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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
Archives & International agents
Jean-Baptiste Henimann
henimann@abvent.fr
+33 1 53 01 85 87
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
Workshops & Publishing
Mathias Nouel
nouel@abvent.fr
+33 1 53 01 85 84
Exhibition Galerie VU'
Bookstore & Prints Sales
Caroline Bénichou
benichou@abvent.fr
+33 1 53 01 85 82

Communication
Bernadette Sabathier
sabathier@abvent.fr
+33 1 53 01 05 11
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


Agence VU is represented abroad by agents:

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 any further information, please do not hesitate to contact us:

00 33 1 53 01 85 85
email: vu@abvent.fr

Portfolio reviews

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

• From Monday, September 10 to Sunday, September 23, 2018, 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),
- one to four 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


Magali Lambert
Exposition "Venus du jamais mort" à la Galerie VU, 2018-09-01

Exposition du 13 septembre au 27 octobre 2018

Alors qu'elle publie un ouvrage au titre éponyme de l’exposition Venus du jamais mort, la photographe Magali Lambert nous propose, pour sa première exposition à la Galerie VU’ qu’elle vient de rejoindre, séries dans lesquelles elle construit des assemblages d'objets étranges, poétiques et parfois burlesques.
 Download press release
JR
Album RSF, 2018-06-21

“100 photos pour la liberté de la presse"

En 2018, il a été désigné par le magazine Time comme l’une des 100 personnalités de l’année. Pour la nouvelle édition de son album, Reporters sans frontières ouvre ses pages à JR.

Parution le 5 juillet 2018
 Download press release
Juan Manuel Castro Prieto
Exposition "Voyage du réel à l'imaginaire", 2018-06-20

La Vieille Eglise Saint- Vincent de Mérignac accueille cet été les séries autour du voyage de Juan Manuel Castro Prieto.
Il s’agit de la première exposition monographique en France consacrée au photographe espagnol.
Ses magnifiques oeuvres réalisées en Ethiopie, au Pérou ou dans son village natal de Cespedosa sont à découvrir jusqu’au 23 septembre 2018.
 Download press release
Agence VU
Première VU', 2018-03-23

Exposition du 5 au 9 avril 2018

Pour la première fois depuis sa création, VU’ Éducation présente à la Galerie VU’ une exposition de travaux
photographiques réalisés par 23 jeunes auteurs, guidés par Claudine Doury, Bruno Boudjelal et Martine Ravache.
 Download press release
Françoise Huguier
Exhibition "Jardin intime" at the Galerie VU, 2018-02-26

On the occasion of the release of a new album from Reporters Without Borders (RSF), 100 photos by Françoise Huguier for the Freedom of Press, from March 8th to March 31st, the Galerie VU' dedicates an exhibition to this immense artist with an exceptional destiny.
Jardin Intime offers a selection of about 50 colour and black&white prints from different series including iconic and unpublished images.
 Download press release

 
 Latest Edited Book

 Le carnet Viking : 70 jours en mer de Barents


 Le carnet Viking : 70 jours en mer de Barents

Fécamp, juin 1939. Anita Conti embarque sur le morutier Viking pour une campagne de près de trois mois dans l'Atlantique Nord. C'est la première fois qu'elle reste aussi longtemps sur un navire. Seule femme parmi cinquante pêcheurs, elle restitue au jour le jour, dans ce carnet inédit, l'émotion brute ressentie à bord.
Gorgé d'images et de confidences de marins, fouetté d'embruns ou noyé de brume, Le Carnet Viking ouvre aux secrets de la mer, ce monde énigmatique et mouvant où l'on se confronte au détachement et aux sensations les plus élémentaires.
  
Text by: Laurent Girault-Conti et Catherine Poulain

Publisher: Payot (2018)

218 pages
Size: 20,4 x 14 cm

 Lars Tunbjörk - Retrospective


 Lars Tunbjörk - Retrospective

Initially inspired by Swedish masters such as Christer Strömholm, as well as Stephen Shore, Lars Tunbjörk (1956–2015) was one of the great and truly original European photographers. Tunbjörk's international breakthrough came in 1993 with the photobook Country beside Itself.
Celebrated by Martin Parr and Gerry Badger as "an acute observer of modern life," Tunbjörk's color images amplified the mundane and the absurd in a quietly surreal fashion using the hard light of flash photography, which became his signature style and influenced a subsequent generation of photographers. His best-known photobook series include Office (2001), which depicts office workers in bizarre chance positions, and Home (2003), in which everyday items such as flowers or armchairs are made to reveal a quiet absurdity in Swedish suburbia.
With more than 250 images, this volume constitutes the most substantial overview of his work.
  
Text by: Kathy Ryan, Göran Odbratt et Maud Nycander

Publisher: Max Strom (2018)

336 pages
Size: 29,2 x 26,7 cm

 JR - Album RSF


 JR - Album RSF

Le portfolio inédit du nouvel album « 100 photos pour la liberté de la presse » de Reporters sans frontières vous fait parcourir le monde dans les yeux de JR.
Les yeux de femmes du monde entier, les rides de nos anciens, les silhouettes de nos archives… JR accouche la ville de ses secrets, de nos oublis et des injustices de nos sociétés. Il est doté de ce talent qui fait les grands artistes : savoir s’adresser à tout le monde.

En 2018, JR a été désigné par le magazine Time comme l’une des 100 personnalités de l’année.
  
Text by: Serge July

Publisher: Reporters Sans Frontières (2018)

144 pages
Size: 21 x 28,8 cm

 Respirano i muri


 Respirano i muri

For Paolo Di Stefano, the bond that unites a man to his own home is something profound and fundamental. The houses are furnished, lived, cared for and sometimes abandoned, absorbing the smells, moods, feelings and lives of those who live there and influencing them at the same time, becoming a fundamental part of man's most intimate memory. The book tells this relationship from the description of the house where he was born.
  
Text by: Paolo Di Stefano, Goffredo Fofi

Publisher: Editions Contrasto (2018)

149 pages
Size: 17x23,5 cm
ISBN :8869657337

 And Time Folds


 And Time Folds

This beautiful volume accompanies a career retrospective exhibition of British photographer Vanessa Winship at London’s Barbican Art Gallery. The extensive show is catalogued in the book which encompasses all Winship’s major series and includes previously unpublished recent work.

An essay by renowned photographic historian and writer David Chandler offers a lyrical and insightful view into Winship’s practice.

Vanessa Winship (b. 1960 in Lincolnshire, United Kingdom) is a photographer whose work explores concepts of borders, land, memory, desire, identity and history. Her projects have received numerous awards including the World Press Photo, Leica Oskar Barnack Award, Sony World Photography Awards, Taylor Wessing Photographic Portrait Prize, and the Fondation Henri Cartier-Bresson prize. she dances on Jackson (MACK, 2013) was Winship’s third book, following Schwarzes Meer (2007) and Sweet Nothings (2008). Member of Agence VU
  
Text by: David Chandler

Publisher: Mack (2018)

256 pages
Size: 23 cm x 24 cm

 Persan-Beaumont


 Persan-Beaumont

Réalisée par Denis Dailleux à partir de 1987, cette série de portraits en noir et blanc, publiée ici pour la première fois, commence par une rencontre dans le train :
« C’est en rentrant de mon village où, durant l’été, j’avais photographié les habitants et ma grand-tante Juliette que j’ai fait la connaissance dans le train Corail des garçons de la cité « Le Village » de Persan. Ils étaient une dizaine et avaient passé quelques jours de vacances aux Sables-d’Olonne. Ils déambulaient de wagon en wagon avec un radiocassette qui diffusait du rap sans que personne ne les interpelle. Je leur ai montré les images de Juliette et je me souviens qu’en les voyant ils ont dit « Classe ! ». Et c’est à ce moment précis que je leur ai demandé s’ils étaient d’accord pour que j’aille les rencontrer dans leur cité. C’est Coco qui m’a donné son numéro de téléphone. À cette époque on parlait très peu des problèmes de banlieue mais ce n’est pas sans une petite appréhension qu’au début de l’automne 1987 je me suis enfin décidé à appeler Coco. Il m’a donné rendez-vous le dimanche suivant à la gare de Persan-Beaumont. Bientôt, j’ ai su que je tenais quelque chose. Comme une révélation photographique qu’autorisait le lâcher prise des enfants face à mon objectif. »

L’immersion de Denis Dailleux à Persan, commune du Val d’Oise, va durer cinq ans. Les longues séances de poses qu’il mène avec les jeunes du quartier ne seraient sans doute plus possibles aujourd’hui sur ce territoire où la situation était déjà tendue.

Ainsi, la puissance intemporelle des photographies de Denis Dailleux, alliée au texte engagé d’Abdellah Taïa avec qui il est retourné à Persan-Beaumont trente ans plus tard, font de ce livre une parution importante sur le sujet sensible des banlieues.
  
Text by: Abdellah Taïa

Publisher: Le bec en l'air (2018)

72 pages
Size: 24 x 31 cm

 Pigalle People. 1978–1979


 Pigalle People. 1978–1979

It is 1978 in Pigalle. Jane Evelyn Atwood, a young American, has been in Paris for a few years. She’s just completed her very first photo story about the prostitutes in town, in which she asserts from the beginning what will remain the fundamentals of her practice: long-term involvement, immersion, respect, empathy. And nightlife fascinates her. She continues. She wanders the small streets in back of the Boulevard de Clichy, the ones that climb to Abbesses, rue Houdon, André Antoine, Lepic, and the rue des Martyrs… Transsexuals dot the streets, soliciting men for 100 francs. The bars here are holes in the wall, not for outsiders. The tourists stay down on the Boulevard. There’s warmth, happiness as well as violence in the air.

One day she sees two trans disappear into a building, she follows them. She photographs them. That’s where this book begins. It brings together photographs that were taken over a period of a bit more than a year.

In the very beautiful text in which she recalls these days, Jane Evelyn Atwood writes: “I photographed the trans of Pigalle as I saw them, but I couldn’t photograph what they’re all about. Their lives are hard because they’re ridiculed, feared, ostracized, pushed to the margins by society –but even more so, because they’re so complicated. They have a sorrow deep within, too deep to capture with a camera, almost too far to reach with words. It’s private: a secret, even from them.”

Then AIDS hit in the 1980s. Many died, some moved to other neighborhoods, skinheads came down from the projects nearby to beat up the few trans who were left. It wasn’t safe for them to be in Pigalle. Then the law banned soliciting on the streets. With their departure, Pigalle, as it is recounted in this book full of compassion and lucidity, vanished.
  
Text by: Jane Evelyn Atwood

Publisher: Le Bec en l'air (2018)

160 pages
Size: 16 x 22,5 cm

 Françoise Huguier


 Françoise Huguier

Reporters Without Borders (Reporters Sans Frontières RSF) dedicates the next issue of the collection « 100 PICTURES FOR THE FREEDOM OF PRESS » to Françoise Huguier's work.

When Françoise Huguier defines herself as a simple « documentary photographer », she has though imposed her multifaced sight in the world of photography, but also in the worlds of cinema, fashion, documentary films and reporting. Her long and eclectic collaboration with the daily newspaper Libération, her long term stays in Africa and Asia, Siberia, St. Petersburg as well as Brittany have sharpened her sense of discreet closeness to her subjects, especially with women.

This original portfolio published in this new album « A 100 pictures for the freedom of press » from Reporters Without Borders is a wonderful kaleidoscope of her « art of withdrawal », as qualified by Gerard Lefort, a journalist and writer who pays homage to Françoise Huguier with both emotion and amusement.
  
Text by: Gérard Lefort

Publisher: Reporters sans frontières (2018)

Size: 21,1 x 28,8 cm

 Photobolsillo


 Photobolsillo

Apart from their evident mastery of colour and framing, Navia’s documentary photographs are noted for their humanistic approach to landscapes and peoples of the South: the Mediterranean, Africa, Latin America and any regions with Latin and Iberian roots.

According to series director Chema Conesa, “Navia has created a highly personal photographic style which is related to literary construction. The airy silence of his chromatic chiaroscuros are pure atmosphere and evocation. He stops the world and activates suggestion, with images that are constructed with the same imperfections as life—what’s half done, the emotion of that which
is about to happen, the hum of time itself.”

The PHotoBolsillo series publishes monographs on the most important Spanish, Latin American and African photographers in a didactic and affordable format.
  
Text by: Chema Conesa

Publisher: La Fabrica (2018)

96 pages
Size: 13 x 18 cm
ISBN :8417048510

 Stone


 Stone

For almost 25 years Ad van Denderen has been photographing daily life in Israel and the Palestinian territories. He originally worked in black and white, in a classical, direct, reportage style. About 15 years ago he switched to colour, and since then he has employed a more detached and monumental photographic style. 'Stone' unites these two approaches to create a subtle depiction of the complex and precarious situation in this part of the world, and makes much use of stone as a metaphor. It is stone that principally defines the landscape. Its quarries provide the material for houses on both sides of the border. Stones are used to throw up barriers and throw at adversaries. At one and the same time, stone is a weapon, an obstacle, but it also offers shelter.
  
Text by: Ad van Denderen

Publisher: Fw: Books (2017)

200 pages
Size: 14 x 21 cm

 Cahier 2003-2016


 Cahier 2003-2016

Ferhat Bouda s’inscrit clairement dans une tradition de la photographie documentaire, de la narration, de l’essai et de l’engagement. Témoigner, donner à voir, de préférence en noir et blanc, pactiser avec le temps pour aller au-delà des apparences, se faire accepter pour à la fois respecter ceux qu’il représente et livrer des clés qui dépassent l’anecdote, telles sont les bases de ses enquêtes au long cours.
Chez lui, en Kabylie, tout comme auprès des militants de l’Azawad avec lesquels il entretient d’abord une proximité culturelle ou en Allemagne où il est basé, il s’attache aux gens, au regards, aux attitudes. Il tente de décrypter les situations et de nous partager avec nous ces univers complexes souvent difficiles à approcher ou, trop souvent, dissimulés par des clichés et des stéréotypes.
Ferhat Bouda s ’intéresse principalement aux minorités : des Berbères aux peuples nomades comme les Touaregs, les Mongols.

Cahier est une collection de carnets de travail édités en fac-similé, dirigée par Zoème à Marseille
  

Publisher: Filigranes Editions (2017)

64 pages
Size: 14x21 cm

 Natures


 Natures

Entre l'homme et la nature se tissent des liens indicibles, mystérieux, puissants. Le paysage, plan large ou plan serré, en présente d'innombrables traces, que la photographie révèle. Elle nous aide à déchiffrer le palimpseste du visible, à déceler dans le fouillis de la forêt de symboles chantée par Baudelaire un sens, une harmonie, une écriture. 
Le livre se présente comme une succession d'univers (la rivière, le marais, l'arbre, la terre, la mer, la montagne) dont l'exploration sollicite non seulement le regard, mais la mémoire la plus intime de chacun. 
Les photographies de Jean-Luc Chapin se construisent dans la contemplation des lumières d'hiver, des berges qui s'étirent sous le ciel plombé, des flaques lumineuses dans des crépuscules de suie, des plages de vase où des oiseaux ont laissé leurs empreintes, des marnes incertaines dans les lueurs de fin – ou de début – du monde : l'aube des formes. Elles cherchent les premiers tremblements de la vie, le contact avec la matière. L'anecdote n'y a pas sa place. 
Dans chaque partie alternent les visions larges et les détails dont sont faits les vastes paysages : végétaux, animaux, traces dans la terre molle, écorces, reflets... La marque du vivant recherchée dans l'inerte, la photographie faisant apparaître les indices de son émergence. La marque nette d'une patte d'oiseau peut être lue comme un idéogramme, de même que les graffiti gravés voici deux siècles dans l'écorce des hêtres, déformés par le temps, dessine sous nos yeux une écriture nouvelle. 
Les photographies sont en noir et blanc, travaillées en argentique. Les pages s'ouvrent sur le secret de correspondances imprévues. Le livre propose un récit, indique des passages d'une photo à l'autre, d'une page à l'autre, d'un chapitre à l'autre : le langage du monde. Les textes de Jean-Marie Laclavetine accompagnent cette méditation en images, sans les commenter mais en proposant un rythme, une musique, suivant l'itinéraire rêveur jalonné par les photographies – la «voix native» dont parle Muriel Barbery dans sa préface, où elle compare natures aux rouleaux de la Chine ancienne qui illustrent «la profonde solidarité de la nature et des signes».
  
Text by: Jean-Marie Laclavetine et préface de Muriel Barbery

Publisher: Gallimard (2017)

168 pages
Size: 22,5 x 25,5 cm

 Smoke & Mirrors


 Smoke & Mirrors

"To impress these complex sentiments that combine contemplation and decoding, comprehension and reverie, Guillaume Zuili resorts to the most photographic aspect in image production: the print. This provides a salutary reminder that a photograph only exists in virtual and ephemeral form—the most successful, apparently, today—if it does not take material form and become an object, were it only of paper and fragile. It is a reminder that these refined, masterfully produced sheets of paper shimmer with often uncontrollable changes in tonalities, endowing depth in both the velvety blacks and range of grays that modulate and caress the forms. This is where a perception of time resides, sometimes distracted beneath its charming appearance, and nudges us in the direction of dreams of palm trees and pinups, motifs employed by pop art and repurposed by advertising. Time is halted and simultaneously suspended, between a yesterday unknown by either the photographer or what he creates, and a today that he exploits to send us back to a universe that we are unable to see, that he brings into existence.
For us this is mostly certainly an illusion presenting itself as a reality, so much is it able to convince us by arousing memories, an allayed awareness of time, and a possible evasion in the dream that mellows the decor and opens a possible space for us. All this through matter and materials, sensualities couched and inscribed in the gelatin, the sheet of paper, and the successive layers worked by the light."
  
Text by: Christian caujolle

Publisher: Clémentine de la Féronnière (2017)

120 pages
Size: Relié toilé, 26 x 34

 The April Theses


 The April Theses

"In March 1917, Vladimir Ilych Ulyanov (Lenin), leader of the revolutionary Bolshevik Party left his exile in Zurich. Eight months later, he assumed the leadership of 160 million people occupying one-sixth of the world’s inhabited surface. On April 9th 1917, with the support of German authorities, at war with Russia at the time, he travelled back to his own country on a train across Germany, Sweden and Finland to reach Finland Station in St. Petersburg on April 16th where, after a decade in exile, he took the reins of the Russian Revolution. One month before, Czar Nicholas II had been forced from power when Russian army troops joined a workers’ revolt in Petrograd, the Russian capital. In a bullet point document, known as "The April Theses", Lenin called for the overthrow of the Provisional Government and outlines the strategy which, within seven months, will lead to the October Revolution and bring the Bolsheviks to power. 100 year later, I created a chronology of two weeks of Lenin's life just before the events that changed Russia and the entire world. In search of the original draft of “The April Theses”, I recreated and sometimes reenacted, on a real non-invented trip, Lenin’s epic journey inspired by the archival documents I found at the R.G.A.S.P.I. (Russian State Archive of Soviet Political History) and historical books including “To Finland Station” by Edmund Wilson and “The Sealed Train” by Michael Pearson. The final work is a collection of contemporary landscapes, forensic archival photographs and staged self-portraits which retrace a journey in space and time."
  
Text by: Davide Monteleone

Publisher: Edizioni Postcart (2017)

112 pages
Size: 16,8 x 23,6 cm

 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

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