Aman iman dez 2021 (3 Ergebnisse)

Taschenbuch. Zustand: Neu. Neuware - The Eyes questions cultural and societal evolutions through the prism of photography and creation and gives carte blanche to experts directly concerned by the subjects addressed. B-Side, the upcoming issue of The Eyes journal, invites its readers to a visual exploration of what it means to be Afropean, a notion of expertise of our guest curator Johny Pitts, British photographer and author. Historical and contemporary photographers, seminal and singular books and journals will explore the diversity of black identities as experienced in Europe. Entitled 'B-Side', this issue is strongly inspired by music, the field that gave birth to the term Afropean. B-Side is also an opportunity to take an offbeat approach and look at the B-side, the one we don't hear much about and see most of the time in a marginal way. ABOUT JOHNY PITTS - THE EYES #12 GUEST CURATORJohny Pitts is the curator of the ENAR (European Network Against Racism) award-winning online journal Afropean. com and the author of Afropean: Notes from Black Europe (Penguin Random House). Translated into French, German, Italian and Spanish, it has been awarded the 2020 Jhalak Prize and the 2020 Bread & Roses Award for Radical Publishing and is the recipient of the 2021 Leipzig Book Award for European Understanding and the 2021 European Essay Prize. TEXTSB-SIDE Taous DahmaniSPECTRES AND TEXTURES: THE B-SIDE WINS AGAINJohny Pitts CONVERSATION WITH MAD PROFESSORMelissa Chemam, Johny Pitts, Mad Professor, Roger Robinson 30 TRACKS FROM THE B-SIDE Johny Pitts' Afropean playlistWHAT DOES AFROPEAN MEAN TO YOU Thomas Chatterton Williams, Marie Daulne, Claude Grunitzky, Anna Lafont, Vittorio Longhi, Caryl Phillips, Minna Salami, Elvan Zabunyan THE EYES X PHOTOCAPTIONIST Johny Pitts, Roger Robinson13 ARTISTS PORTFOLIOS JAZZ GRANT MOHAMED BOUROUISSA JAMES BARNOR EDDIE OTCHERE RÉMY BOURDEAU SILVIA ROSI CÉDRINE SCHEIDIG ZINEB SEDIRA BRUNO BOUDJELALTABITA REZAIREDÉLIO JASSEMAUD SULTERMARVIN BONHEUR SOFIA YALA RODRIGUES 7 BOOKS PORTFOLIOSREVUE NOIRE10 YEARS OF TRACE LIZ JOHNSON ARTUR PARIS BOUT DU MONDE // ANAIK FRANTZ & FRANCOIS MASPERO THE GHOSTS OF SONGS: THE FILM ART OF THE BLACK AUDIO FILM COLLECTIVE // KODWO ESHUN & ANJALIKA SAGARBISO BANA YA POTO // CLAUDIA NDEBELEA SERIES OF UTTERLY IMPROBABLE, YET EXTRAORDINARY RENDITIONS // ARTHUR JAFA.…

Buch. Zustand: Neu. Neuware - Almost a century later, at a time when young artists are coming back to ancient processes for contemporary expression, how can we reinterpret and extend this face-to-face encounter between the artist and the glass plate, its light and its material In the same way, in an era that claims the place of women in the history of art, how can we question or shake up this so ordinary phenomenon of domination, whether it is the relationship to women of the artists themselves, or a certain form of resistance still today to place women artists at the heart of the creation. We have chosen to ask Anaïs Boudot to take up this challenge, that of an artistic confrontation around the cliché under glass, as well as that of a response to the veil that has long been imposed on women artists. Anaïs Boudot has created a series of works on a set of anonymous glass plates from her collection, all of which represent female figures. A modernity in the materials, in the light as well as in the tone that both challenges and imposes itself in this vis-à-vis with Picasso and Brassaï. It was following a glass plate forgotten by Brassaï in Picasso's studio that the latter began to develop a particular work on this medium. 'And indeed, it is no longer virgin,' exclaimed Brassaï when he discovered the plate reworked by Picasso, as Héloïse Conésa recalls in her introduction. Taking up the words of Anne Baldassari, she continues: 'The artist-toro bends over the mortal wound that he inflicts on reality so that the figure so beautiful on the silver plate may emerge. A few years later, Brassaï began his Transmutations series in which he engraved not on blank plates but on original negatives. Faced with these two sacred monsters of modern art, Anaïs Boudot responds to an invitation from The Eyes, by taking her own collection of anonymous faces on glass, to rework them with gelatin. Among these portraits of anonymous people from the 20s, 30s and 40s, women's faces stand out. Where Picasso and Brassaï's scratching of the gelatin is similar to a 'surgical act much more intrusive to bring out the plasticity of the work', Anaïs Boudot chooses gilding to restore these images of unknowns, to sublimate the image of these women, these muses so little considered by these masters and forgotten by the history of art. Anaïs Boudot's work is part of this instinctive and experimental approach, that of making the invisible visible. 'Spending time with these women's faces, while rubbing shoulders with two historical (male) artists with a singular relationship to women, I felt the need to react. In the end, they are the 'forgotten' ones, because they have been sidelined for years in the history of art, relegated to the rank of muses, models and companions. Their absence is glaring and it is undoubtedly this absence that these images attempt to highlight'. Anaïs Boudot ABOUT ANAÏS BOUDOTBorn in Metz in 1984, Anaïs Boudot graduated from the École nationale supérieure de la photographie in 2010 and from Le Fresnoy - studio national d'art contemporain - in 2013. Anaïs Boudot pursues a work around the processes of appearance of the image and the exploration of photographic techniques. The artist is represented by the Binome gallery.…

Buch. Zustand: Neu. Neuware.