VU' a Paris is a new perception of today's Paris transformed by the contemporary glances of VU' photographers. Photographer's project on the city went with a 'carte blanche' given to Fémis young film makers.
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 dayâ€™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 â€śDream Girl,â€ť a young woman studying to be a traditional healer, a â€śsangoma."
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 Africaâ€™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.
Text by: Denis Dailleux Publisher: Le Bec en l'air (2016)
112 pages Size: 20 x 29 cm
Christian Lutz : Insert Coins
In Las Vegas, everything seems possible, indifference above all. "Insert Coins is a blues" in the words of the author. Its pace is melancholic and dark, intertwined with a poem that makes the unacceptable watchable, injecting humanity where the die is definitely cast.
Christian Lutz shows a committed approach, he comments on a political, commercial and religious project. Born in Switzerland in 1973, living in Geneva, he started to follow the tradition of documentary photography before engaging in his own path with a singular distance from reality.
With Insert Coins, he felt the need to confront the manufacturing of illusion, the very symbol of entertainment made in USA. And take a close look behind the lights of a system of deleterious values.
Text by: Caroline Champion, Annick Le Guerer, Brigitte Proust Publisher: Editions de La MartiniĂ¨re (2016)
248 pages Size: 24 x 31 cm
Rip Hopkins : Belgian Blue Blood
Belgian Blue Blood
British photographer Rip Hopkins presents us here with a surprising range of 96 portraits he made in Belgium, the country of aristocracy.
Belgian historian Olivier de Trazegnies explores the paradoxes of Belgian aristocracy, while French Author Pauline de la Boulaye, like a botanist pinning a butterfly, examines closely these representations of nobility .
For each family portrayed, its history, titles and motto are explained.
Text by: Olivier de Trazegnies et Pauline de La Boulaye Publisher: Filigranes Editions (2016)
The trilogy The Walls Donâ€™t Speak (Les murs ne parlent pas) is the result of a three-year dialog between the photographer Jean-Robert Dantou, and an interdisciplinary Social Sciences team coordinated by the anthropologist, Florence Weber. The photographer set up his studio in various institutions (psychiatric nursing homes, private clinics, psychiatric hospitals) as well as beyond their walls, working directly with patients, friends, family and caregivers on images which mean something to them. In the first section, the authors put into perspective representations of madness in the history of photography, and propose a series of objects and texts presented as windows into the daily lives of those described as mad. In the second section, they reflect on the boundaries of madness through a series of portraits in which patients and caregivers of a psychiatric nursing home are portrayed without distinction. The third section is an essay combining photography and writing to question the limits of what can be photographed inside a closed psychiatric unit.
Text by: Jean-Robert Dantou, Florence Weber, Christian Caujolle Publisher: Kehrer (2015)
Text by: Dominique A Publisher: Filigranes Ă‰ditions (2015)
96 pages Size: 24 x 24 cm
Guy Tillim : O Futuro Certo
O Futuro Certo
Co-published by The Walther Collection, this book presents selections from Guy Tillimâ€™s most influential works and series of the last decade, including â€śMai Mai militia in training,â€ť â€śJoâ€™burg,â€ť â€śAvenue Patrice Lumumba,â€ť and â€śSecond Nature.â€ť Anchored in photojournalism but working against the grain of spectacle, Tillim portrays the communities, social landscapes and symbolic structures of societies altered by conflict. From explorations of modernist architectureâ€”and its utopian ruinsâ€”in post-colonial Angola, Congo and Mozambique, to the homes and private lives of Johannesburgâ€™s inner-city residents, Tillimâ€™s work raises timely questions about the politics and representation of the built environment.