Euro Rotelli

Permis de demolir Exhibition

Through April 21, 2022

MSH Paris Nord, 20 avenue George Sand, 93210 La Plaine Saint-Denis, France

For many years, Euro Rotelli had the need to express his feelings and emotions towards the phenomenon of immigration through photography. Not wanting to make a display of suffering and tragedy but more of hope and a successful living together. His new project started when an architect friend who lived in Paris suggested him to visit Saint-Denis and Aubervilliers, two districts that were protagonists of a phenomenon of constant change and movement.

During his visit what stroked the artist most was not only the people he was able to meet or the partly demolished houses he could visit but rather the over-exaggerated numbers of signs of “PERMIS DE DÉMOLIR” that were placed on the houses and everywhere on the streets.

Demolition Permit?The demolition of the houses? Demolition of the individuals? Demolition of their identities?

Most of Rotelli’s photos are made in Landy, which is probably the area the most affected by this phenomenon of demolition and which historically has been at the center of industrial life in the twentieth century Paris. Walking around with his camera, Euro Rotelli has caught succesfully for us to see moments of Nostalgia, the heavy feeling of exile and the anxiety of the newcomers accompanied by their excitement for a new life.

©All images Euro Rotelli

www.eurorotelli.com

Edward Steichen

Edward Steichen (1879-1973) was a pioneering photographer, and probably the most versatile and prolific of his era. His subjects ranged from portraits and landscapes, to fashion and advertising, to still-life and war photography, and to dance and sculpture. His manner of handling his multi-faceted career was considered radical and controversial, and laid the foundations for how contemporary photographers crisscross the fields of editorial and advertising today.

Born in Luxembourg, Steichen immigrated with his family to the US when he was a baby, and then spent his early adulthood in Paris, where he became part of photography’s pictorialist movement. His work was published in Alfred Stieglitz’s quarterly reviews Camera Notes and Camera Work in New York.

Steichen even designed the cover, layout and typographical logo for the inaugural issue of the latter, and his logo appeared on the cover of all 50 issues.

After moving to New York in the 1920s, Steichen became Chief Photographer for Condé Nast Publications, defining the modern look of fashion and celebrity photography at Vogue and Vanity Fair. Following four decades of working as a photographer, Steichen turned his hand to curating, becoming the Director of Photography at the Museum of Modern Art in New York. His groundbreaking, travelling exhibition, The Family of Man, which opened in 1955, has been hailed as the greatest photography exhibition of all time. Featuring 503 pictures by 273 photographers from 68 countries, it belongs to UNESCO’s World Register for archive holdings and library collections, and is on permanent display at the Château de Clervaux in Luxembourg. UNESCO describes the exhibition as a “cult object” and “one of the major cultural creations” of the 20th century.

Text by: Anna Sansom

Joel Simpson

Geological Art Photography

Joel Simpson’s work moves away from standard landscapes—sky above, earth below, illusion of perspective, all-important quality of light—to create strong images from rock formations: rock surfaces, cave formations, and natural sculptures. The appeal is similar to that of Surrealist and Abstract Expressionist painting. There are three types:

Rock surfaces, short-field captures (“miniscapes”), unlike conventional landscapes, are flat-picture plane images, possessing relief but lacking perspective and [mostly] excluding sky. Without a sense of place or virtual depth, they invite the viewer to imagine visual associations in the configurations (pareidolia), similarly to the work of late Surrealists, such as Roberto Matta, and Abstract Expressionists such as Willem de Kooning.

Earlier examples of this kind of approach may be found in the work of Aaron Siskind, Minor White, Andreas Feininger, Ernst Haas, and Heinz and Elizabeth Bertelsmann among others, but none of them seem to have traveled extensively in search of of unusual formations, as Simpson has been doing for over a decade.

Cave formations draw on the same principles, but they tend to be three-dimensional so usually include more depth. There is no sky and often no sense of place.

Natural sculptures are discrete rock formations. Their images generally include sky and setting, but the focus is not scenic, but rather on the formation. The same invitations to the viewer’s imagination apply as above.

Text by Joel Simpson

Publication: Recent book by Joel Simpson, Playgrounds for the Mind: The Art of Geological Photography (2021) is completely devoted to geological art photography. Many of these images may also be found on joelsimpsonart.com. Samples of such images may also be found in Joel Simpson’s 2019 Nautilus-Gold-Award-winning book Earthforms: Intimate Portraits of Our Planet (earthforms.net).

Exhibition: 23-26 September 2021, Other Art Fair Presented by Saatchi Art in Los Angeles https://www.theotherartfair.com/la/

www.joelsimpsonart.com

Safe and happy summer!

© Miroslav Tichý / Foundation Tichý Ocean, www.tichyocean.ch

Alnis Stakle

Interested in the fate of the canonised artistic, scientific and journalistic images and their potential to embody contemporary meanings, for in in my new series of collages titled Mellow Apocalypse, I have used images from open source collections of art museums, scientific institutions and various image banks whose archives may be considered iconic testimonies of the present and the past.

The collages are grounded in my search for syntactic visual language connections in the images pertaining to various periods, media and domains of the visual culture. The collages make use of the ideas and technical codes established in the visual communication that transcend the borderlines of ages, media and cultures. The codes that are so deeply engrained in culture that they are used without thinking and are understood through pre-existing schemas in the recipients’ minds.

Although the decoding of images depends on the recipients’ interests, values, convictions and wishes, yet the globalised world of the visual culture is oversaturated with simulacra where the feminine and the masculine, the other, the desirable, the repulsive and the beautiful is depicted through the use of similar ideas and technical codes in different epochs and various media. These syntactic connections across various periods of visual culture and different media are traceable in persons’ postures and gestures, in colour stage designs and similar outlines of objects and architecture. The technical execution of the collages is based in the image post-processing software algorithms, letting them overtake the accuracy and precision of image depiction. Thus, the digital post-processing technological features become a part of the collages’ notional and technical code.

©All images Alnis Stakle

Archival pigment ink prints on rag paper, mounted on dibond, framed in custom shaped frames. 100 x 100cm (2021)

www.alnisstakle.com

Paul Biddle

"I found an old photograph of Fred Conquest and Jemima the Goose in a junk shop and bought it at once, I googled his name and it turned out that he was an animal impersonator in the early 20th century and it fired my imagination. So I turned him into an Island - in my series Fantasy Islands.

It’s deliberately a bad cut out to give it more of the feeling of cut and paste collage. I tore the shape of the goose from a German newspaper, Die Welt, to mimic Dadaist artists like Hannah Höch and George Grosz. I added some feathers and a few vegetables and fruit, echoing a still life composition. I photographed the assemblage over head in my studio and composited it on a sea background and added a reflection.

This series is about the Archipelago of Fantasy Islands which were discovered long ago by the fictional character, explorer and collector,Count Muldivo Mentor”.

Paul Biddle

www.paulbiddle.com/portfolio/fantasy-islands

Alice Springs

In memoriam: June Newton a.k.a Alice Springs (1923-2021)

“Mirror, mirror on the wall—how am I doing as night-time falls? There she was again, posing before the mirror with her small camera in her right hand, her body firm, and as always this very same determined gaze, bursting into an unspoken stream of creative strength.

EYEMAZING: How were these self-portraits born?

Alice Springs: They were never meant to be a project, just a series of reflections of what I saw on the way to bed after dinner at the Chateau Marmont early this year. I never know when I’m going to photograph myself. It mostly happens when I’m cleaning my teeth or taking off my make-up in front of the mirror before going to bed, or even sometimes after surgery when I am wearing a tube that is for collecting my blood on the night following a face-lift.

EYEMAZING: What makes one a good photographer?

Alice Springs: Good photographer…Many are called, few are chosen.

EYEMAZING: Which do you consider is the best photograph you have ever taken?

Alice Springs: Graham Greene, simply because it was the only portrait of mine that Helmut was ever jealous of. But, the most beautiful portrait I’ve ever taken must be the one of Helmut on his deathbed. Who will photograph me on mine?

Extract from a ten pages article interview with June Newton that was published in EYEMAZING spring issue 2008.

©All pictures: Alice Springs/June Newton

Hector Olguin

Photographs from Hector Olguin’s are immediately striking: on each picture, the body of a man or a woman, often in motion, sensual and/or mysterious, emerges more or less neatly from an explosion of vivid and contrasted colours. Blurriness, superimpositions, more or less identified props, more or less apparent faces and bodies, juxtapositions and blends of vibrant colours are mesmerising for the viewer who finds it hard to grasp at the same time all the aspects of the image. The eye is alternately attracted to the luminous detail (the golden nails of a model, the pink hat of another one); busy understanding the contents of the image (the rosebud man for example); curious about the technical conditions of the making of the image (the mermaid for example); fascinated with its composition (the girl with the flower bunch), with its contrasts (between the violence of vivid colours and the delicate quality of the gossamer textures), with the quantity of information it has to process (the model with fishnet stockings is a case in point). Torn between fascination and an effort to analyse the image, between passivity and activity, the viewer is above all destabilised by the discovery of an eccentric, even magical world.

Born in Santiago of Chile in 1970, he has lived in almost all the Latin-American countries (and had his work exhibited in Chile, Ecuador and Guatemala). In 2002, he moved to Paris. In France, he showed his work at the Palais de Tokyo (Hype Gallery project), in Nancy, during the 14th Biennale de l’image, at the Galerie Octobre, at the musée de Soues, and in the South of France at the Galerie Confluences in Nantes. He also lived and worked in Porto, Portugal, where he was offered a residency at the Palacio das Artes.

Text by Celine Mansati

©Picture: Hector Olguin

Sally Mann

Sally Mann’s What Remains, is a multi-part series exploring the ineffable questions surrounding death, decay, mortality, and spirit. What Remains was also the launching point of a remarkable film by the same name, a documentary about Mann and her work made by Steven Cantor. The film chronicles the development of Mann’s What Remains body of work, following the artist from her studio to the outside environment and even to her research at a forensic studies site. Through intimate conversations about her life’s work, her family, and the craft of collodion printing, Mann provides insight to her thought process and artistic intuition. In the film Mann describes how her love for a dearly departed dog led her to a deep consideration of the relationship between spirit and physicality. From this experience she moved forward with several photographic projects that became What Remains, a visual stream of associations and provocations aimed at capturing a fleeting glimpse of life’s essence.

Text by Heather Snider

William Wegman

Fotomuseum The Hague,

Being Human by William Wegman

Through 03-01-2021

American William Wegman (b. 1943) started photographing his Weimaraner dog in the 1970s, knowing that this breed enjoyed the act of posing and dressing up. After posing in front of Wegman’s camera, Man Ray, (named after the artist), the conceptual photographer decided to make his devoted hound the subject of his studio work. Here we see not only Man Ray but his descendants, Fay Wray, Candy and other Weimaraners, all patiently sitting or standing in perfectly aligned poses. Moving from the succulent, dense indigos and vermilions of his giant polaroids to the intense colour digital prints, there is an easy transition from the verisimilitude of the analogue to the immediacy of the digital. The melancholy eyes, the unsmiling forbearance of the perfectly groomed hound, lends a sombre, reflective quality to these animal portraits. Drawing on the curious and almost unbelievable tendencies of Surrealism, we see a huge print of a hound standing on three cubes, his or her paws poised on the black, grey and white edifices, (Contact 2014). Accessible, reassuring, playful and surprising, these images are reliant on the innovation of new, unexpected poses. But Wegman’s inventiveness is unbounded. It is not only the spectacular at play, here, however. The moments when his photos were most touching were when the dog's paws could be seen peeping through a dress as he or she sat on a chair, perhaps with a skirt or dress hanging below. Many of these images could illustrate the arguments in Camera Lucida; it wasn't artifice that generated Roland Barthes’s 'punctum' but the incidental (or maybe semi-planned) signs of how the images were made that invited a fond gaze. And this is very much in evidence in this retrospective. Some of the images are like a sleight of hand, especially the shot of a dog balanced in midair as if suspended in time. Other outfits are not only the epitome of Barthes’s ‘punctum’, they are also humorous, with one hound wearing a brightly coloured wig, a dress while her thin, grey, elegant dog legs stick out from under a hem.

The balance between the absurd and the benign, the intimate and the ludicrous, the playful and the serious, make these works so much more than a game of dressing up and make-believe. Despite many of the images being well known or easy to find in books, there were many surprises. Shot over many decades, they reveal an innocent, imaginative working friendship between an animal and a human. The sense of dedication and longevity of this project - a lifelong relationship with an idea - makes these series seem as treasured as a marriage. Although different dogs are photographed by Wegman (this breed is renowned for enjoying the theatre of dressing up and posing), there is a sense of quiet, unrestrained continuity. These shots are so much more than poster displays of the dressed-up dog found on social media. They are reverential, fused with a subdued respect for Man Ray and his many descendants who have all been this devoted photographer's calm, patient collaborators.

The Hague Museum of Photography worked in collaboration with renowned guest curator William A. Ewing and the Foundation for the Exhibition of Photography (FEP) to enable this exhibition to take place

Text by Siobhan Wall 2020

Sebastiaan Bremer

Já estava assim quando eu cheguei, Group exhibition

Curated by Frederik Schampers and Sebastiaan Bremer

Galerie Ron Mandos, Amsterdam

25.11.2020 - 31.01.2021

www.ronmandos.nl

The Brazilian works by Sebastiaan Bremer, included in a group exhibition at Ron Mandos gallery were started when Bremer found old slides in his father-in-law’s office. They showed the Seven Falls of Guaíra, or Sete Quedas – a submerged waterfall, which was replaced by the largest hydroelectric dam in the world. The only color of the slides which remained was orange, all the other layers of color of the slide emulsion having been erased by time, not unlike the waterfalls. The contradictions inherent in the dam project mirror the development of civilisation, in Bremer’s view; in harnessing energy to provide for themselves and their industries, human beings take away the very nurturing qualities this earth has to offer. Thus, per Bremer, the solutions of today can become the problems of tomorrow. In his work based on these images, the artist brings the falls back to life with small marks of paint and ink, and reverses history.

Inventions

Inventions, exhibition 

Curated by di Luce Lebart in collaboration with Urs Stahel

October 8, 2020 - January 3, 2020

Fondazione MAST, Bologna, Italy

www.mast.org

The exhibition “Inventions” curated by di Luce Lebart in collaboration with Urs Stahel, shows photographs of the most ingenious and surprising inventions taken for the collections of Archive of Modern Conflict (London) and Archives Nationales (France).These many inventions were produced and photographed in France between the two World Wars at the Office of Inventions on the initiative of Jules-Louis Breton, Director of Inventions.

Luce Lebart is a photography historian, curator and researcher at Archive of Modern Conflict in London.

Urs Stahel is a writer, lecturer and curator of Mast in Bologna, he is the co-founder of Fotomuseum Winterthur and President of Spectrum in Switzerland.

MAST Foundation is an international cultural and philanthropic institution that focuses on art, technology and innovation.

All images are sourced from the Archives nationales, France, and Archive of Modern Conflict, London 

*1-Studio as stage set, 1917-1918, gelatin silver print, National Archives, France, 398AP/61

*2-Tower for bird and airplane watching by Jules-Louis Breton and Paul Breton, 10/10/1930, gelatin silver print, National Archives, France, 398AP/27

*3-Early Computer, image published in the Sunday Times Magazine, gelatin silver print, circa 1920-1930, Collection Archive of Modern Conflict, London

*4-Listening device for ground surveillance, 1917-1918 Stampa ai sali d’argento / Gelatin silver print Archives nationales, Francia / France 398AP/42

Sergey Bykov

I was born in July 1967 in Kuibyshev, Russia and grew up in a small town up in the south of Ural Mountains. My parents were both construction engineers. 

In 1987, I graduated mechanical college and moved to the North, Tyumen region where for around two years I worked as engineer-designer in a company that repaired equipment for the oil industry. 

In 1989, I moved to Saint-Petersburg, started studying at the Railways Academy.In 1998 I started studying family psychology in the Academy of Culture of S-Petersburg. 

In 1999, I decided to move abroad. A chain of accidents brought me first to Brussels and soon after to Oostende, Belgium, where I studied Dutch and followed course of “Film and Video Kunst” in Kunst Academie, Oostende. 

In 2001, I was offered a job as a cook in a vegetarian restaurant in Gent. I moved again and worked during the days, while during the evenings I studied photography in Sint-Lucas Academy, Gent. 

Four years of the formal studies of photography didn’t really bring me closer to what I was looking for. Following my personal search at the end of the second school year (during the summer of 2003) I took part in the workshop of Michael Ackerman at TPW, Italy. There I found something that reanimated in me the hope to find the way of belonging to the time around me with the help of photography. 

The first thing I was intensely busy with after meeting Ackerman was my polaroid self-portraits, trying to capture directly what I felt rather then translating it through what i saw, to understand myself better by observing the states of my own being, to create the mystery out of my daily routine, to alter the truth … During the next two years it grew into 44 polaroid portraits that were exposed in the year 2007 at the “Month of Photography” in Krakow. At the same time I was working on other long-term project “Après Nous” collection of portraits of people I met on my way: relatives, loves, friends, colleagues I used to work with, places I visited. Not relaying on objectivity, documentary-ness and chronological order I tried to re-create my direct experience of facing the reality around me, as brought back from the past by the waves of my memory, as chain of flashes of bright, meaningful moments. 

Text By Sergey Bykov

All images ©Sergey Bykov * image1: In a Common Language with Monks, 2007 * image2:The Heroine With A Thousand Faces, 2006 * image3: That That Precedes Attention, 2009

James Whitlow Delano

Rainforest Sentinels  

“The spirits of their dead inhabit the giant trees. To cut down these trees would be to kill the vessel that harbors the souls of ancestors”. Christopher Achobang, Cameroonian environmentalist

Rainforest dwellers see things in the forest we do not. The forest speaks to them.  Its odors reveal a hidden presence, bird calls can contain subtle but clear warnings if you understand the language, a sudden breeze under the canopy may foreshadow a coming storm, mud tunnels of termites snaking up the trunk of a forest giant foretell the danger of collapse and deep silence can signal the proximity to a tiger. Forest hunters redefine stillness, hardly a breath, nothing but eyes moving, patiently watching, listening.  

This series explores concealed histories, unseen events in equatorial rainforests from three continents - their mysticism and hard reality.   Now, to a person, the cultural identities of the Rainforest Sentinels represented in this collection are as threatened as their ancestral rainforest homelands, by corrupt, unregulated resource extraction, feeding our global consumer appetite.

Image 1: ©James Whitlow Delano, Rainforest Guardian, Kuala Koh, Malaysia, Som, a Batek woman, fresh-picked flowers from the rainforest in her hair, emerges from the buttressed roots of an old growth rainforest tree. Image 2: ©James Whitlow Delano, Madonna of Djumu, Suriname, Saamaka Maroon mother with her newborn child embraced by the branches of a Kan-Kan tree, sacred to the Saamaka Maroon people. Djumu, Boven Suriname. 

www.jameswhitlowdelano.com

Stephane Graff

Inspiration-Contemporary Art & Classics

31st July - 20th September 2020

Ateneum Museum Kaivokatu 2, FI-00100 Helsinki, Finland

‘Louvre Diptych’, a photographic work by Stephane Graff is featured at the Ateneum Museum this summer as part of  the exhibition 'Inspiration - Contemporary Art & Classics'. The show addresses the formation of art history through certain key images reused and reinterpreted by artists today. 

Participating artists include: Jeff Koons, Kiki Smith, John Currin, Glen Brown, Jake & Dinos Chapman, Marc Quinn, Marina Abramović, Paul Benney, Hynek Martinek, Yinka Shonibare and Mat Collishaw, amongst others.  

This exhibition was originally on show at the National museum in Stockholm in spring 2020, and its main curators were Susanna Pettersson and James Putnam. At the Ateneum Art Museum, the exhibition is curated by the museum director, Marja Sakari, and the chief curator, Sointu Fritze. 

Kiyotaka Hamamura

Hamamura was born and grew up on a solitary island in Japan. He graduated from Bunka College of Fashion in Tokyo. When he started taking photos, he moved to London for a year, where he took many pictures of party people in East London. Now he lives and works in New York. He tells EYEMAZING, in his own words, about his images:

I was born in Japan. While living in London I began photographing. My first subjects were club kids, especially the gay and lesbian regulars of the nightclub scene. They shine the most when going out.They are dressed up so that their real selves bloom. And it’s as if they are Hollywood players. They are alive in these clubs, more than at any other time. I was charmed by their energy, and was inspired to take their portraits. After I left London, I came to New York. (I live in NY now.) My interest is in photographing a person and a time. However beautiful it may be as a picture, a photograph that evokes neither a time nor nostalgia does not strike the right chord with me. I also have a concept in mind when I take a photograph. I am recording interesting people who have character. I think that I want those who see my work to always feel a time and nostalgia from my photograph. It is said of a photograph with depth that it’s meaning emerges more and more, even over 10 years or 20 years. I regard a photo as maturing in the same way as a body maturing; time flows between its setting and the world. The progress of time can touch a person’s heart. A movement or motion of the heart is a hot thing, a pleasant thing. Each feeling becomes the past as a recollection, and that’s how nostalgia is born. My photography leaves an impression of a time and strives to value the sentimental, melancholic feelings that simultaneously come into view. It is the current of the times that have happened around me. It is the present.

Text By Kiyotaka Hamamura

John Goto

A Dance to the Muzik of Time

This series makes no secret of its own construction.  It uses—probably tests—the possibilities of digital software, and makes no apology for its jumps and contradictions as it maps past into present, painting into Photoshop, history into dialogue, the durability of traditional “Englishness” on to an athletic, energetic diversity of races, costumes and, inevitably, relationships to the past, all in constant motion. The title is borrowed from that of a painting by Nicolas Poussin in the Wallace Collection in London, showing four allegorical figures—perhaps the seasons—dancing to a tune played by an aged figure suggestive of Time. The same title was used by Anthony Powell for a series of 12 novels published between 1951 and 1975.  Said to be the longest novel in the English language, it traces the bonds among a group of friends and lovers who become close, lose touch and later meet again, all the while witnessing and responding to events, personalities, and issues in Britain in the mid-20th century.  With the title, then, Goto both establishes a relationship to historical painting—to the goal of constructing a serious, nuanced statement about the world in a single image, and alludes to a particular, subjective construction of English history.  But the changed spelling of Muzik also signals a dissonance, a radical departure—from historical painting, from the form of the novel, arguably even from history as such.  

Goto’s work has always been concerned with history, that is, with an understanding of the past encoded in written texts—narratives, guidebooks, and biographies.  However lightly he wears his erudition, he is clearly steeped in historical sources—visual, textual, and acoustic. He writes with grace and fluency—though now more often as clarification, elaboration, or occasionally defence of the work, rather than as part of it. In fact one way to understand the development of his work might be as a challenge to a received concept of history—specifically the challenge presented by photography.  In its themes, Goto’s work has tended to move forward in time—from the early twentieth century to the present.  Perhaps more crucially, it has moved away from a reliance on words to “frame” or locate the pictures, and towards self-sufficient pictures.  He has himself remarked that as he approaches present-day England—his own time and place, he has felt “at a loss for words.”

Text by Nancy Roth

John Goto is Represented by Galerie Dominique Fiat Paris, www.dominiquefiat.com

Robert Mapplethorpe

Galerie Thomas Schulte, Berlin

Robert Mapplethorpe: XYZ Portfolios

14 March-18 April 2020

www.galeriethomasschulte.de

Created between 1978 and 1981, the three portfolios contain 13 photographs each: X features imagery from New York´s homosexual S&M scene; Y floral still lifes; and Z nude portraits of black men.This is the second time the complete suits have been shown together in Germany since 1997. 

The gallery is also presenting a large group of Mapplethorpe´s prints selected by another artist of the gallery, avant-garde theatre director and designer Robert Wilson. The exhibitions will be on view 14 March through 18 April with two special film screenings of the documentary Mapplethorpe: Look at the Pictures (2016) at the gallery the day after the opening and during Berlin Fetish week.

Image credits: Robert Mapplethorpe, 1.Calla Lilies, 1985,   2.Robert Wilson, 1981,  3.Scott, NYC, 1978. All works: Courtesy of Galerie Thomas Schulte , Berlin, © Robert Mapplethorpe Foundation. Used by permission 

Jean-François Bauret

Musée Nicéphore Niépce

Jean-François Bauret, Percevoir, Recevoir

14 February-17 Mei 2020

www.museeniepce.com

Post-war reconstruction, the rise of advertising photography, the Trente Glorieuses, the sexual "liberation" of the 1960s: when Jean-François Bauret began his career in the late 1950s, anything is possible for a young person Self-taught photographer, enthusiastic, seductive and very well surrounded. Spearhead of emerging, overactive advertising photography, Jean-François Bauret embodies in his own way half a century of the short history of photography.

It is for this reason that the Jean-François Bauret fund joined the collections of the Nicéphore Niépce museum in 2016. After three years of inventory, digitization and study by the museum's teams, nothing comes to contradict two evidences: Jean-François Bauret is an advertising photographer and a prolix and transgressive fashion photographer; he is also an artist and portrait painter fully inscribed in his time. Archives of rare breadth and diversity show a photographer who cannot be confined to two shots and a few series.

The exhibition "Jean-François Bauret: perceive, receive" offers a retrospective of the artist's career in almost four hundred and fifty photographs. For the first time, the selection made from the four hundred thousand phototypes of the collection, will present a joint rereading of his commissioned works and his artistic creations.

Jean-François Bauret monographie, Editions Contrejour, 2018, ISBN : 9791090294325

© All images Jean-Francois Baurait

Image captions: 1. Serge Charchoune, 1958, Tirage sur papier au gélatino-bromure d’argent, 2. Claude, projet publicitaire pour le Printemps années 1960, Tirage sur papier au gélatino-bromure d’argent

Bernard Descamps

Bernard Descamps, Encounters

January 29 to April 19, 2020, Galerie Le Château d'Eau, Toulouse, France

www.galeriechateaudeau.org

Under the title "Encounters”  gallery Château d 'Eau presents a retrospective weaving links through the work of French photographer Bernard Descamps, from his first photographs to the new series "Natura".

Bernard Descamps became a photographer in the 1970's. A former biologist, he co-founded Agence VU in 1986. Today he is represented by Galerie Camera Obscura, in Paris, and the Box Galerie in Brussels.

His work is exhibited in several galleries and museums including the French National Library, Georges Pompidou Centre of Paris, Leverkusen Museum in Germany, Bunkamura gallery in Tokyo, and Camera Work in San Fransisco. He was the co-founder and co-artistic director of the first Festival of African Photography in Bamako in 1994. His work has been published in several books, notably "Japan" (2000), "Silences - Lieux sacrés de l'Inde du sud" (2008), and "lady land" (2009) among others.

©All pictures Bernard Descamps (1.Pêcheur  Vietnam Vung Lau, 2002, 2. , Islande, 2011, 3. Magagascar 2009, 4. Zoo de Bale, 1979)

www.bernarddescamps.fr