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Archisable
Editions Xavier Barral 2018 ISBN 9782365111829 Acqn 28482
Hb 19x24cm 115pp 160ills £32
Text in French

Rooted in the tradition of the ephemeral art, evoking the Native Americans' Sand Paintings, the
Tibetan mandalas or Constantino Nivola and Le Corbusier's Sand Castings, Archisable is first
and foremost a poetical project, born two years ago on Deauville's beach. Invited by Tina
Dassault, 26 renowned architects have, one after the other, expressed themselves in front of
elements. For every one of them, it has been the occasion to reconnect to the builder's
immemorial gestures, through spontaneous constructions, far from the comfort of their offices and
their computers. The publication and the exhibition present a selection of photographs by Michel
Trehet, only traces of those ephemeral structures that vanish with the tide, in front of which the
eye loses every reference point. By the magic of the standpoint, the sandcastles appear as
mighty monuments. "The focus, the very close-up shot, the high- and the low-angle shot,
penetrate to explore virgin universes. The loss of scale arises the stunning, and brings to light the
barely-visible" (Tina Dassault).

Paul Andreu, France, Marc Baranni, France, Michel Cantal-Dupart, France, Dominique Châtelet,
France, Marie-Hélène Contal, France, Jérôme Damiens, France, Dinah Diwan, United
States, Patrice Doat, France, Frédéric Druot, France, Anne Feenstra, Netherlands, Antoine
Grumbach, France, Franck Hammoutène, France, Anne Heringer et Marc Rauch, Germany,
Dominique Jakob et Brendan McFarlan, France, Yann Kersalé, France, Didi Pei, United States,
Jana Revedin, Austria, Nathalie Sabatier, France, Léna Soffer, France, Roger Taillibert, France,
Isabelle Taourel, France, Youssef Tohmé, Lebanon, Bernard Vaudeville, France, Corinne
Vezzoni, France.

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Antoine Bruy – Scrublands


Editions Xavier Barral 2018 ISBN 9782365111805 Acqn 28486
Hb 19x24cm 108pp 55col ills £31.50

While hitchhiking across the length and breadth of France, Antoine Bruy met men and women
who, in Ardèche and Lozère, aspire to live in the most self-sufficient way possible. Inspired by this
approach, he volunteered within a network that lists initiatives based on biodynamic agriculture
and permaculture. He was hosted in communities that enabled him to meet these men and
women, in France, Romania, Switzerland, Spain, or the United States – sixteen locations in all
are present in his work, scattered over two continents. In these locations where Bruy travels with
no more than his backpack, he photographs both nature, whose infinite nuances he meticulously
captures, and habitats, disparate assemblages, characterised by their simplicity and rusticity. He
also creates portraits of men and women who have chosen to isolate themselves in these places.

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Petros Efstathiadis – Liparo


Editions Xavier Barral 2018 ISBN 9782365111812 Acqn 28487
Hb 19x24cm 108pp 60col ills £31.50

It is in Greece, in the small Macedonian village where he was born, that Petros Efstathiadis
strives to photograph a country undergoing vast transformation, through the prism of this
microcosm. There, “not a hint of an ancient arcade... not a single silhouette of a white, limestone-
clad house,” but instead portraits taken in front of plastic tarpaulins, constructions consisting of
this and that, and figures swathed in mysterious costumes whose faces we cannot see. Inspired
by the photographs taken by Walker Evans during the Great Depression, in which he perceives a
true contemporaneity, Efstathiadis aims to convey the traumas of his homeland. He has thus set
himself rules governing his creative process: not to photograph certain kinds of objects, certain
places, with a certain degree of detail; to leave in raw materials; and to rely on his instincts. The
photographer therefore reassembles disparate objects, destined for the scrap heap or found in
the villagers’ backyards. Objects that tell a story heard or lived, in this small village in a country in
crisis, and that open up an interlude into a fictive and symbolic world.

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Sergio Larrain - El Rectangulo en la mano


Editions Xavier Barral 2018 ISBN 9782365111690 Acqn 28492
Hb 12x18cm 48pp 18ills £20

Published in 1963, this book is Sergio Larrain's very first publication, that would soon become a
seminal work for Chilean and Latin American photography. Published in the Cadernos Brasileiros
series, in collaboration with the poet and cultural attache at the Brazilian embassy Thiago de
Mello, it subtly shows, through 44 pages, the photographer's vision of photography.

For the first time, Sergio Larrain considered his work from a theoretical standpoint. "When I turn
my gaze outward, camera in hand, I'm actually looking inward for pictures; I can only materialise
that world of phantoms when I see something that resonates within me. Visible reality, the root of
photographic endeavour, is also one of the vertices rectangular interplay: rectangle in hand (the
camera), I seek geometry. Photograph: it (the subject), rendered geometrically". This definition,
constructed like a syllogism and with a nod to the haiku, expresses the driving spirit that would
reappear in his philosophical writings.

Republished as a facsimile conform to the original, this version of El rectangulo en la mano,


issued freely in a hardcover, with an essay by Agnes Sire, is a tribute to the Chilean
photographer's emblematic book.

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