Aman iman – förlag

This book is published within the framework of the Prix Niepce, with which The Eyes Publishing is associated since 2019. The publisher offers the winner the publication of an artist’s edition limited to 400 copies. It is supported by Picto Foundation. In 2020, the Prix Niépce was awarded to Marina Gadonneix. From the series “Phénomènes” that the artist pursued between 2014 and 2019, “Tornades” stages and reconstructs these isolated wind vortices that often make the news. Produced in a scientific research facility dedicated to the analysis and reconstruction of natural phenomena, the photographs gathered in this book draw inspiration from the scientific and the spectacular to extract an evanescent form of disorder, a kind of poetic atmosphere and enveloping atmosphere. The voluptuousness of the milky wind in contrast with the austerely black background, the delicacy of the grey levels sketching the architectural models, everything is highlighted by the artist in such a way as to let us be absorbed by the magic, the rhythm and the attraction of these extraordinary natural phenomena. A photographer fascinated by the reverse side of photographic images, or more precisely by the hollow, erased device that invites a particular representation, the artist has been thwarting so-called documentary photography since her first photographic series. Instead of photographing works of art, she shows us the invisible devices (plinths, backdrops, etc. ) that are in the process of disappearing as soon as the expected photograph is taken. The inlay backgrounds of film studios become these blue or green monochrome landscapes, perceptual spaces close to the immateriality of James Turrell’s immersive luminous pieces. Materiality and immateriality, lights and colored spectres, but also presence and absence, reality and fiction are recurring photographic dualities that will be found in “After the image” and will discover their artistic maturity in the “Phenomena” series, images of what appears, but also of what can hypnotise the gaze and sharpen the imagination as much by the incomprehension of what is seen as by the conceivability of the unknown. Thus, these latest images, resulting from research work carried out in scientific laboratories that reconstitute the operations of natural phenomena, become spaces of projections as poetic as the names of the scientific objects of which they are the theaters of our imaginations… supernova, dark matter, vortex…. In the introduction, the text of the photographer and writer Marcelline Delbecq describes with force and effectiveness the apprehension of this threatening moment of the catastrophe. “We have to tell ourselves that in this place there was something and that suddenly there was nothing left, in an extreme speed and slowness, as if in the middle of sleep someone had erased our memory. There was something, a place, lives, gigantic towers and tiny plants, and all that was shifted from one instant to another, or rather from one time to another, because the instant was not so brief, as if it had slowed down, on the contrary, a before that became after, extended in a duration that no one tried to calculate, because it was necessary to understand what was happening, to find a shelter. Something was there and then not. It was night, a black night such as only exists in certain remote places, deep in the plains, where only the glow of the stars makes you feel the presence of the sky above you – their lights so frail, as if ready to break, to fade away”. Marcelline Delbecq ABOUT Marina GadonneixMarina Gadonneix was born in 1977 in Paris, where she lives and works. A graduate of the École nationale supérieure de la photographie d’Arles, Marina Gadonneix got HSBC Photography award in 2006 and Dummy Book award from Luma Foundation and the Rencontres d’Arles in 2018. Her work has been exhibited in many institutions in Europe and the United States, particularly at the Centre Photographique d’Île-de-France, the Rencontres photographiques d’Arles, the Kunsthalle of Tübingen, the Point du Jour, in Cherbourg, and MOMENTA | Biennale de l’image at the Musée de Joliette, Canada. The artist is represented by Christophe Gaillard gallery.

With this new issue entitled “(After)care“, The Eyes explores the methods and approaches of photographers who address the most traumatic chapters of our individual and collective histories. After collaborating with SMITH (Transgalactic, 2020) and Johny Pitts (B-Side, 2021), we invited the Spanish artist Laia Abril to take over the content of the magazine. This issue explores the role of responsibility in the process of photography. Many questions are raised in this issue: how do we portray our deepest wounds? What is the significance of vulnerability in the creation of photographs? How can we ensure that the violence of the world is not repeated through the violence of images? This issue of The Eyes features a variety of works and books by artists who all represent, in their own way, a practice of “photographic care”. The works address subjects as diverse as colonial wars, natural disasters, sexual and gender violence, and disability. Texts and interviews with researchers and artists broaden the reflection on this subject, which is as yet little discussed. TEXTS (AFTER)CARETaous DahmaniHistorian of photography and member of the editorial board of The Eyes THE ORGANIC METHODLaia AbrilArtist, researcher and guest curator of The Eyes #13 (AFTER)CARE Daniela Vicherat MattarCare expert, associate professor of sociology at Leiden University in The Hague. HOW WOULD YOU CONSIDER AFTERCARE IN YOUR WORK ?The artists published in the magazine give their views on the notion of aftercare in their artistic practice. Ana Vallejo, Hayley Millar Baker, Hoda Afshar, Kitra Cahana, Margo Ovcharenko, Max Pinckers, Robert Andy Coombs, Masina & Gal, Jérémie Danon. NETWORKS OF MUTUAL CAREA conversation between the two artists, Carmen Winant and Laia Abril PHOTOCAPTIONISTLetizia Lopreiato x Laia AbrilFederica Chiocchetti proposes in these pages a dialogue between the unpublished images of Laia Abril and the poet Letizia Lopreiato. PORTFOLIOS12 ARTISTS PORTFOLIOS Hoda AfsharRobert Andy Coombs Kitra CahanaJoana ChoumaliJe?re?mie DanonMasina & GalHayley Millar BakerMargo OvcharenkoMax PinckersAida SilvestriAna VallejoCarmen Winant

This book is published within the framework of the Prix Niépce to which The Eyes Publishing is associated since 2019. The publishing house offers to the winner the publication of an artist’s edition limited to 400 copies. Part of this publication is supported by Picto Foundation. In 2021, The Prix Niépce was awarded to Grégoire Eloy. OMALO presents a series of photograms by Grégoire Eloy made during a residency in Georgia. The photographer questions time, memory and life in this recluse of the Caucasus, while continuing to propose his vision and to question the image itself. Alternating photograms and their setting in situation, Grégoire Eloy shakes up our perception of what the image is: each shot leading to a photogram (action of the light of the flash on the photosensitive paper placed in the space) and to a view of the setting in situation (image captured by the camera). Extending this feeling of the image of the inside and the outside, or more broadly of what the image is, the model of the book proposes a pathway playing with subtlety on these different surfaces of the photograph. OMALO features a set of photograms from a series of 30 unique prints, made by photographer Gregoire Eloy in 2019 and 2020 in the Caucasus, Georgia, as part of the Tbilisi Photo Festival residency. The silver paper is placed in the landscape, at night, by the light of the red headlamp, and is exposed by the light of the camera flash. Two images of the same moment are then created: the one of the triggering making the scene appear and the photogram itself. The silver paper is then revealed on the spot, in an improvised night laboratory. The photogram thus becomes an “imprint of the landscape” entirely produced and revealed in situ. Born in 1971, Grégoire Eloy has been a documentary photographer since 2003. For 10 years, he traveled in Eastern Europe and Central Asia for long term projects on the Soviet legacy and the wars in the South Caucasus, notably his series Les Oubliés du Pipeline (2006) and Ressac (2008-2013). In 2010, he collaborated with the scientific community on a trilogy on the science of matter, which was the subject of a series of monographic books including A Black Matter (Journal 2012) and The Fault (RVB Books, 2017). The latest installment, on glaciology, is in progress. Since 2015, he has been interested in our relationship to the environment and the wild during immersive residencies in natural environments: Residencies of the Guernsey Photography Festival (2016-2017), the Tbilisi Photo Festival (2018-2020), the Champ des Impossibles (2020-2022) and the festival l’Homme et la Mer du Guilvinec (2021). In 2022, his career is rewarded by the Prix Niépce Gens d’Images.

The Eyes invites Lebanese-born writer Sabyl Ghoussoub to explore the link betweenp hotography and exile. This issue invites us to reflect on how art can help to reconstruct a fragmented identity. This new issue of The Eyes takes a multi-dimensional approach to exile. Exile as a common noun, as a state, as a condition, but also, and above all, as a verb. Exiles are actors in their own destiny, with the capacity to transform their lives and influence their own paths. Far from external representations of exiles, this issue focuses on first-person accounts. This is true not only of Sabyl Ghoussoub, the guest artist in this issue, but also of the other artists.

Veri, Orangina & Aperol Spritz is the result of a collaboration between two young Spanish artists,Sofía París and Andreu de Pedro. The book grew out of a summer spent on the coasts of Spain, Italyand France. The book was shaped, forged and written in the moments of photography,contemplation and inactivity.Through the story of a voyage around the Meditarranean Sea, this book tells a love story thattouches on the universal. The images gathered here embody the love between a man and a woman,but also, and above all, the love of men for this ‘sea in the middle of the earth’, Veri, Orangina &Aperol Spritz its waters, its culture, its history. Inspired by the heroes of antiquity and the Homerictexts, the artist duo propose a visual, sensitive and intimate exploration of a geographical space thatnever ceases to fascinate us.Produced on film, this original work offers a sensual plunge into the world of the Mare Nostrum.Imbued with a Nouvelle Vague aesthetic, as well as the work of Claude Nori, this book is as much anexploration of the plastic — close-ups, fragmented images, landscapes, still lifes — as it is aphilosophical one: what is the nature of the bond that unites us to one another? What links us to theMediterranean Sea? The book is set in time, that of a summer, while at the same time breaking awayfrom it. It carries the eternal voices of the men and gods who have lived in this land for thousands ofyears.

Red Bloom is the second part of a photographic and artistic project devoted to global warmingand, in particular, the proliferation of green algae in the Côtes d'Armor region of France.Through hundreds of images, Alice Pallot returns to the very essence of the photographic process:making visible what the human eye alone cannot perceive. In this series, she proposes to materialisethe sun's red rays, which contribute to the development of toxic algae. Each work bears witness toan ecosystem threatened by the putrefaction of plants. The creation process takes several weeks:cultures grow on the prints and it is the toxicity itself that is embodied in the photograph andbecomes the substrate for the algae.The artist's aim, through works of great plastic beauty, is to alert the viewer to the non-visible butnonetheless active and deleterious anthropogenic toxicity of our environment. Through the visualexperience, the viewer gains a deeper understanding of this major issue of our time.

This book, produced in collaboration with the Tara Océan Foundation, is a retrospective of the artists who have been on board the Tara schooner over the past 20 years. It’s a unique opportunity to shed light on the Ocean, its little-known biodiversity, its role in the climate machine and the pollution that impacts it today, through the prism of art.

For Charles Baudelaire, the photographic medium is not an art but a technical means of representing reality. As a counterpoint to Baudelaire, Antoine d’Agata reworks his own photographs through digital intervention to return to engraving, as if to go from the pixel to the line of the time. He pushes photography to its limits, discarding the medium to return to the raw. Baudelaire’s texts thus enter into dialogue with photographs that have become engravings through wear and tear and manipulation, where the bodies blend together to give way to the poetry of the body. The work is based on the original uncensored edition of Baudelaire’s collection accompanied by these engraved prints by d’Agata. Present and past are superimposed. Like a game of transparency that will present the frame of an image on the cover. In this work Fleurs du Mal, Baudelaire is a stroller, a spectator of the world around him, of urban transformations, while d’Agata embodies photography, life and reappropriates the space of the city by the gesture. Two personalities meet on the occasion of the 200 years of the birth of Charles Baudelaire. Two artists who could have meet each other, debated, confronted each other. For d’Agata, Baudelaire leaves a legacy that must be pushed to extend its own reflection. The artist intervenes on the edge of Baudelaire’s poems with personal reflections and quotations from his favorite thinkers, descendants of Baudelaire’s thought: Walter Benjamin, Guy Debord or Georges Bataille. Affixed vertically to the poems, these handwritten interventions assert themselves while leaving the original text its own space. A second sense of reading is thus offered to the reader between Baudelaire’s text and the interpretation given by d’Agata through the words as much as through the engravings.

Conversations is a book of interviews with contemporary photographers, conducted by Rémi Coignet, photo book critic. Since 2014, when the first volume was published, the aim is to give a prominent place to photographers, so that they can make their voices heard in the field of publishing, often forgotten in favour of those of critics, journalists and curators. Photographers, publishers and graphic designers are invited to revisit their work and reveal their intentions. In the course of the interviews, a geography of contemporary photography is sketched out, following on from two previous volumes, Conversations, published in 2015, and Conversations 2, published in 2016. This third volume focuses on photographers who are particularly interested in editing and editorial work. Photographers thus fully discuss their editorial project, their vision of the photo book and its importance in their photographic practice. Rémi Coignet also interviews photo publishers in order to make their voices heard in a sector that is under-represented. Excerpt from an interview with Sophie Calle Rémi Coignet: Most people’s lives are very mundane. I have the feeling that very often you slip a grain of sand into banality to see if something interesting is going to happen. I think for example of Where and when? or following a man to Venice… Sophie Calle : Yes, but at the same time I say banal things. A man who leaves, a mother who dies, break-ups. But there are also all the works that are not about me: a stolen painting, a blind man. Everyone in this room has been left once, received a break-up letter or a phone call or a text message now… Excerpt from an interview with Antoine d’Agata Rémi Coignet: It seems to me that you have written somewhere that you live what you photograph, and photograph what you live. Antoine d’Agata: Yes, this relationship is complex, impure. There is no possible balance. At no time can we reach a balance, a balance, a harmony. Always life or photography takes over. I am constantly struggling to find this impossible balance. This very attempt is worth living. I think it makes the experience more intense because the photographic distance allows an intelligence of the lived moment that makes it deeper, more ambiguous. Excerpt from an interview with William Klein Rémi Coignet: From this first book, typography plays an essential role, and it will be in all your books, as in the credits of your films. What is its role for you? William Klein: Painting at the time was at the dawn of Pop and typography was essential. There are even some photographs that I deliberately designed that way. For one day, I was going to skim the typography of New York City. Conversations with :LAURENCE AËGERTERJULIAN BARON SOPHIE CALLEEDMUND CLARKANTOINE D’AGATAAMAURY DA CUNHAMISHKA HENNERWILLIAM KLEINSUSAN MEISELASPINO MUSISOPHIE RISTELHUEBER DAYANITA SINGHCARLOS SPORTTORNOKAJTA STUKE &OLIVER SIEBERPIERRE VON KLEISTDONOVAN WYLIE

An artist’s book bringing together 27 photographs by Antoine d’Agata and 25 graphic works by Francis Bacon.

“Changing times: Art facing a new world” brings together proposals from artists and authors inviting us to question how the world of art – more specifically the visual art world – can act, react and interact in the face of the constantly changing environment in which we live. This publication is part of the Parallel programme of which The Eyes is a member. Each year Parallel selects young artists, writers and curators to collaborate around a common theme to create personal projects, essays or exhibitions. “Changing times: art facing a new world! “will be associated with the programming of The Eyes Talks in Arles. Introduction by Rémi Coignet, author and critic. Portfolios of the artists: Agata Wieczorek, Ana Zibelnik, Thomas Wynne, Glorija Lizde, Ines Marinho and Negar Yaghmaian. Essays by Laura Konttinen, Seda Yildiz and Cihad Caner. Graphic design: Sarah Boris Studio

The book Un Abécédaire de la Psychiatrie is the fruit of a collaboration between the artists of the duo NO SOVEREIGN AUTHOR and the patients of the psychiatric day center “La Fabrique du Pré”, located in Nivelles, Belgium. Presented in the form of a dictionary, the book invites us to rethink the world of psychiatry through the eyes of patients. Original, visually powerful works of art created by patients in collaboration with artists illustrate each entry in the dictionary, offering a radically new, uninhibited approach to psychiatry. Each word, freed from historical interpretations, opens up to a new, more sensitive reality, closer to us and to those who live it. In their hands and before our eyes, the scientific lexicon of psychiatry becomes the language of the heart and soul.