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Photographers Agency

From the start in 1986, VU’ is known as an « agency of photographers » more than a photographical agency, claiming this way the specifity of each identity whom it belongs. Its name shows an ambitious connection, since VU’ is the eponym of a famous french magazine of the 20’s which was very innovative in a pictorial sense of way. It has gradually set a new style and maintained a high level of intelligence and creativity of its authors. Discovering, promoting, spreading and also exhibiting in a wide gallery (created in 1998)…

The VU’ team has made from a collective adventure a constant think factory on photography’s evolution and its place in the image world. Social, documentary, visual, it’s important to decode the multiple senses of contemporary creation and to question its handling by the media, the companies or the institutions.

From hot news to long lasting investigation, from formal work to intimate story, the VU’ photographers have built for more than thirty years a plural and moving panorama of photography.

Contact

Editorial & NGO / France
Patrick Codomier
codomier@abvent.fr
+33 1 53 01 85 88
Editorial & NGO international
Sébastien Dupuy
dupuy@abvent.fr
+33 1 53 01 05 48
Corporate & Advertising
Mathilde Penchinat
penchinat@abvent.fr
+33 1 53 01 85 86


Cultural Projects & Exhibitions
Patricia Morvan
morvan@abvent.fr
+33 1 53 01 85 89
Archives & International agents
Jean-Baptiste Henimann
henimann@abvent.fr
+33 1 53 01 85 87
Workshops & Publishng
Mathias Nouel
nouel@abvent.fr
+33 1 53 01 85 84


Communication
Bernadette Sabathier
sabathier@abvent.fr
+33 1 53 01 05 11
Exhibition Galerie VU’
Bookstore & Prints Sales
Caroline Bénichou
benichou@abvent.fr
+33 1 53 01 85 82
Delegated managers
General management
Xavier Soule

Agence VU'
Hôtel Paul Delaroche,
58 rue Saint Lazare
75009 Paris

 
Métro
Trinité d'Estienne d'Orves  

 
Phone+ 33 1 53 01 85 85

Agents


VU is represented by agents in the following countries for archives sales

Austria
APA picture desk
+ 43 1 36060 5959
office@picturedesk.com

China,
Hong Kong,
Taiwan

Imaginechina
+ 86 21 62723346
jerome@imaginechina.com

Germany
LAIF
+ 49 221 27 226 200
l.bober@laif.de

Holland
Hollandse Hoogte
+31 20 851 07 12
cila@hollandse-hoogte.nl

 

Italy
Karma Press Photo
+ 39 02 2610 819
elena@karmapressphoto.com

Japan
Aflo
+ 81 3 5550 2120
tomoko.tanaka@aflo.com

Poland
East News
+ 48 22 635 70 21
ewa.burdynska@eastnews.pl


Russia
East News
+ 7 495 680 60 66
liza@eastnews.ru

Sweden, Norway, Denmark
INA
+ 46 8-52210308
ina@inaagency.se

 

Switzerland
Keystone
+ 41 200 13 33
sales@keystone.ch

UK
Camera Press
+ 44 207 940 9137
y.aldsworth@camerapress.com

USA
Redux pictures
+ 1 212 253 0399
lorireese@reduxpictures.com

Spain
Cordon Press
+ 34 91 361 4552
tomas@cordonpress.com

For all other countries, please contact us directly.

Direct: 00 33 1 53 01 05 48
email: SÉBASTIEN DUPUY

Portfolio reviews

VU’s portfolio reviews for photographers who wish to join the agency:

• From Monday, September 11 to Sunday, September 24, 2017, you can drop your work in our dedicated FTP server.

FTP address: 62.210.151.247
Login: photographe
Password : R9P2NgeSFc

ZIP files only: Please note you won’t see your files on the FTP after the uploading.

• If we are interested in your work, we would contact you to set up an appointment.

• If your work has not been selected, due to the large number of application, we won’t be able to provide any feedback. We will just send a notice saying we have reviewed your work.

Submission file:

The file must contain:

- the form filled with your details. Please, find the form bellow,
- a short biography (PDF),
- an overview of your work (40 images max.),
- one or two stories, with an introduction text (25 images max. per story).

Your pictures should be saved as JPEG, 1600 pixels resolution.
IPTC fields must be filled with captions, dates and places.
Do not send any slideshow.

THANK YOU !

Form download

Press relases

   Select a year


Bruno Boudjelal
L’Histoire est à Noue, 2017-04-14

Dans le cadre du Mois de la Photo du Grand Paris
Installations monumentales de photos personnelles des habitants du quartier de La Noue-Clos Français, entre Bagnolet et Montreuil.
Une initiative signée Bruno Boudjelal et l’association l’Art est à Noue.
 Download press release
Amélie Landry
Les chemins égarés, 2017-01-12

Géographie sociale des lieux de sexualité entre hommes
Un projet cross-media : Création sonore / Exposition / Conférence / Livre

Des lieux de rencontres sexuelles, il y en a partout, mais pas n’importe où. Autrefois situés au cœur des centres urbains, on les trouve aujourd’hui presque exclusivement aux frontières ou hors des villes, mais leur localisation exacte échappe aux non-initiés. Les Chemins égarés est une réflexion sur ces espaces de liberté ou? s’exercent des désirs d’expériences entre hommes de tous âges et de tous horizons.
 Download press release

 
 Latest Edited Book

 Népal. Épiphanies du quotidien


 Népal. Épiphanies du quotidien

Nepal. Epiphanies of the Everyday

Nepal is most famous for its extraordinary geography, yet the everyday life its inhabitants is played out elsewhere. Since 1994, Frédéric Lecloux has been documenting its upheavals and tumultuous history, right up to the earthquake in 2015 and the mass migrations of its workers. These Everyday Epiphanies were created in the light of this documentary writing, on which they expand in their own poetic language.
  
Text by: Frédéric Lecloux

Publisher: Le bec en l'air (2017)

144 pages
Size: 25.5 x 28 cm

 La grande route par tous les temps


 La grande route par tous les temps

Récemment, cherchant à identifier ce que je prends quand je dis que je prends une photographie, ces mots sont venus : une photographie, une de ces images qui existent en moi, sans que je sache ni où ni sous quels traits, jusqu’au moment où me fait signe une vibration dans le réel – et scintille la découpe à y opérer pour que l’image prenne chair et s’apparie avec sa trace intérieure, latente encore une seconde plus tôt.
Dans les années 1990 je photographiais en sonnets. Je ne l’ai pas su de suite. J’ai longtemps cru que je les écrivais. Que je les avais écrits. Mais non. Je les ai reconnus, vibrant dans le réel, réclamant d’être appariés avec leur trace intérieure, et j’ai obtempéré, rien de plus. Je les ai recueillis, découpés dans le paysage au long des routes et des rails, des Monts Célestes à l’Ardenne, d’Ostende à Katmandou, de Bruxelles à la vallée de la Hunza. C’était il y a vingt-cinq ans, trente en comptant large – une paroi de temps. Quelques-uns l’ont traversée. Des images (des photographies ?), nées plus tard vers le lieu d’écriture de chaque sonnet, voudraient ouvrir des portes vers le dehors de ce qu’ils sont.

Frédéric Lecloux, janvier 2017
  
Text by: Frédéric Lecloux

Publisher: Arnaud Bizalion (2017)

132 pages
Size: 15 x 15,5 cm

 Edit Beijing


 Edit Beijing

Design by SYB. Edition limited to 500 copies with a signed c-print.

Color snapshots took in the street by south african photographer Guy Tillim during his artistic residency in Beijing
  
Text by: Guy Tillim

Publisher: Éditions Bessard (2017)

Size: 27,5 x 25,5 cm

 La pesanteur du lieu


 La pesanteur du lieu

La nuit est sublime, le jour est beau. Emmanuel Kant
La pesanteur du lieu est un projet réalisé dans le cadre d’une résidence de création au Domaine de Kerguéhennec, en Bretagne. Kerguéhennec est un centre d’art contemporain qui présente plus de 30 sculptures installées au milieu du paysage. C’est un lieu chargé de mémoire et de sens où d’autres artistes ont laissé leur empreinte.
La série explore le concept de “lieu” comme axe de lien émotionnel à travers l’obscurité, de la limite du représentable et de la perception de la réalité. La nuit apparaît comme outil de découverte, de mystère et de plaisir, comme un espace hiéroglyphique qui nous porte à imaginer quelque chose au-delà de ce que nous voyons réellement. Nous entrons dans le domaine du mental, de l’imperceptible, de la découverte.
C’est, en somme, une proposition plus sensorielle que raisonnée, emplie d’éléments intangibles qui apparaissent et disparaissent lentement à mesure que l’on tourne les pages.
Ce travail a été édité avec la participation du département du Morbihan dans le cadre d’une résidence de création d’Israel Ariño au Domaine de Kerguéhennec d’octobre à novembre 2016. Il a également reçu le soutien et la participation de la Galerie VU’ et de Grisart.
  

Publisher: Ediciones Anomalas (2017)

120 pages
Size: 32 x 24 cm

 Canada Canada


 Canada Canada

“Before I went to Canada, I felt that I was intimately familiar with this part of the world through the pursuit races, the butt stories and the tricks of North American cinema.” Canada Canada is a cinematic fantasy. Canada my own film where I am its main protagonist.

In this documentary series I have constructed the photographs as North American film excerpts in the style of those of Martin Scorcese, the Cohen brothers or Brian de Palma. Each image has its own scenario and each plays its own role in its own reality. A story that encourages us to imagine what happened before and after the shooting.
Canada is a land of welcome and reinvention. We are what we want without being held accountable. By immersing myself in the reality of my models I play with the potential life that could have in Canada, as if I were really the person I embody in the image. Sometimes my real life catches up with me. Seeing the photograph where I tenderly hold the hands of a beautiful woman in our VW combi, my wife worried, immediately telephoned me to find out if we were still together.
Rip Hopkins
  
Text by: Pépita Car

Publisher: Filigranes Editions (2017)

300 pages
Size: 17 x 20 cm

 Autoportrait


 Autoportrait

Je me souviens que lors d’une agréable discussion sur la photographie, Edouard Boubat m’avait dit : finalement nous, les photographes, nous tournons inlassablement autour d’une même photographie, une sorte d’image parfaite, un graal que nous n’atteignons jamais, et qui serait un autoportrait idéal.
Le grand portraitiste américain Richard Avedon disait aussi : dans mes portraits, l’autre est le miroir de mes propres états d’âme.

Je pense qu’en effet, toute photographie est un autoportrait, plus ou moins abouti.
Il en va ainsi pour les portraits. L’autre est un miroir pour le photographe.

Ce livre réunit une soixantaine de portraits, de gens connus ou anonymes, d’Afrique, d’Asie, de France, de mon village ou de ma famille…une soixantaine de très beaux souvenirs, une soixantaine de personnes avec lesquelles je me suis retrouvé, avec qui je partage un certain nombre de valeurs et qui réalisent donc, collectivement et sans trop le savoir, un autoportrait !…
  
Text by: Bernard Descamps

Publisher: Filigranes Editions (2017)

96 pages
Size: 21 x 30 cm

 Unknown #2


 Unknown #2

UNKNOWN #2 - THE ENDLESS REWORKING OF A BOOK.

In 2007, Stéphane Duroy published Unknown, an anthem to anonymous rebels and people in exile. A few years later, he remade the book by tearing the pages of the original edition and once the new version was completed, he repeated this method over the years to make 29 different and one-off variations of the same book.

What is to be said about this disconcerting, dizzy-making challenge? A displayed desire to be always re-writing the same story, differently? Does it call to mind the quest for a truth and its opposite, supreme chaos? Does it have to do both with the exercise of an extreme concentration and an anarchic outcome? At the beginning and end of Unknown, there is a geography, on the one hand of Europe and its centre, Germany and, on the other, North America, pivotal continent, mealting-pot of exiles and dreams, graveyard of dashed hopes and failures. And as in all geographies, there are rivalries here between centre and periphery, between new world and old, and armies of proletarians and exiles who periodically go from one to the other. At the origin of Unknown there is also the everlasting recommencement of a story, deliverance and oppression, going beyond history and oblivion. Horizon and loss.

Ezra Nahmad
  
Text by: Stéphane Duroy

Publisher: Filigranes Éditions (2017)

64 pages
Size: 24 x 33 cm

 Cespedosa


 Cespedosa

Catalogue of the exhibition at Tabacalera, Promocion del Arte, Madrid (16/09/2016 – 13/11/2016). The exhibition project of the winner of the National Price of Photography 2015, Juan Manuel Castro Prieto, goes around the construction of the author’s memory in the form of a pictorial history through his 39 years of photographic production. The exhibition focuses on Cespedosa de Tormes, a small town of the Salamanque region where were born and lived the parents of the author.

Through 200 photographs gathered in six sections completed by three videos, Castro Prieto shows a Cespedosa that goes beyond descripting, beyond documenting and reveals itself like a magical place for the authors where unleashes his dreams and his creative instincts.
  
Text by: Chema Conesa, Publio Lopez Mondejar, Vicenta Hernandez, Juan Manuel Castro Prieto - en espagnol

Publisher: Ministerio de Educacion, Cultura y Deporte / Aera de Cultura / Auht' Spirit (2016)

262 pages
Size: 27 x 22 cm
ISBN :8481816523

 Italia


 Italia

The artist Martin Bogren has spent most of the past three years in italy, capturing the country's atmosphere. This publication, beautifully designed by Greger Ulf Nilson, captures a historic traditional style of street photography and typifies a photographer's romantic notion of place.
  

Publisher: Bokforlaget Max Ström (2016)

80 pages
Size: 23,7x30,7cm

 Rescapés


 Rescapés

Les polaroids préparatoires des mises en scène de Bernard Faucon nous font entrer dans la fabrication de ses images, racontée pas à pas par Anaël Pigeat. La plupart ont disparus, seuls restent ces “rescapés”, reliques un peu sacrées, que le livre offre d’ausculter à la manière d’un archéologue.
  
Text by: Anaël Pigeat

Publisher: Éditions de l'Œil (2016)

294 pages
Size: 21 x 21 cm

 L’homme nouveau


 L’homme nouveau

Up to now, I have been photographing a lot of young girls, bring- ing back my childhood and adolescence through them. In these works, the rare masculine gures just played a secondary role.
With this series, I now want to explore the masculine identity in a moment of transition at the end of adolescence. When and how does the boy becomes man? What are the signs of this mutation? How is it diferent from the previous generations?
I produced this series mainly in St Petersburg where a new generation of Russians emerges, born at the time of the Soviet Union’s collapse.
Sons of the new middle class, those young Russians are now twenty and at the opposite of their parents: they come from all over Russia and chose St Petersburg as the place of their new life.
At odds with an entangled Russia stuck by the heaviness of its structures, they are rmly modern, interested in art and culture, connected with the rest of the world, and they appropriate the codes of the running world.
That new “new man” de ning himself there is a witness of the mutations of our time.
— Claudine Doury
  
Text by: Dominique Baqué

Publisher: Filigranes Editions (co-production : La Galerie Particulière) (2016)

72 pages
Size: 22 x 33,5 cm

 Srebrenica, nuit à nuit


 Srebrenica, nuit à nuit

On 9th July 1995, the Serbian army attacked Srebrenica’s Muslim ghetto. Nearly 8,000 people were massacred in three days. In Bosnia, and in the rest of the world, the former spa town becomes the symbol of former Yugoslavia's barbarity. Twenty years after what remains the greatest slaughter in Europe after the Second World War, the city’s history seems frozen in obscurity. A new generation, however, is travelling its ruins and learning as much as it can from its consequences.
This series of photographs by Adrien Selvert, annotated with text by New York Times journalist Roger Cohen, has won numerous awards including the Prix Maison Blanche 2015.
  
Text by: Roger Cohen

Publisher: Le Bec en l'air (2016)

88 pages
Size: 19 x 25 cm
ISBN :978-2-36744-091-0

 Les Chemins égarés


 Les Chemins égarés

Cruising sites can be found everywhere but not just anywhere. Once located in the heart of urban centres, today they are nearly exclusively located on the city limits or outside of cities: disused industrials zones, scrublands, motorway rest areas, and coastal dunes... Autonomous and free spaces, their exact location escapes the consciousness of the non-initiated.
The Wayward Paths is an exploration of these sites of freedom where, despite the fear of police raids or gangs, despite threats of administrative closure, desires for free experiences between men of all ages and from all walks of life continue to be exercised.
  
Text by: Laurent Gaissad & Mathieu Riboulet

Publisher: Le Bec en l'air Editions (2016)

184 pages
Size: 16,2 x 22,5 cm

 Se mettre au monde


 Se mettre au monde

Le photographe Steeve Iuncker a mené une recherche de plusieurs années sur le passage de l’enfance à l’âge adulte, interrogeant l’absence de «rites de passage» clairement identifiés dans nos sociétés laïques. Ses images captent des actes d’adolescents qui s’apparentent à des rites inconscients. Prises de risques, quête d’oubli comme une forme de mort et de renaissance, flirt avec les limites, actes transformateurs : le photographe tisse un paysage visuel subtil de la mue et esquisse un portrait nuancé d’une jeunesse en quête de soi.

Ces photographies, réalisées à la chambre argentique puis transformées par un tirage au charbon Fresson quadrichrome, sont accompagnées des textes de Caroline Recher, historienne de l’art, et de David Le Breton, anthropologue.
  
Text by: Caroline Recher et David Le Breton

Publisher: Le bec en l'air éditions (2016)

96 pages
Size: 22.5 x 28.5 cm

 Township


 Township

I have been working as a documentary photographer for nearly thirty years. Over the past decade I have photographed life in the townships of Langa, Khayelitsha, Philippi and Mitchell's Plain outside of Cape Town, South Africa. My work there began during a Guggenheim Fellowship year for my exploration of the culture of amateur boxing. During my trip, I met people living in Langa and Khayelitsha and began photographing the Luvuyo Boxing Club in Khayelitsha. I felt uncomfortable as another white person with a camera, photographing people with less resources and access to power. Subsequently, I cut my trip short, unsure of the work I was doing and who would actually benefit from it. Upon my return to the States, I looked at the pictures I had made decided to go back to learn more, to further explore post-apartheid life in black communities. After over a dozen trips and more than a thousand rolls of film, I began to believe that the pictures mattered-they were not about people as victims, or about poverty, or any of those things we imagine life in black South African townships to be.
Outside the cities frequented by tourists and business travelers, in vibrant townships, I found beauty and strength and all the contradictions of being human in the people I photographed; a preacher testifying to his rapt congregation; a couple's loving embrace at day’s end; the proud regard of my friend Sindi in her traditional Xhosa dress; the moving funeral of a young Sotho man; the poetry and grace of a girl dancing on a warm Sunday afternoon; and the striking face of “Dream Girl,” a young woman studying to be a traditional healer, a “sangoma."

This work has taken me into classrooms of overcrowded schools, the emergency room of an underfunded government hospital, burgeoning churches and the homes of those who live there. With South Africa’s current political climate, economic instability and increasing social unrest, these images serve as a reminder of all that is at stake in this fragile new democracy.

From my first body of work, on Basque life and culture in southwest France, to this current project, I have worked in the humanist tradition of photographers such as Dorothea Lange, Eugene Richards and Peter Magubane, striving to make images that foster empathy, understanding, and social change. I endeavor to honestly portray the rich and full range of day-to-day experience of the people I encounter. I have launched this campaign to raise money to defray the costs of a book of these photographs that I am thrilled to be co-publishing with Editions Clémentine de la Féronniere. "
  
Text by: Phillip Prodger et Sipho Mpongo

Publisher: Editions Clémentine de la Féronniere (2016)

144 pages
Size: 25 x 28 cm

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