecological and political crisis. "12 Hz" consists of images of lava tubes and flows, tidal currents, glacial ice and welded tuff formations: pictures describing the raw materials of the planet, those that make organic life possible. Jude's photographs do not attempt to tell us how to live or what we have done wrong, nor do they reduce the landscape to something sentimental, tame and possessable. Rather, thev endeavor to describe and reckon with forces in our physical world that operate independently of anthropocentric experience. The photographs in 12 Hz work in service to a simple premise: that change is constant, whether we are able to perceive it or not.
Hannah Hughes's (*1975, UK) work explores the relationship between image, sculptures and language, focusing on the potential of negative space, and the salvaging and re-use of discarded materials. Her practice involves strategies of fragmentation and reconstruction. Her two-dimensional collages are often described as either flat sculptures or sculptural photographs. The shapes in the collages originate from outside edges and negative areas surrounding figures and objects, which have evolved into an ongoing regenerative alphabet of forms. She uses materials that invite the memory of everyday touch, such as paper stocks used in glossy magazines, pulp packaging and clay. This focus on tactility positions the work in relation to the boundaries of the body, and the spaces created where bodies intersect with their surroundings. She examines edges within the photographic image, capturing movement through internal layers and seams.
New York-based artist Bill Jacobson first became known for his defocused portrait and urban landscape photographs which, in the 1990s, addressed feelings of loss in the midst of the AIDS crisis. Subsequently, from 2003 through 2016, the work shifted and became sharp, focused, and delineated. Now in his 60s and thinking about both mortality and the uncertain times we live in, Jacobson is again exploring out-of-focus imagery, and the gallery is pleased to include three works from his new series titled "When is a Place". These landscape images, dreamy and otherworldly, were taken in 2018 in Virginia and in 2019 in the South of France. This new work also marks Jacobson's return to analog silver gelatin printmaking after a twenty-year hiatus.
Color and form, light and shadow - the images in Jessica Backhaus’(*1970 DE) series "Cut Outs" are created using the basic elements of photography. In her previous publication "A Trilogy" (Kehrer, 2017), she took a path into abstraction that is consistently continued here - using altogether photographic means: Cut out transparent papers are arranged on a paper backdrop, exposed to the sun and photographed. The papers react to the intense heat, deform, rise, contract, cast shadows - a summer's dance. | | | | | | |
| | | | | | | | | | | | | | EDWARD BURTYNSKY
Erosion #2, near Kırbaşı, Beypazarı/Ankara, Türkiye, 2022
pigment inkjet print on Kodak Professional Photo Paper
48 x 64 in.
Edition of 6 | | | | | | | | | | | | | | | | | |
LJUBODRAG ANDRIC
BUNDI 1, 2022
Inkjet Print on Hahnemühle Ultra Smooth Paper
48 x 63 in.
Edition of 7 |
| | | | | | The predominant theme in Edward Burtynsky's work is nature transformed through industry and he has documented some of the most poignant examples of this around the world. Often using an aerial vantage point, his large-scale photographs are rich in detail and vast in scale, sometimes verging on the appearance of painterly abstractions.
Exclusive to Paris Photo, the gallery will present a new release of photographs by Edward Burtynsky from his recent project on the subject of Turkey. Earlier this year, Burtynsky travelled to Turkey to document the effects of erosion and erosion control projects in the region of Central Anatolia. We will also feature photographs from Burtynsky's recent release on the subject of Africa.
Ljubodrag Andric's photographs explore architecture in diverse geographical locations. Since 2019, Andric has focused his attention on India as a site of particular interest in his practice. While specific geographic locations are secondary to the abstract and painterly qualities he extracts from his subjects, the unexpected quality of light as well as the intricate geometry and curved forms he encountered there are the basis for his latest body of work.
Bidemi Oloyede is an emerging street and portrait documentary photographer born in Port Harcourt, Nigeria. Now living and working in Toronto, Canada, he uses black and white film to capture both vulnerable and vibrant images that tell a story about his subjects and community.
For Paris Photo, the gallery will present new large-format portraits by Oloyede, for which he invites friends and acquaintances to pose for him, as they choose to be represented. Alongside the portraits, Oloyede’s street photographs capture today's African Canadian community as part of his ongoing BL/Archive series. | | | | |
| | | | | | | | | | | | | | | Risaku Suzuki: Water Mirror, 2017, WM-704 © Risaku Suzuki | | | | | | | | | | | | | | | | | | | | Risaku Suzuki: SAKURA 2013, 4-152 © Risaku Suzuki | | | | | | | Christophe Guye Galerie is pleased to present a solo exhibition by renowned artist Risaku Suzuki (*1963, Japan), in which a selection of works from two of his most important series – "Sakura" and "Water Mirror" – will be shown. With the works on view, you find a condensation of all that makes Suzuki’s photography so appealing: his profound ruminations on the subject of photography itself and the continuous questioning of what it means to 'look'. The interplay of the new realities created through reflections in water surfaces in "Water Mirror" and the shifts of focus in ‘Sakura’ let the mind wonder far beyond the visible subjects. | | | | |
| | | | | | | | | | | | | | | Elemental Forms, Landscape no. 137 © Nadezda Nikolova | | | Unique | | | | | | | | | | | | | | | |
Intertwined © Gemma Pepper |
LS Nr. 2112 - 501 © Iris Hutegger |
| | | | | | "Unique"
Eager to reflect our latest research into the medium of photography, our exhibition for Paris Photo this year takes quite a radical approach with regard to the reproduction of the ohotographic image.
Whether through the use of a particular technique or artistic intervention, or by the weaving together of various media, all the works presented are unique; they cannot be reproduced.
Going against the grain of the very nature of the print, the artists turn to the photographic image not as an end in itself, but as a means for a new form of expression - one that is both sensitive and intellectual. | | | | |
| | | | | | | | | | | | | | Annegret Soltau
"Selbst" 1-21, 1975/2022
Archival Fine Art Print, 82 x 141 cm
Ed. of 5
© Annegret Soltau | | | | | | | | | | | | | | | |
Stéphane Couturier
Sète Pont Sadi Carnot no.2, 2018
C-Print, 140 x 100 cm
Ed. of 5
© Stéphane Couturier |
Thorsten Brinkmann
Telmche, 2021
C-Print, 200 x 150 cm
Ed. of 5
© Thorsten Brinkmann / VG Bildkunst 2022, Bonn |
| | | | | | BECKERS Frankfurt
www.galerie-beckers.de
+
KORNFELD Berlin
galeriekornfeld.com/gallery/fairs/paris-photo-22 | | |
| | | | | | | | | | | | | | | Reality, 2022 © Inez & Vinoodh | | | | ONLINE VIEWING ROOM | | | | | | | | | | | | | | | |
Part 5, 2014 © Eva Stenram |
The Unseen, 2015 © Tereza Zelenkova |
| | | | | | During Paris Photo 2022 The Ravestijn Gallery presents 5 artists in the online viewing room: Inez & Vinoodh (NL/US), KYoung (UK), Eva Stenram (SE), Theis Wendt (DK), and Tereza Zelenkova (CZ).
A horse rests on a grassy moor, three human limbs – clothed and booted – protruding from its underbelly. The folds of a draped curtain consume another body, leaving only thighs and calves and stiletto-clad feet in view. Elsewhere, the fragments of the female form are swallowed up by a wooden filing cabinet – both spliced and dislocated, and locked within the oppressive confines of a tired institutional office.
Combinations of austere black and white, vintage textures of wood and fabric, and alien bodies – concealed or disjointed – establish an eerie feeling throughout The Ravestijn Gallery’s viewing room at Paris Photo 2022. From Tereza Zelenkova’s solemn figures, veiled in lengths of hair or cloth, to Eva Stenram’s monochrome photo-manipulations, where vintage pin-ups skirt the viewer’s gaze, the unsettling undertones are hard to ignore.
Visual associations unfold between five distinct artistic voices. The mahogany hues and wooden textures of Stenram’s Sideboard Survey recur in KYoung’s Filing Cabinet, as well as in Theis Wendt’s illusory Excavation no. 9 – a portal leading somewhere else, or an escape perhaps? Though poised and patiently awaiting the camera, the identities of the half-depicted subjects – in works by KYoung, Eva Stenram, Tereza Zelenkova and Inez & Vinoodh, never fully surface. We’re left to ponder who they are, who they were, and what became of them. | | | | |
| | | | | | | | | | | | | | Paulo Cupido
Diamond Veins, 2022
Archival Pigment Print on Kozo paper
30 x 45 cm
Edition 7 & 2 AP | | | | | | | | | | | | | | | |
Simone Kappeler
White Peacock XII, 5.4.2018
Chemical C-Print on Fujiflex Crystal paper
128 x 124 cm
Edition 3 & 2 AP |
Jeffrey Conley
Suspended Snow, 2014
Archival Pigment Print on Kozo paper
111 x 111 cm, Edition 5 & 2 AP
35 x 35 cm, Edition 10 & 2 AP |
| | | | | | The four presented artists understand nature as a mirror of human life. To approach nature in art means to understand one‘s own existence as part of the cosmic whole. It is not simply about showing beauty of landscapes but show nature as refuge and source of knowledge. All four artists are proof of the power of photography: they create images that are more than a reflection of reality but rather images with great poetic power – maybe even with a healing effect for the viewer.
All four artists are also distinguished by their excellent mastery of printmaking techniques. Hand crafted Platinum Prints, analogue C-Prints on Fuji-Flex paper or Chine-collé prints on Japanese Toyobo and Washi paper: the four photographers are master printers and see the craft of printing as part of the artistic process and as a means to amplify their message.
Paul Cupido’s (NL) affinity for the natural world was born out of a childhood spent on the Dutch island of Terschelling, where the ebb and flow of tides and the cycles of the moon reflect the fleetingness of life. Cupido’s work is furthermore inspired by Japanese photography as well as his travels there. Japanese philosophical principles, and especially that of Mu, permeate his creative practice. Mu could be loosely translated as ‘does not have’ or a ‘void’, albeit one that holds potential. Cupido’s economy of form and lyrical compositions, encompassing landscape, portraiture and still life, invite to look beyond the visible—while he is rigorous in his attention to the quality of printing and his choice of paper stock. He photographs widely while traveling and reflects on the results later, which after a period of contemplation means a renewed journey of discovery, in which the intuitive editing of seemingly unrelated images leads to serendipitous combinations.
Jeffrey Conley (USA) is a fine art landscape photographer who specializes in creating traditional black and white prints. His meticulously crafted prints, made utilizing traditional darkroom processes, are made in limited editions. His work has been widely exhibited and collected by private collectors and museums worldwide. Two monographs of his work, WINTER, 2011, and REVERENCE, 2018, have been published by Nazraeli Press. Conley‘s photographs strive for a balanced simplicity that evoke his sense of wonder and reverence for the natural world. Scale and palette vary, from small, intimate and subtle, to large, grand and dramatic. In all he seeks to capture a meditative spirit that uniquely defines his approach to photographing the landscape. He strives to create luminous hand-coated platinum & palladium prints that he feels possess a distinctive richness unique to traditional photographic processes.
Simone Kappeler (CH) started taking pictures at the age of eleven. Between 1972–1976, she studied German and art history at the University of Zürich, and during 1975–1979, she studied photography at the School of Design in Zürich. During a three-month trip to the United States in 1981, Kappeler took her first pictures using cheap cameras, especially the Diana camera. Since 1982, she has been doing ongoing projects in southern France and the Grisons. In 1982/83, Kappeler had a studio in New York and experimented with conceptual photography and Super 8 films.
Many who have written about Simone Kappeler speak of the timelessness that informs her photographs. It is as if the moment, the tiny slice of time, captured in these pictures has dropped out of the temporal continuum. Kappeler’s subject matter covers the entire spectrum of classical photography: landscape, interiors, still lifes, everyday scenes, portraits. Although her work features a striking variety of styles, it shows a cogent overall coherence. Many of the photographs are marked by a sense of flow. The subject matter shimmers; there are no distinct contours. Sometimes, it is as if we were witnessing a picture in the making, watching the magical process that has vanished since the rise of digital photography.
The works of Margaret Lansink ( NL) have been awarded the Grand Prize of Hariban Award 2019, and have been shortlisted for Gomma Grant 2018. In 2018, her work was shortlisted for Fotofilmic18 and Athens Photofestival and was part of Reclaim Photography Festival in Wolverhampton UK. Lansink participates in exhibitions, residencies and competitions in Holland and abroad.
Her work has been shown in LA, Paris, Antwerp, New York, Tokyo, Kyoto, Tbilisi, Vancouver, Amsterdam etc. In 2016, she has been rewarded with an AIR with the Kaunas Gallery in Lithuania and in 2017 with Shiro Oni Studio in Japan; both for her on-going project The Kindness of One. In 2019, she has been rewarded with an AIR at Benrido Atelier Kyoto for winning the Hariban Award 2019 with her series Borders of Nothingness - On the Mend.
Margaret Lansink has published eight books. "The Kindness of One" has been awarded with Best Dutch Book Designs 2019 and is part of the collection of Stedelijk Museum Amsterdam Bookstore. Her books "Borders of Nothingness - On the Mend" as well as "The Kindness on One" are part of the collection of Victoria and Albert Museum in London. Margaret is member of FemmesPHOTOgraphes Paris.
All four artists are presented at Paris Photo exclusively by Bildhalle. | | |
| | | | | | | | | | | | | | Yoichi Midorikawa, Return Road
1955–56, Gelatin silver print, 20.5x30.2cm | | | Local Color and the Avant-Garde | | | | Early postwar photography | | | | | | | | | | | | | | | | | | | | | Koichi Sako, Form (D)
1974, Gelatin silver print, 25x30.1cm | | | | | | This exhibition introduces four photographers from the Chugoku region, the westernmost part of Honshu, the largest island in Japan. The region has two distinct areas: the San'in, known for its colder climate, facing the Sea of Japan to the north, and San'yo, which boasts year-round warm weather, facing the Seto Inland Sea to the south.
These photographers pursued the possibilities of new photographic expression, shooting the local scenery, milieu, and people living in the different parts of the Chugoku regions throughout the prewar and early postwar periods.
Shoji Ueda (1913–2000) was born in Sakaiminato City, Tottori Prefecture, in the colder San'in region of Chugoku. Ueda is internationally renowned for his portraits staged in the Tottori Sand Dunes, such as Young Girl in Four Styles, Papa and Mama and Children, and Dune Nude. Before WWII, he started his career with artistic photography, focusing his camera on the landscape of the San'in region and its people. He produced many works in various styles, always at the forefront of the movements of the times, such as Shinkō Shashin ("New Photography"), Surrealism, Subjective photography, and others.
Yoichi Midorikawa (1915–2001) was born in Okayama in San’yo. He practiced dentistry while moonlighting as a photographer and actively contributed to photography magazines. In addition to his well-known dreamlike seascapes, Midorikawa took many documentary photographs before the war until the 1950s. He focused his camera on the milieu of the Seto Inland Sea, his photographs from this period feature local industry, agriculture, farmers, and fishermen. It was in the 1960s that he gradually shifted to his widely recognized experimental landscapes, for which he would shoot at precise moments of the day using various color filters, then later use photo montage techniques to superimpose his images. He earned the nickname "the magician of color" in the field of photography.
Ueda and Midorikawa were members of Chugoku Shashinka Shudan (the Chugoku Photographers Group), which focused on local color, documenting the lives and nature of the region.
Koichi Sako (1918–2010) was born in Hiroshima and was exposed to the atomic bomb's radioactive fallout. While taking photographic records of the postwar reconstruction of Hiroshima, he also used experimental techniques to photograph the scenery and the people of the Seto Inland Sea. A member of VOU, a group led by avant-garde poet and photographer Katsué Kitasono, Sako is known for contributing experimental photographs to the group's eponymous magazine.
Kaoru Ohto (1927–2020) was born in Hiroshima. Like Sako, Ohto was also exposed to radioactive fallout. The people of the Seto Inland Sea region featured prominently in his works, and he produced abstract experimental photographs. Sako and Ohto studied under Kunio Masaoka of the Chugoku Photographers Group.
These four artists were also involved in the subjective photography movement that emerged in the mid-1950s. Ueda and Sako participated in the1st International Subjectivist Photography Exhibition (1956), and Midorikawa participated in the Exhibition of Japanese Subjective Photography (1958). Sako and Ohto exhibited works in the subjective photographie 2 in Saarbrücken, Germany, and Paris, France (1954–55). The Subjective Photography movement, initiated by German photographer Otto Steinert, advocated for subjective photographic expression in various fields. In countries such as Germany and Japan, where avant-garde artistic expression was suppressed during the war, the movement was enthusiastically supported after the war and developed into an international photographic movement.
Local Color and the Avant-Garde focuses on these artists' lifelong pursuit of experimental photographic expression that cherishes the natural scenery of their local regions. This exhibition examines how their works transcend local and national boundaries to resonate with audiences from all over the world. | | | | |
| | | | | | | | | | | | | | Viktoria Binschtok
Typewirter / Skyview, 2022
Digital c-print, Alu-Dibond lamination, museum glass
80 x 60 cm
Ed. 3 + 1AP | | | | | | | | | | | | | | | |
Erica Baum
Arms Folded, 2019
archival Pigment Print
91.44 x 66.47 cm
Ed. 4 + 2AP |
Jan Groover
untitled (59-1003), 2003
inkjet print, 48,3 x 30 cm
Ed.1/5 |
| | | | | | Fascinated by the printed word, concrete poetry, and the beauty of language permeating our daily lives, the American artist Erica Baum could be best described as a "poetphotographer". She has become internationally known for her photographic practice based on found texts and images. With her nonchalant but precise use of strategies akin to the work of the Pictures Generation, conceptual art, and minimalism, Erica Baum has developed a unique and truly authentic visual language.
Viktoria Binschtok belongs to the distinct positions in the field of conceptual, artistic photography. Her work is an integral part of the discourse of contemporary 'image making' and is regularly exhibited in an international context. Her work is determined by three leitmotifs: the points of overlap between online and offline visual worlds, our view of images shaped by the cultural and social context, and thirdly, an interaction between figure and background, between the detail and the long shot.
Before Jan Groover dedicated herself to photography, she was a painter. Born in 1943 in Plainfield, New Jersey, Groover turned away from abstract painting in the early 1970s to experiment with the medium of photography — a medium that seemed more open than the restrictive and male-dominated painting of the time.Jan Groover’s images don’t just resonate as a subtle record of feminism and the acceptance of photography as art, but also as extraordinary aesthetic investigations of a ‘fiction’ that is inseparably bound with the 'factual' conventions of the medium. Her work is still influencing successive generations of artists and, especially in light of current digital conventions and procedural image creation, seems fresh and timeless at the same time.
Adrian Sauer analyses the photography of the digital age. He poses questions concerning the limits of the image in an age where camera images are increasingly becoming hybrid constructs of light measurement and mathematical calculations. With his artistic-conceptual modus operandi Adrian Sauer explores the very conditions of the photographic image and its changed functionality. In this way, he doubts the great promise photography makes of being a mirror image of reality. A past fixed in the image always has something intrinsically deceptive and constructed. | | | | |
| | | | | | | | | | | | | | Pidder Auberger: Muscheltondo, 1990
photogram and negative collage, variation of two, gelatin silver print
images Ø 101 cm, sheet Ø 125 cm | | | | | | | | | | | | | | | | | | | Timm Rautert: New York - Arrow, 1969
photo-collage, 4 x gelatin silver prints
image / sheet size, each 30 x 30 cm, framed 81 x 81 cm, vintages, unique | | | | | | Parrotta Contemporary Art is going to present a selection of works from two specific photographic series from each artist: "Tondi" by Pidder Auberger and "The Second View" by Timm Rautert. Both series are linked by the idea of collage and montage. Rautert is questioning photography by reengaging with the negatives of his own iconic photos. He creates new, highly condensed, unique diptychs. Auberger's experiments with the combination of his negatives and woodcuts resulted in images that are highly related to abstract paintings in shape and composition. Both artists were friends. This year is the tenth anniversary of Auberger's death.
Pidder Auberger (1946-2012) was an author, woodcutter and photographer. In his studio, he preferred to experiment with different media and materials with which he created new images that do not make it easy for the viewer to decipher the production processes. Exposure montages are represented and superimpositions of drawing, woodcut and photography. With his works that transcend conventions, Pidder Auberger has found a graphic-photographic oeuvre of its own form and language. The tondi, reminiscent of reagents, do not only refer to its poetic-alchemical spirit by chance.
Timm Rautert (* 1941) is considered one of the most outstanding contemporary German photographers. Over the decades, he has not only been able to anticipate the most important trends in photography, but also to have a decisive influence on them - as a photo journalist, as a chronicler of the changing world of work and finally as a university professor who influenced subsequent generations. | | | | |
| | | | | | | | | | | | | | Yelena Yemchuk
Anna in Rome, 1998
Silver gelatin print
40.6 x 50.8 cm
Edition of 6 + 2AP | | | | Online Viewing Room | | | | | | | | | | | | | | | |
Karen Paulina Biswell
María José from Ellas album II, 2018
C-Type Hand Printing
60 x 50 cm
Edition of 5 + 2AP |
Lea Colombo
Untitled from Colors Of My Body, 2022
Colour hand print on Fuji Maxima Glossy Archival Museum Paper
70 x 91 cm
Edition of 5 + 2AP |
| | | | | | | The gallery was founded in 2008 by Michael Kominek in Berlin. The thematic focus is on experimental and documentary photography. Developing new forms of storytelling and presentation is the main interest, often with the help of experimental book making. Artists such as Bryan Schutmaat, Matthew Genitempo, Mark Mahaney, Mark Steinmetz, Daisuke Yokota, Yelena Yemchuk or Greg Girard are represented by Kominek. Who also dedicates to experimental photo book projects and regularly organizes book residencies in Berlin. Classic publications such as "Looking for Love" by Alec Soth, "Sketches" by Viviane Sassen or "Sheets" by Rinko Kawauchi have been published under the Kominek label. | | | | |
| | | | | | | | | | | | | | | | | | | | | | | Susan Meiseles © Florent drillon / Raymond Depardon © Florent Drillon / SMITH © Marc Domage | | | | | Paris Photo 2022 - Book sector | | | Book sector publishers and specialized art book dealers are reunited in the center of the Fair, recognized for their role in the continuing narrative of photography and the advancement of its artists. One of the Fair’s most animated sectors, visitors are offered an important selection of limited and rare editions and may attend book launches and over 300 signature sessions with renowned artists.
See the 2022 publishers & art book dealers... » | | | Paris Photo 2022 - Booksignings | | | | | | More than 300 artists join Paris Photo this year to sign published works, a unique occasion to meet your favorites including Jane Evelyn Atwood, Roger Ballen, Julie Blackmon, Raymond Depardon, Harry Gruyaert, Rinko Kawauchi, Sarah Moon, Martin Parr, Barbara Probst, Alex Webb, Michael Wesely, among many more.
www.parisphoto.com/.. | | | | | | |
| | | | | | | | | | | | | | | Daniel Salemi | | | PhotoBook Awards
Paris Photo–Aperture Foundation | | | Initiated in November 2012 by Aperture and Paris Photo, The PhotoBook Awards celebrate the photobook’s contribution to the evolving narrative of Photography.
The thirty-five shortlisted titles will be exhibited at Paris Photo and in an expanded online presentation at aperture.com as well as profiled in a catalog (published by Aperture), to be released at the Fair.
The winners will be announced at Paris Photo on November 11th at 3pm. | | | PHOTOBOOK OF THE YEAR
Karl Bassil, in collaboration with Negar Azimi and Katia Boyadjian
Van Leo » Becoming Van Leo Arab Image Foundation, Beirut, and Archive Books, Berlin
Mohamed Bourouissa » Périphérique Loose Joints, Marseille, France
Jess T. Dugan » Look at me like you love me MACK, London
LaToya Ruby Frazier » Flint Is Family in Three Acts Steidl, Göttingen, Germany, and The Gordon Parks Foundation, Pleasantville, New York
Curran Hatleberg » River’s Dream TBW Books, Oakland, California
Justine Kurland » SCUMB Manifesto MACK, London
Baldwin Lee » Baldwin Lee Hunters Point Press, New York
Tokuko Ushioda » My Husband torch press, Tokyo
Carmen Winant » Arrangements SPBH Editions, London, and Images Vevey, Switzerland
Yelena Yemchuk » УYY Départ Pour l’Image, Milan
FIRST PHOTOBOOK
Hiske Altena Vital Mud Self-published, Amsterdam
Gabriella Angotti-JonesI Just Wanna Surf Mass Books, New York
Florian BachmeierIn Limbo Buchkunst Berlin
Oscar B. Castillo ESOS QUE SABEN (Those who know) Raya Editorial, Manizales, Colombia
Phyllis ChristopherDark Room Book Works, London
Sabiha Çimen HAFIZ Red Hook Editions, New York
Craig Easton Bank Top GOST Books, London
Philippe Jarrigeon PLAY RVB Books, Paris
Hari Katragadda and Shweta Upadhyay I’ll be looking at the moon, but I’ll be seeing you Self-published in association with Alkazi Foundation for the Arts, New Delhi
Stacy Kranitz As It Was Give(n) to Me Twin Palms Publishers, Santa Fe, New Mexico
Youqine Lefèvre The Land of Promises The Eriskay Connection, Breda, Netherlands
Carla Liesching Good Hope MACK, London
Sabelo Mlangeni Isivumelwano Fw:Books, Amsterdam
Marilyn Nance Marilyn Nance: Last Day in Lagos CARA, New York, and Fourthwall Books, Johannesburg
Zuzana Pustaiova One Day Every Day Reflektor (self-published), Vienna / Slovakia
Paola Jiménez Quispe Rules for Fighting (Reglas para pelear) Images Vevey, Switzerland, and Witty Books, Turin, Italy
Yoshinori Saito After the Snowstorm the(M) éditions, Paris, and IBASHO, Antwerp, Belgium
Marc Schroeder Order 7161 The Eriskay Connection, Breda, Netherlands
Patrick Wack Dust André Frère Éditions, Marseille, France
D’Angelo Lovell Williams Contact High MACK, London
Photography Catalogue of the Year
Another Country: British Documentary Photography since 1945 Gerry Badger Thames & Hudson, London
Devour the Land: War and American Landscape Photography since 1970 Makeda Best, Harvard Art Museums, Cambridge, Massachusetts
Diane Arbus Documents Max Rosenberg, ed. David Zwirner Books, New York, and Fraenkel Gallery, San Francisco
James Barnor: Stories. Pictures from the Archive (1947–1987) LUMA Foundation, Arles, and Maison CF, Paris
Wolfgang Tillmans: To look without fear Roxana Marcoci Museum of Modern Art, New York
Special Juror’s Mention: PhotoBooks for Ukraine
Jim Goldberg and Iryna Tsilyk Another Life STANLEY/BARKER, London
Katya Lesiv I Love You IST Publishing, Kyiv
Émeric Lhuisset Ukraine — Hundred Hidden Faces Paradox, Edam, Netherlands, and André Frère Éditions, Marseille, France
Katerina Motylova Loss Self-published, Kyiv
Mark Neville Stop Tanks with Books Nazraeli Press, Paso Robles, California
Yelena Yemchuk Odesa GOST Books, London | | |
| | | | | | | | | | | | | | | | | |
Marinella Senatore
Bodies in Alliance / Politics of the street IV, 2019
ADN Galeria, B17 |
| | | | | Elles x Paris Photo 2022 | | | A circuit dedicated to women photographers
ellesxparisphoto.com/en » | | | | | | | To survive the contemporary art jungle, I try to imbue my curatorial practice with shamanic and liberating strategies. Oftentimes literature is the place where my associations of ideas begin to shape the scaffolding of a project.
For this edition of Elles x Paris Photo, I landed on the territory of the OuLiPo, the legendary Ouvroir de Littérature Potentielle, whose members, a mixture of writers and mathematicians, compose works using constrained writing techniques as a means of triggering inspiration. I decided to extend the selection to the book sector, because for a woman it seems easier to publish a book than to be represented by a gallery, which means that there is still work to do in the photography market.
The title Women In Motion reminded me of the importance of legs, as they enable movement through walking. In the old Neapolitan board game La Tombola , inspired by the tradition of La Smorfia (grimace), in which dreams are analyzed and converted into numbers to play in a lotto, the number 77 corresponds to “women’s legs”, as if they should all be long and thin. The number 77 is also associated with none other than the devil in La Smorfia .
I hope, dear visitors, that you will enjoy navigating the fair to discover the 77 artists presented here all together in a purely visual sequence. If possible, keep a vigilant eye and be suspicious of numbers, words and above all images… See you next time in a post-quota society!
Federica Chiocchetti | | |
| | | | | | | | | | | | | | Rosalind Fox Solomon,
Getting Ready for the Dance, Scottsboro, Alabama
1976 | | | | | | THE EARLY WORK | | | | MUUS COLLECTION - NEW JERSEY, USA | | | The MUUS Collection is a body of preeminent American photography archives that mark formative shifts in American history. With nearly half a million prints, negatives, contact sheets, and other ephemera, MUUS seeks to preserve and share these seminal works with new audiences.
Following the presentation of Deborah Turbeville in 2021, the MUUS Collection features the work of Rosalind Fox Solomon (American, b. 1930), a photographer renowned for her portraiture. Spanning a period of fifty years, from the American South to India, Guatemala, Brazil, and beyond, Solomon has managed to gain access to closed circles and communities through her intuitiveness and curiosity. Determined to reject stereotypes and preconceived notions, she depicts her subjects with an unflinching honesty.
The exhibition showcases one of the artist’s earliest projects, made between 1972 and 1976, devoted to Scottsboro Alabama’s First Monday market. At the age of 40, Solomon had begun experimenting with photography and started to capture life around Chattanooga, Tennessee, where she was living at the time. She regularly attended the flea market in Scottsboro and began to photograph it, first focusing her lens on broken dolls, then on vendors, and finally on other frequenters of the market. These incisive portraits attracted the attention of Lisette Model, whom she had met in New York in 1971, and she soon began studying under Model’s tutelage in order to hone her craft. Solomon’s first photographs were taken with a 35 mm camera, but she soon switched to the square format that she would remain faithful to throughout her career. Though she discovered it by chance, photography soon became a lifelong passion, one which has never abated. Today, at the age of 92, Solomon remains active. A look back at 50 years of Rosalind Fox Solomon’s work is highly rewarding: foregoing cliches, her work offers considered and insightful looks into different cultures around the world. This body of images presented by MUUS is shown for the first time in its entirety.
Rosalind Fox Solomon (b. 1930) is an American artist celebrated for her exceptional photographic portraits. With intuition and meticulousness, she has captured defining moments of the 20th century, from documenting the American South in her project Liberty Theater to her groundbreaking series Portraits in the Time of AIDS , which humanized the illness and the people who suffered from it. In 2019, the ICP awarded Solomon a Lifetime Achievement award in recognition of her prolific career; among her other awards is a Guggenheim Foundation award, a National Endowment for the Arts Fellowship and a Lucie Achievement in Portraiture award. | | |
| | | | | | | | | | | | | | Cig Harvey (British, born 1973), Claire in the Forsythia, Rockport, ME, 2010.
Chromogenic print. Acquired in 2022. © Cig Harvey, courtesy Robert Klein Gallery | | | A DIFFERENT LENS | | | | ICONIC & RECENT PHOTOGRAPHS IN THE JPMORGAN CHASE ART COLLECTION | | | | | | | | | For 11 years as lead partner with Paris Photo, J.P. Morgan has exhibited highlights of our esteemed modern and contemporary art collection. We celebrate this milestone as we continue navigate new ways of connecting in person and virtually. This year, we are excited to present highlights of the JPMorgan Chase Art Collection through the dynamic lenses of geographic and cultural diversity, as well as gender-identity. A Different Lens convenes 12 photographs by artists who reflect our firm’s international platform and our long history of supporting emerging, developing, and under-recognized artists. Iconic works by Diane Arbus, Ming Smith, Graciela Iturbide, Tina Barney, Mickalene Thomas, Laurie Simmons are complemented by recent acquisitions by Carolle Bénitah, Yamini Nayar, Terri Lowenthal, and Cig Harvey. The 12 photographs in the exhibition express a powerful range of photographic imaginations and visual mastery. Collectively and individually, the works reveal the deft & varied ways the artists transform traditional genres of portraiture, landscape, abstraction, and documentary modes. The presentation reflects J.P. Morgan’s global 21 st -century business and social priorities—reflecting diversity of all kinds and a commitment to always see the world with a new lens. | | |
| | | | | | | | | | | | | | | "I Begin to see" Impression Diasec, Courtesy Arash Hanaei/BMW ART MAKERS | | | | | | SUBURBAN HAUNTOLOGY | | | | BMW ART MAKERS | | | The installation Suburban Hauntology questions the architectural utopias of the 1970s, including the " Star of Ivry-sur-Seine " building, while investigating simultaneously new complex spaces like the Metaverse.
How to rehabilitate these architectural ghosts in the context of augmented reality?
By combining different levels of perception, between static image, video and 3D design, the duo BMW ART MAKERS, Arash Hanaei and Morad Montazami propose a hybrid and immersive installation: digital drawings or Big Data, the hologram extracted from the plan of the building, the polysemic video Unblocked Avatars and finally a virtual chess game between Mark Zuckerberg and the philosopher Mark Fischer.
It is when the future becomes unimaginable that it becomes a possibility. | | |
| | | | | | | | | | | | | | Brodbeck & de Barbuat
Les Mille vies d’Isis - 0920, 2020 – 2021
Procédés mixtes et tirage baryté réalisé par les artistes, 40x55cm, Camargue France 2020
© Brodbeck & de Barbuat / Cnap | | | | | IMAGE 3.0 | | | | SELECTION OF THREE PROJECTS FROM THE NATIONAL PHOTOGRAPHIC COMMISSION | | | | | | This selection of works from the Image 3.0 national photographic commission initiated by the CNAP in partnership with the Jeu de Paume, recently exhibited at the Cellier in Reims, presents the work of four artists reflecting on the new languages of imagery. Simon Brodbeck & Lucie de Barbuat, Philippe Durand and Hanako Murakami explore innovative digital techniques, pushing the ontological limits of image.
These different projects demonstrate the dialogue between old photographical processes and new technologies. While for Brodbeck & de Barbuat, the techniques of analogue and digital technology cohabit with 3D computer modelling processes and digitisation, the work of Philippe Durand highlights a unique 2.5D bas-relief photographic printing system. Hanako Murakami adds ocular sensors to his video installation, making the spectator an active agent in the artwork.
The Image 3.0 selection therefore offers an update of image production methods and explores how we look at them. | | |
| | | | | | | | | | | | | | Alberto García-Alix, Untitled, 2018, Photogravure, 65 x 50 cm
© Fundación Amigos del Museo del Prado, Madrid, 2022 | | | | | FRIENDS OF THE PRADO MUSEUM FOUNDATION | | | | TWELVE PHOTOGRAPHERS AT THE PRADO MUSEUM | | | | | | Throughout history, museums have provided inspiration for artists who have gone to contemplate and study the works of their predecessors on display, sometimes to follow their teachings and occasionally to challenge them. In both cases, the dialogue between the artists of the past and the present has proved enormously fertile.
On the occasion of the Bicentennial of the Museo del Prado, the Fundación Amigos has invited twelve contemporary photographers to work with the pieces held by the Museum. The result is a collection of twenty-four photographs that reflect upon the artistic wealth and historical significance of the Prado while demonstrating that, two centuries after its opening, the Museum remains as inspirational as ever.
The artists who have contributed to this exhibition belong to three different generations with widely divergent ways of understanding and using photography. They have drawn inspiration not only from the works of the great masters in the Museum, but also from the building that houses their art and the people who visit it. Each of these photographers have converted their thoughts and reflections into perspectives that materialize on paper, bearing witness both to the Prado’s evocative power and to the creative capacity of those who have produced this collection of photographs.
The portfolio has been exhibited at the Museo Nacional del Prado and is part of the Museum´s legacy. In addition to the acquisition of this portfolio, an important patronage mission is made, being that it contributes to the support of the Museum. | | |
| | | | | | | | | | | | | | | © Leigh Johnson | | | | | | | PRESENTED BY CHLOÉ | | | Ahead of their exhibition at Paris Photo, Chloé is pleased to present the work of Leigh Johnson in the latest instalment of Chloé Curates, which sees the Maison and its creative director Gabriela Hearst spotlight the work of inspiring women artists.
The American photographer is drawn to the private lives of others. Whether that be two people in the street fighting or kissing, a father and daughter holding hands, or a discarded mattress on the pavement, when displayed publicly, her intimate observations become performance pieces. What is left behind or discarded has a history, and to focus on it is to focus on the lost or fleeting emotions which enlivened its narrative.
Johnson’s visual thesaurus is a mix between a diary of street life and the development of the series. With diverse material, honest framing and a fierce focus on the subject, Johnson binds together her works through the use of her poetry. Her photographic exhibitions have often taken the shape of a constellation of images arranged to follow a poem which is fragmented into a myriad of titles, one for each image. This amalgamation of words and images also reappears in some of the video works, merging narration and image collection into a mesmerising kaleidoscope for the senses. | | |
| | | | | | | | | | | | | | | Alessandra Leta (b. 1997, IT) | | | | | CARTE BLANCHE STUDENTS 2022 | | | | | | | Paris Photo, Picto Foundation and SNCF Gares & Connexions have joined forces for the 6th year to develop a platform for discovery, visibility, exchange and encounters for young talent, in master's or bachelor's programs at European photography and visual arts schools. The jury selects 20 finalists, highlighted with the support of BenQ, among more than 200 European schools. Four laureates are chosen, whose projects are presented to the public in an exhibition/projection on giant screens in one of the major parisian stations, as well as during Paris Photo in a dedicated area of the fair, with the support of Hahnemuhle and Filmolux. | | |
| | | | | | --> | | | | | | | | | Artist Talks 2021 © Florent Drillon | | | Paris Photo 2022 - The Platform | | | | | | The platform is an experimental forum: 4 days of conversations with personalities from the world of art and photography. Simultaneous translation is available in French and English.
Conversations - PROGRAMME »
The videos of the Platform are available on parisphoto.com | | | Paris Photo 2022 - Artist Talks by The Eyes | | | | | | Conceived and organized by The Eyes’ team, the Artist Talks by The Eyes put into perspective the link between the artist and the book in his artistic practice, his editorial approach and realization.
In an intimate atmosphere, each artist shares with the public his experience around his most recent publication in a set format of 15 minutes, followed by Q&A’s.
In all 36 artists selected by The Eyes participate in this unique program presented in French or in English.
From Thursday 10th to Sunday 13th at 2pm, 3pm and 4pm » | | |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | A PPR OC HE 2022 | | | | A salon dedicated to experimentation of the photographic medium | | | Thu 10 November : upon invitation
Fri 11 November : 1-8pm public by reservation
Sat 12 November : 1-8pm public by reservation
Sun 13 November : 1-6pm public by reservation | | | | | | Le Molière 40, rue de Richelieu, Paris 1e
Free entrance upon reservation
www.approche.paris
| |
| | | | | | Founded in 2017 by Emilia Genuardi, a ppr oc he is an independent boutique art fair with a curatorial gaze, designed as an exhibition.
A salon consisting exclusively of solo shows, combining so-called traditional photographers with artists who use photography in three dimensions, on non-traditional media such as wood, leather, Perspex, glass and metal, going beyond the frame into the territory of installations. | | | MATTHIEU BOUCHERIT (FR) Galerie Éric Mouchet (FR)
MARC-ANTOINE GARNIER (FR) Galerie Bacqueville (FR / NL)
MANON LANJOUÈRE (FR) Galerie du Jour agnès b. (FR)
FABIOLA MENCHELLI (MX) Marshall Gallery (US)
JAVIER HIRSCHFELD MORENO (ES) Open Doors Gallery (UK)
LIZ NIELSEN (US) Black Box Projects (UK)
ALICE QUARESMA (BR) Sobering Galerie (FR)
BAPTISTE RABICHON (FR) Galerie Binome (FR)
CAROLINE RIVALAN (FR) Galerie Eva Vautier (FR)
JONATHAN ROSIĆ (BE) Archiraar Gallery (BE)
MATT SAUNDERS (US) Analix Forever (CH)
ISABELLE WENZEL (DE) Galerie Bart (NL)
DAISUKE YOKOTA (JP) Kominek Gallery (DE)
VINCENT FOURNIER & SEBASTIEN GAXIE (FR) Prix Swiss Life à 4 Mains (FR)
LUCAS LEFFLER (BE) Residence PICTO LAB (FR) | | | | |
| | | | | | | | | | | | | | Daisuke Yokota
Untitled, 2019
archival pigment print on cotton
paper, 180 x 144 cm in edition of 2 + 2 artist’s proof © Daisuke Yokota | | | | | | | | | | | | | | | |
Daisuke Yokota
Untitled, 2018
archival pigment print on cotton
paper, 36 x 45 cm in edition of 6 + 2 artist’s proof
© Daisuke Yokota |
Daisuke Yokota
Untitled, 2018
archival pigment print on cotton
paper, 72 × 90 in edition of 4 + 2 artist’s proof
© Daisuke Yokota |
| | | | | | Daisuke Yokota’s work questions the relationship between memory, images and sensations. His practice consists of constantly revisiting his own personal photographic archive by adding layers of accidents, to metaphorically signify the layering of states of consciousness and memories. Often referring to the principles of echo and reverberation, Yokota also makes connections between the visual and musical fields. One could say that he captures "noise" in the broadest sense of the word.
The Untitled Color Works presented at approche gathers selected works from several artist publications and series produced between 2015 and 2022 (Color Photographs, SCUM, and Sediment). These abstract color works are photographs made without a camera or light source. The images are pure chemical reactions, created after an unorthodox photographic process in a darkroom. Yokota, boiling the large format negatives causes the release of the sensitive emulsion. He then repeatedly examines the results of his experiments, finally creating very high-resolution scans. They seem more the work of a painter than a photographer, but it is in this in-between space that this innovative approach finds its source. An abstract image is perceived but also a record of the creation of that image.
Yokota (born 1983) lives and works in Tokyo. He has won numerous awards, such as the 45th Kimura Ihei Award (2019), Foam Paul Huf Award (2016) and the Photo London John Kobal Residency Award (2015). His work has been exhibited internationally and is included in numerous collections, including Tate Modern, San Francisco Museum of Modern Art, Museum of Fine Arts Boston, and Fotomuseum Winterthur, Switzerland, Bibliothèque Nationale de France, the Museum of Modern Art in Paris. He is the author of more than 100 artists’ publications. | | |
| | | | | | | | | | | | | ... more ... Photo - Book - Art Fairs Photo Discovery, the fair! | Offprint | Polycopies | Vintage Photobook Fair | | |
| | | | | | | | | | | | | | Polycopies 2022 a bookfair with 50 publishers, booksellers and photographers from all continents. |
| | |
Wed November 09 : 3pm - 10pm
Thu November 10 : 11am - 9pm
Fri November 11 : 11am - 9pm
Sat November 12 : 11am - 9pm
Sun November 13 : 12pm - 7pm | | | | | | | | | | | | | Since 2014 Polycopies has been organizing a fair with 40 specialized international photography book publishers once a year.
Founded and directed by Laurent Chardon and Sebastian Hau, Polycopies is an non-profit for the distribution and promotion of the photographic edition (books, multiples, paper objects and experimental publishing practices) which becomes a large ephemeral bookshop, a space completely dedicated to photo books, during the week of Paris-Photo
Although Polycopies is first of all a market place, it has also become an important spot to meet with a lively crowd of amateurs, collectors, photographers and publishers of different horizons sharing and confronting their ideas on photography, discussing the practices of publishing, exchanging on discoveries made and favorite books, or even showing their book dummies and new projects. | | | | |
| | | | | | | | | | | | | | Carmen Winant »
Arrangements
320 pages, 24 × 30 cm
English, EdIV and SPBH
September 2022 | Vincent Jendly »
Lux in tenebris
148 pages, 33 x 24.5 cm
French, EdIV
September 2022 | Paola Jiménez Quispe »
Rules for fighting
232 pages, 15 × 20.5 cm
English, EdIV, Witty Books
April 2022 |
| | | | EDITIONS IMAGES VEVEY will present its latest publications. With the book signings of the artists: | | | Vincen Beeckman » Alina Frieske » Vincent Jendly »
Lucas Olivet » Paola Jiménez Quispe » | | | | | | | | | | | | | | | | | Alina Frieske »
Each and Every Part in Between
176 pages
23 x 28 cm
English
EdIV, Ciao Press
September 2022 | Lucas Olivet »
Au Bon Vin
68 pages
16 x 22.5 cm
French
EdIV
September 2022 | Daniel Mayrit »
One of Yours
123 pages, 24 x 32 cm
English, Spanish
EdIV, Phree Books and UCA
March 2022 | Alexander Rosenkranz »
Gibellina Model Studies
242 pages
24 x 32 cm
Italian, english
EdIV
September 2022 | Vincen Beeckman »
Vevey Minigolf Club
36 pages
15 x 21 cm
French
EdIV
September 2022 |
| | | | | | Editions Images Vevey is positioning itself as a genuine supporter of innovative publishing projects, in particular with the creation of the Images Vevey Book Award.
In 2020, Editions Images Vevey was awarded the prestigious Paris Photo – Aperture Foundation New York "Photobook of the Year" prize for Woman Go No'Gree by Gloria Oyarzabal. In 2022, two photobooks co-published by Editions Images Vevey are also nominated.
Lux in tenebris Vincent Jendly »
Vincent Jendly almost drowned when he was just five years old and this moment has remained engraved in his memory ever since. Years later, he is still trying to come to terms with water, the element that very nearly took his life. His Lux in tenebris series and book proposes a deep and intimate immersion in the sea.
BOOK SIGNING: WEDNESDAY, NOVEMBER 9 AT 6PM + SATURDAY, NOVEMBER 12 AT 4PM
Arrangements Carmen Winant »
Shortlisted "Photobook of the year 2022" Paris Photo – Aperture
Carmen Winant’s artwork involves diligently collecting images and experimenting with collage techniques which she then uses to investigate the dynamics of ‘feminist survival and revolt’. With her innovative Arrangements project, the laureate of the Images Vevey Book Award 2021/2022 rearranged entire pages taken from magazines or artists’ books. Drawing from a collection of over 2000 pages, she assembled them in pairs according to a shared topic or form, or at random.
Rules for fighting Paola Jiménez Quispe »
Shortlised for the Paris Photo – Aperture First PhotoBook Prize
As a winner of the Images Vevey Book Award Special Jury Prize 2021/2022, Paola Jiménez Quispe was offered the opportunity to publish a book. Rules for fighting (Reglas para pelear) takes the shape of a notebook of intimate size in which the artist has collected images and notes related to the murder of her father in 1998, when she was still a child.
BOOK SIGNING: SATURDAY, NOVEMBER 12 AT 3PM
Each and Every Part in Between Alina Frieske »
The publication Each and Every Part in Between reveals the richness and originality of the practice of Alina Frieske, an artist who were exhibited at the Festival Images Vevey in 2020. Her digital photomontages are made from various photographs found online and created using a very specific process. Between a poetic evocation of the history of painting and a warning about the accessibility of images on the Internet, completed by a meticulous inventory of each fragment of photos as many pictorial touches.
BOOK SIGNING: FRIDAY, NOVEMBER 11 AT 4PM
Au Bon Vin Lucas Olivet »
In honour of the Au Bon Vin café, Chardonne (1900-2022) Lucas Olivet documents the last days of an emblematic Vaud restaurant, an essential meeting place for the village.
BOOK SIGNING: WEDNESDAY, NOVEMBER 9 AT 5PM
Vevey Minigolf Club Vincen Beeckman »
Passionate about mini-golf since his childhood, Vincen Beeckman travels the world’s golf courses in search of the surprising scenery that abounds. Published on the occasion of the Images Vevey 2022 biennial, Vevey Minigolf Club is a humorous ode to this popular activity.
BOOK SIGNING: THURSDAY, NOVEMBER 10 AT 4PM
One of Yours Daniel Mayrit »
Shortlisted for the Photo Text Book Award of the Rencontres d’Arles 2022, the Spanish photographer Daniel Mayrit’s One of Yours project investigates the rise of various forms of nationalism in the West. To do this, he stepped into the shoes of a campaigning politician.
Gibellina Model Studies Alexander Rosenkranz »
ARTIST'S BOOK 100 numbered and signed copies, entirely handmade
After an earthquake in 1968 left Gibellina buried under rubble, architects and postmodern artists rebuilt it from scratch. Alexander Rosenkranz went to stay in this new city to present it from a perspective that is as experimental as the site’s urban planning. Commissioned by Images Vevey in the context of the special edition of the Biennale in Gibellina in 2021. | | | | |
| | | | | | | | | | | | | | | | | | | | Offprint Paris 2022
10 - 13 November 2022 | |
| | | | | | | | | | | | | | From November 10 to 13, 2022, Offprint Paris will host at the Pavillon de l’Arsenal a selection of independent, experimental and socially engaged publishers in the fields of art, architecture, design, humanities and visual culture. | | | | |
| | | | | | | | | | | | Vintage Photobook Fair
10 - 12 November 2022 | |
| | | | Thu 11-20:00 | Fri 11-20:00 | Sat 11-19:00 | | | | | | | | | | | | | | |
| | | | | | | | | | | | Photo Discovery, the fair! dealers & collectors | |
| | | | Friday 8:00 - 16:00 | | | | | | | | | | | | | | | | |
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