Exhibition “All is once” by Christian Janicot

Exhibition “All is once”

by Christian Janicot

Opening: on November 10 from 6.30 pm
Exhibition: from November 10 to December 20, 2015. Open from Tuesday to Saturday, from 2.30 pm to 7 pm.
Venue: Galerie du Pont Neuf – 23 place Dauphine, 75001 Paris.

001

For this series by Christian Janicot, it all starts with a greetings card, accomplished form of irony and detachment, wishes never change anything to the years they announce. It is a common usage that should be played over and over again with lightness and full awareness. Identify or associate signs that reveal one’s mood, trips, the places he understands, combines and decides to send to his friends.

From this spontaneous production, a work is developed on a more captive photography, made of still lives, shop windows, windows. A photography of images that require a great visual culture, as well as a good amount of eccentricity.

Finally the last part of this work starts with extremely precise sketches that are then reproduced within a studio with the help of models (in the light of this, we must reveal the existence of many photographs that were never in fact produced, as well as some successes very far from their original form, due to the talent of the models and the unpredictability of photography).

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Of course a certain permeability between these three categories of photographies is allowed. It can be said for the individual viewing of the images, even more for the layout of the body of work shown today, built around sequences of images associated three by three.

A syntax that is a direct reference to the haïkus, gives tribute to the moving thought, and opens the possibility of a narration beyond images.

003

“All is once” is a series marked with reconstruction. What is this lead figurine doing arm stretched in the centre of an image? The circulation of our eye? The stopped spinning top? A pretty naked young woman stands on her hands, her jumper has fallen at the bottom of the image, mingling with her hair. Who is she? Looking out a window, a figure stands straight above a remote cascade of buildings. Where are we?

Impulse of happiness, reconstruction of a world at a very small scale, urban landscapes that fits inside a hand?

Here it is all about reflection. Not in the matted glass of a Rolleiflex, but in the more familiar shiny surface of a smartphone, more than ever mirror and creator of a world that Christian Janicot recognizes, watches.

Frontal or oblique reflections one after the other capture and transform the images in a perfect or already fleeing dream. A collection of happy signs, true, opposed to the stopping of time precious to photography, that combine with no apparent concern about style or period.

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Urban treasure hunts, images of images, we are at the doorstep of invented worlds, necessarily incomplete, in which the incursion of reality does not come from what would be saved or preserved by the image, but from the furious desire to reach these worlds, to enter inside the photographs to make sure everything in them is fiction.

As in the shop window of this fortune teller in New York, where “Past, Present, Future” written in neon wire hypnotizes and gives the strange feeling of a light originating from outside the photography. The rest, of a dull grey, almost solarized, fills the background of the image: crystal ball, curtains, chandelier and promises for infinite hucksters.

Back to the present facing the neon “Past, Present, Future”.

A time, an image, the magic of photography.

Thomas Doubliez

 

03. November 2015 by thomasdoubliez
Categories: Exhibitions | Leave a comment

Exhibition « Bitter Honeydew » By Kirill Golovchenko

Exhibition « Bitter Honeydew » 

By Kirill Golovchenko

Exhibition within the event What’s up Photo doc:  from November 12 to 15, 2015
Venue: La Bellevilloise – 19 / 21 rue Boyer, 75020 Paris

« Bitter Honeydew » is a series and book by Kirill Golovchenko, winner of the EPAP 2014.

Bitter Honeydew

Turmoil, chaos, glut, hypermarket in the literal sense of the word, at first it looks like a gargantuan melon fair in Ukraine during summer. The sellers come from the neighboring republics of Georgia, Azerbaijan or Armenia, looking for means of subsistence. The story gets even more confused when we know this documentary work following these street vendors of bitter honeydews is done exclusively at night, along highways, in a country prey to deep troubles. Deep as the night which frames and confines the images until it becomes their main character. A character necessarily hidden, as if a huge widespread chaos had made there its home and protection.

Bitter Honeydew

Stripped or at least bare-chested people take part in this incredible industry, mixing here and there bad boys, prostitution and families of sleepy sellers.

A Babel waken up by a sharp light that breaks through the night and illuminates each time a precise spot of this widespread chaos. Still life of honeydews placed with infinite skill on a formica shelf, offering. Knife and glass next to each other, sacrifice. Dried sunflowers, what would the sun be doing here?

Bitter Honeydew

Everywhere the choice to reveal fragments of this meaningless life and to keep the night intact, all at once container of chaos and potential of dream.

Bitter Honeydew

Kirill Golovchenko will use the same shooting process on Maïdan square during the huge demonstrations of 2014, in Ukraine. With again a dialog between luminous glows and dark night.

A striking documentary and artistic approach that makes its author an eminent artist of the new photographic scene, which from Berlin to Moscow revolutionizes photography today.

Thomas Doubliez

03. November 2015 by thomasdoubliez
Categories: Exhibitions | Leave a comment

Exhibition “Sinai Park” By Andrea & Magda

Exhibition “Sinai Park”

By Andrea & Magda

Exhibition: from November 12, 2015 to January 17, 2016
Venue: Maison Européenne de la Photographie – 5/7 rue de Fourcy, 75004 Paris

001

The Sinai region suffered directly from the effects of the Arab Spring and more specifically from the recent events that took place in Egypt. On the coast of the Red Sea, “Tahrir” is synonymous with “catastrophe”.  Egypt has largely bet on the tourist industry (around 15% of the GDP), and for the Sinai region it is nearly all of the economy that is based on tourism. A risky bet, since as soon as political tensions occur, it is the entire region that is deeply affected. The terrorist attacks of 2000, the Intifada in nearby Palestine, the 2011 revolution, and more recently the emergence in North Sinai of ISIS affiliated groups have been undermining the coming of Westerner tourists on whom the entire region’s economy depends.

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Only the city of Sharm el Sheikh – a fake and highly secured decorum – the business has distinctly restarted, with tourist operators relying on the Russian market with « packages with all-inclusive discount trips ». Hotel owners pride themselves on the recovery of bookings since the election of General Sissi, and boast a government that shows off its many militaries assets as a proof a control. In the rest of South Sinai, carcasses of empty hotels, left abandoned or never completed, cover the entire cost, from Taba to Sharm el Sheikh. According to the Egyptian Information Service, 86% of Sinai’s real estate is allocated to the tourism industry. The Bedouin, a nomadic population indigenous to the Sinai region, endure a very strict policy of military control and are broadly excluded from the tourism businesses.

003

On this piece of land, a strategic passage point between Africa and Asia, the development of the tourist industry conducted by investors from Cairo or from the Gulf, has completely transformed the region: the architecture, artificial and naïve, reveals the progressive disconnection with cultural local reality. The facilities are conforming to global standards in order to satisfy the client’s expectations. The ambition of investors far from being realistic, results in oversized constructions, devastating the environment. The security requirements lead to an extreme closuring of the land. The Sinai has become a “non place” (following the term used by French Ethnologist Marc Augé) where each one – the tourist, the Bedouin, the soldier or the seasonal worker – is confined to the spaces according to the role that he was allocated.

 

This work was inspired by the essay “The ParK”, Bruce Bégout

 

03. November 2015 by thomasdoubliez
Categories: Andrea & Magda, Exhibitions | Leave a comment

4 Months – PHOTOGRAPHY WORKSHOP with Bruno Boudjelal & Thomas Doubliez

Workshop Tutors – Bruno Boudjelal & Thomas Doubliez

From September 2015  to January 2016

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The four first weekends of each month as a group will alternate with four individual meeting in the middle of the month.  

The first week of July 2015 a group show with the finished work will be organized at the Galerie du Pont Neuf.

This long-term workshop will give each participant the possibility of developing a personal project, supported and advised at each step of its development:

The pertinence of the initial portfolio, in regards to the construction of the project/

The definition and identification of it/The first images of the project/The relationship between the taking and the nature of the subject/The editing/The photographic result

Each month, Bruno Boudjelal and Thomas Doubliez will organize a meeting with a key actor in the photography field.  This will help facilitate access to the following photographic fields: media, editing, critic, and photography institutions

 

[ Particularity of the workshop ]

  • Long-term workshop
  • Meeting with a photo expert each month
  • Group show at Gallery-T in Paris 9th arrondissement.


[ Who is suitable for this workshop? ]

This workshop is open to everyone; professionals, amateurs or students, with differing motivations.  Even if the goal of this workshop is to allow the elaboration of a personal project, the project will, none the less, also be collective with the organization of a group exhibit.

  • Professional photographers: for those who want to think about their photography, to question themselves. This workshop will be a place of exchange of ideas, of debates and shaping of new proposals.
  • Students, to discuss their photo project in order to better define it, to prepare their entry into professional life, to prepare portfolios for scholarships or competitions.This workshop should help give meaning and form to their work.
  • Amateurs, the wish to better your skills, confront professionals, question your relationship to the world through photography or simply the desire to exchange with others about your passion.

 

[ Workshop program ]

  • Portfolio, analysis and pertinence in regards to the construction of your project
  •  The definition and identification of the project
  •  The relationship between the taking and the nature of the subject  .
  • Editing
  • Form /Photographic series, slide show or book dummy 
  • Group show

 

[ Bio of tutors ]

Bruno Boudjelal
A frenchman of Algerian origin, member of VU’ agency, Paris. He uses photography as a way of life, constantly questioning his own identity and confronting us with ours .He organizes exhibitions, events, discovers and presents new talents, plays with official appearances, opening doors to many unknown visual talents who have no status. He organizes a whole series of workshops for the Photographic Meetings of Bamako.

 
He has worked and exhibited in many structures : the Immigration museum, the Nicéphore-Niepce museum, the l’Institut du Monde Arabe, the MUCEM, the MAC of Marseille, the RIP of Arles, the Fondation Calouste-Gulbenkian of Lisbon, the museum of modern art of Algeria, the Stedeliijk  Museum in Amsterdam.

He is represented by the TD Gallery in Paris and the Michael Stevenson Gallery in South Africa.


Thomas Doubliez
Founder of TD Gallery and curator (Arles, Month of Photography in Paris) he headed the press department of  Magnum agency in Paris from 1990 to 1999 before developing from 2000 to 2012 the international press and the special projects of VU agency, Paris. As such he notably created the workshops of the agency VU ‘

 

[ 4 Months Photography Workshop
with Bruno Boudjelal & Thomas Doubliez 
]

>Workshop dates:

  1. 26 – 27 September 2015 | 10:00 – 18:00
    Guest: editorial photo director
  2. 24 – 25 October 2015  | 10:00 – 18:00
    Guest: expert from photo institutions
  3. 21 – 22 November 2015  | 10:00 – 18:00
    Guest: book publisher
  4. 19 – 20 December  2015  | 10:00 – 18:00
    Guest: photo critic
  5. 26 – 30 January 2016
     Exhibition at Galerie-T, Paris 09
    29 rue de Trévise, 75009, Paris
     

    *30 minutes individual session on October 10th, November 8th, December 6th, 2015 and January 9th, 2016  

>Workshop location: 34, rue Dussoubs 75002 Paris – France 

>Gallery exhibition: 23, Place Dauphine 75001 Paris-France

>Tuition  1250€

>Group limited to 15 people

>Inquiries: contact thomasdoubliez@gmail.com for any question.

>registration : Please fill in the form below for the registration.

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Your photographic experience

27. January 2015 by thomasdoubliez
Categories: Workshop | Leave a comment

Bruno Boudjelal Exhibition
“Détours-retour”

Thomas Doubliez & La Galerie du Pont Neuf present

Opening: 06, November, 2014   /   18:00 – 21:00
06/11/2014 – 30/11/2014 (everyday)
14:30 – 19:00
Thomas Doubliez & La Galerie du Pont Neuf,  23 Place Dauphine 75001, Paris

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Détours-retour is conceived as the self-proclaimed end of Bruno Boudjelal’s Algerian adventure. Two carefully constructed black and white sequences of square format photographs form the framework of the project. The first, halting and multi-facetted, from Blida to Algiers, is entitled Frantz Fanon (the champion of intercultural journeys), while the second, Retour, is a more peaceful and singular sequence set in Marseille.

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Between the two, less structured and less deliberately identifiable fragments appear. Some are in colour, and depict scenes that are less clearly located in geographical terms: the sea, the shore, moments of friendship or pain. Evidence of life sent by photographers, notebooks where things are recorded rather than recounted, and which Boudjelal treats with boundless detachment. His discernment, too, has no bounds, when this re-reading we witness opens the door to dazzling moments worthy of Camus.

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 And then doubt returns, like a niggling OCD that just won’t go away: “that remains to be seen”, he seems to say, for fear of seeing things wrong. It’s an attitude that ultimately has to be classified as a form of elegance: it refuses to show images that do not combine the creative process and the act of creation itself, pictures that do not have the delicacy to avoid distorting the world we want to name, even if the price to pay is an apparent technical or stylistic naivety. This isn’t about ‘stealing reality’, nor is it a form of egocentrism; we glimpse the pleasure of being contemporary in an artist and his work. So if a photograph is a ‘fact’ taken from a fixed point and placed at another fixed point, let’s say that Bruno Boudjelal is also concerned with what lies between them: let’s call it the ‘inner landscape’.

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Curator : Thomas Doubliez

 


Bruno Boudjelal
(Download the author’s bio)

Franco-Algerian. Born in 1961 in Montreuil. Lives near Paris.

As a Frenchman of Algerian origins, photography for Bruno Boudjelal is a lifestyle in which he endlessly questions his own identity and confronts us with our own.

When his father decided to return to Algeria, he went with him and began to uncover a country, a family, landscapes that spoke to him, a world scarred by violence and individuals whose conversations forced him to question his sense of self. Creating both a diary and testimony, Boudjelal travelled Algeria for ten years. He used both black and white and colour and became increasingly aware of his subjective point of view; one marked by his personal history but curious enough to bring daily life into perspective.

When his travels in Algeria were over, he structured his experiences in the form of an exhibition, a projection and a book, and then decided to concentrate on Africa. Stretched between two continents and two cultures, he is nothing less than generous and shows his capacity to understand and transcribe the complex problems between North and South.
 

22. November 2014 by thomasdoubliez
Categories: bruno, Photographers | Leave a comment

Andrea & Magda Exhibition
“The Palestinian Dream”

Thomas Doubliez – TD Galerie

Opening reception: 05, November, 2014   /   18:00 – 21:00
05/11/2014 – 30/11/2014  (Tuesday to Saturday)
12:00 – 19:00
TD Galerie,  12 rue Léopold Bellan, 75002, Paris

 

Screen Shot 2014-11-22 at 11.38.06

In a few decades, the way the Palestinians are represented has been shaped by conflict, against the background of the intifada, the refugee camps, and Israeli bombings in Gaza: although these narratives arise from actual facts, they have helped to mould our mental representation of the Palestinian people.

Screen Shot 2014-11-22 at 11.39.01

The photographs in the series Palestinian Dream conjure up something completely different: a reality emerging in the context of the transformation of Palestinian society. We find all the signs of westernized and globalized society: its enthusiastic middle class, its business culture, its fast food restaurants and gym centres, not forgetting its own alluring identity. It’s a showcase maintained by the Palestinian elite, which should not make us forget the realities of daily life in an occupied country: against this vividly and naively colourful backdrop, the illusions of standardized happiness soon give way to a feeling of malaise and a troubling sense of doubt, like a forced smile.

Screen Shot 2014-11-22 at 11.39.31

The most eye-catching codes of reality TV and advertising, omnipresent in the landscape, end up creating a deep sense of the unbelievable: the disappearance of the real.

Screen Shot 2014-11-22 at 11.39.53

 

Working together, Andrea and Magda depict hypnotic urban scenes and close-ups in acid colours, encouraging a form of scepticism they share with us—and with the Palestinians among whom they have lived since 2009.

Curator : Thomas Doubliez

 

Andrea et Magda

Andrea and Magda are a duo of photographers from France and Italy, born respectively in 1976 and 1986. They were based in the Palestinian Territories between 2008 and 2014, where they carried out their first long term project “Palestinian Dream”, which explores the illusion of normality created by the globalization and the liberalization of the economy. They are now based between Marseille and Bethlehem, and they started working on a new project in Sinai, Egypt, focusing on the collapsing tourism industry.

21. November 2014 by thomasdoubliez
Categories: Andrea & Magda, Exhibitions, Photographers | Leave a comment

Bruno Boudjelal Exhibition
“Departure Landscapes”

Thomas Doubliez – TD Galerie presents

Opening: 03, October, 2013   /   18:00 – 21:00
04/10/2013 – 12/10/2013  (Sunday closed)
11:00 – 19:00
TD Galerie, 29 rue de Trévise, 75009, Paris – France  (galerie-t)

bruno-expo004

With his back to Africa, looking towards the european shores of Spain and Italy, B. Boudejelal shoots as he returns to the places where the clandestine immigrants leave from.  He photographs the white landscapes which synthesize in one photograph the dazzle of the light, the disappearing of the landscape and the making of memory.  Initiated by François Cheval and the Niepce museum, today, this series takes its final form of 19 prints.  It joins the important Algerian and African corpus of Boudjelal which since his “Disquiet Days” keeps questioning his ties north and south of the Mediterranean.

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Harraga is a word in north-african Arabic that means “to burn”.  That is what the young who leave the banks of Magrhreb, who burn the road, who burn their identity papers trying to reach Europe in their rickety boats are called.

From Algeria, they leave essentially from two regions, Annaba from the east to reach Sardinia, and Oran from the west to reach Spain.

These photographs were taken along the coasts of these two regions where I took a series of landscapes of the places where the “Harraga” leave from.

These departure landscapes evoke the last vision that stays in the mind of one who leaves his homeland.  

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*
HARRAGAS & Cell phone
Before taking to sea, the « harragas » ask other Algerians living in Spain or Italy to send them Spanish or Italian SIM cards.

Once they receive these SIM cards, they put them in their cell phone before taking to sea.  This way they try to navigate their way, consulting regularly their telephone to see if they have reception, and thus know if they are approaching the Spanish or Italian coastline.

The cell phone plays an important role and has an essential usage when the “harragas” attempt crossing the sea to Europe. But, it also gives them the possibility to photograph and film their trip.  This allows them to keep track of their adventures that they can show or send to those who stayed home. 

Coincidentally, through a friend working for a nonprofit association for the youth in Algeria « RAJ », I learned of the existence of these small films that are passed around to friends and family of those who have left to « burn the road ».  Through this friend, I was about to recover a few.

The piece presented here was made from these films.

bruno-expo003


Bruno Boudjelal
(Download the author’s bio)

Franco-Algerian. Born in 1961 in Montreuil. Lives near Paris.

As a Frenchman of Algerian origins, photography for Bruno Boudjelal is a lifestyle in which he endlessly questions his own identity and confronts us with our own.

When his father decided to return to Algeria, he went with him and began to uncover a country, a family, landscapes that spoke to him, a world scarred by violence and individuals whose conversations forced him to question his sense of self. Creating both a diary and testimony, Boudjelal travelled Algeria for ten years. He used both black and white and colour and became increasingly aware of his subjective point of view; one marked by his personal history but curious enough to bring daily life into perspective.

When his travels in Algeria were over, he structured his experiences in the form of an exhibition, a projection and a book, and then decided to concentrate on Africa. Stretched between two continents and two cultures, he is nothing less than generous and shows his capacity to understand and transcribe the complex problems between North and South.
 

18. September 2013 by thomasdoubliez
Categories: bruno, Exhibitions, Photographers | Leave a comment

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22. January 2015 by thomasdoubliez
Categories: Uncategorized | Leave a comment