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.
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 Unionâ€™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 â€śnew manâ€ť de ning himself there is a witness of the mutations of our time.
â€” Claudine Doury
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.
On 9th July 1995, the Serbian army attacked Srebrenicaâ€™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 cityâ€™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)
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)
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)