It all started in 1963, with the creation of the Interministerial mission of tourist development of the Languedoc-Roussillon littoral. The 200 km of coasts around the Gulf of Lion, in the south of France, were mainly occupied by unofficial tourism sites and mosquitos. This mission, known as the « Mission Racine », named after its director, Pierre Racine, was intended to offer an alternative to both bourgeois tourism on the French Riviera and popular tourism on the Spanish coast, combined with a new economic development for the region.
If this part of France is well known and stormed every summer by thousands of tourists, the origin of the operation remains little known. And yet, it is probably the largest development site operation that France has experienced after the war, a true symbol of « trente glorieuses ». It is also the first mission in charge of the DATAR (Délagation for the Spatial Planning and Regional Action) created in 1963, which is famously known by photographers for its public photography commissioning initiated in the mid-80s.
This mission is at the origin of the creation of the seaside resorts of St Cyprien, Port Barcares, Port Leucate, Gruissan, Cap d’Agde, La Grande Motte and Port Camargue. The two most emblematic elements of this mission are, from my point of view, the construction of pyramids at La Grande Motte (Jean Balladur project), and the arrival of the Lydia called the « Paquebot des sables » a retired cruise liner at Port Barcarès ; both in 1967. The first seaside resorts welcomed the first tourists in 1968, some 50 years ago.
The context thus presented now brings us to the work of Shane Lynam which, contrary to what might suggest the title, does not present 50 years of tourism on this coast, but rather offers us a state of play of these resorts nowadays. Shane Lynam, an Irish photographer, discovered these places in 2003, long before he became interested in photography, and in 2010 he began his series of photographs over a period of 7 years.
We really feel in Shane’s work his very close proximity to these places, but also a great empathy, even a fascination that remain nevertheless mixed with ambiguity. These projects, which are often compared to the construction of large Parisian complexes, are now suffering from a lack of maintenance and would require renovation works (it is one of the actual questions at La Grande Motte), but Shane is more interested in showing us the plastic qualities of the place, the acid colors of the South, the sun and outdoor life.
Despite this, the plasticity of the images does not fool us, a strange atmosphere creeps in us, like the backstage of a show that breaks the magic of the scene. Public spaces are deserted, characters appear as lost in these urban organizations, sometimes out of scale, like this man in a swimsuit in the street, at the foot of a building, probably in search of a sea that we do not even see. Everything is artificial, even in nature that is mastered.
This statement is summarized in the closing text of the book, where Shane Lynam explains that Fifty High Seasons reflects on the cumulative effect of half a century of tourism on the innovative built environment established by Mission Racine, while showing why I fell for its unique charm.
I never really visited this south coast of France, despite a night in a tent on the beach of L’Espiguette, near La Grande Motte, and one of the great quality of this book is that it really made me want to know more about this touristic area and its history !
Hardback book, first Edition of 750 copies, 21 cm x 32,5 cm, 116 pages, 48 color photographs, section-sewn, swiss-bound
More info : http://www.shanelynamphoto.com/
And a video about the arrival of the Lydia in Port Barcarès, in June 1967
L’Arrivée du Lydia – 11 Juin 1967 from Mairie Port Barcarès on Vimeo.
The old-fashioned charm of post communist Romania is the first impression we feel with this book of photographs taken between 2007 and 2017, by Ovidiu Gordan. A bit like the feeling of going to see a friend who takes us through the streets and alleys of his village, then to the countryside.
As familiar as these places are, they are none the less singular. Ovidiu, with his camera, meticulously notes everything he meets and « finds ». He guides us through his country with a certain pride. He tells us his memories, the table of a restaurant he frequents, the cat he often meets on his daily journey and tries in vain to approach. Without knowing Romania, we can let ourselves be carried away by the narrative, this book tells us stories, it leaves priority to in our imagination, like this old Dacia, a copy of the French Renault 12 owned by a person who was dear to us… what has become of her?
We see nothing of the country, or perhaps, on the contrary, we really see it, in the sense of understanding it. No postcards or clichés, the photographs follow the rhythm of our wanderings. When a couple passes by, Ovidiu whispered to us the singular story of these two people. Old photos on the wall, hanged on a decayed wallpaper tell the story of a time when Romania was under the yoke of Ceausescu couple. The photos alternate scenes of incredible precision, as frozen timeless, and other moments vaporous, bathed in blur and fog. Things do not come out spontaneously, you have to make yourself available, give them attention, to find their preciousness. We meet people too, of course, some people who we dare to approach and others we do not want to disturb.
Time passes and we have to leave this friend. The book goes on and familiarity sets in, and becomes our own. We recognize signs, the local culture permeates us, a woman, met on the road, smiles, we are no longer strangers.
The book is endearing in many ways. The principal is certainly the generosity that he transmits which remains in us, after having traveled through those « Familiar places ». There is a need in Ovidiu to seize these moments, to tell their reality, as if we need to be convinced of our own existence. Capturing these little non-events, this collection of little things that we collect every day to keep them preciously in a notebook of memories, until we meet them again, a bit like the book « I remember » by Georges Perec that he presented as: « small pieces of daily life, things that, a year or another, all people of the same age have seen, lived, shared, and which then disappeared, have been forgotten; they were not worthy of being part of history, nor of being included in Memoirs of statesmen, mountaineers, and sacred monsters. Sometimes, however, they come back, a few years later, intact and tiny, by chance or because they have been looked for, one night, with friends. »
Hardcover book selfpublished in 2018. 23 x 23 cm.,108 pages with 52 black and white and color photographs.
More info : https://www.ovidiugordan.com/
The subtitle of the book could have been, « A tale of a forgotten future » as Shyue Woon takes us to a long journey exploring some emblematic areas in three huge cities : Singapore, Tokyo and Seoul.
Each of these cities is the object of an autonomous work, the three being collected in a superb box that gives its name to the trilogy. Shyue Woon is a trained architect and an architectural approach is evident in the way he looks at the places he passes through. He takes us with him in his wanderings, as if to make us visit the recesses of his unconscious. Of the three megacities chosen, he shows us almost nothing, or very little. In each city, he chose to isolate himself, at night in places that were, at other times, symbols of a prosperous future, utopias of the twentieth century.
The first book is entitled « Carpark » and Shyue Woon takes us for a night walk in a multi-storey carpark. I have always had a particular affection for the nooks and « non-places », well… all those places in front of which one passes without ever stopping or even taking a look at it. A succession of details slowly builds an abstract vision of this world of the night. Our imagination creates a parallel universe in which memories reappears. A silhouette draws itself in distance, or is it a ghost? We meet people whom we can’t reach, separated from a window or a blur that prevents us to get in touch.
Shyue Woon evokes the idea of a purgatory in which one evolves, trying to solve a crime story, reference to the black films or an insoluble enigma coming straigh from mythology, which proves impossible to solve. We meet our demons but we also get rid of our fears in a cathartic ordeal.
The second book entitled « Capsule » takes us, as its title indicates in the Nakagin Capsule Tower in Ginza – Tokyo, futuristic project of the early 1970s which today, is on the brink of abandonment since the maintenance there is no more assured. Shyue Woon guides us through this labyrinth of doors and corridors. The light is more present, as if, out of purgatory we found our way to the surface, to the inhabited world. We get lost in this maze of colors to always end up in front of a wall, but with the hope of a light that will deliver the outcome.
Here again the author stops on small things, trivial details that say long about the state of the premises. We find ourselves locked in the past, as in the brain of a brilliant architect who would find himself trapped in his project too futuristic, and here the term capsule takes all its meaning, recalling the films of anticipation in which the deplacements were supposed to be done in some so-called capsules.
« Euljiro », third opus of this trilogy leads us finally in a district of Seoul. It is always dark and our wanderings continue in this dehumanized world. Lights seem to illuminate a vanished world, or at least of which the inhabitants would have leaved places in a sort of hurry. Cables guide us through the streets, like a ball from which we pull the wire to guide us to the exit, ponctuating our way of many traces of life, proof that we are on the right path. The light returns slowly, passing from the structuring spheres of the city to its surface state. If the first book was purgatory, we wonder now in what universe we will emerge.
The three books highlight Shyue Woon’s vision of the city, which is reminiscent of Marc Augé’s definition of « non-place » (one of the texts accompanying « Carpark » refers to it) and the architect he is can only wonder about the spatial organization of the city and the spaces that compose it. How do we go from one place to another, spatially first, but also temporally and here is appearing in the background of the three books, the influence of time on the « project ». Would the futurism of an era become now only old fashionned and, finally, what is this articulation of the present that tilts one towards the other? It is thus as an architect that Shyu Woon uses the night to deconstruct what was built, in order to understand the inner structure of buildings and cities, and to reorganize the spaces around a fiction stemming from our imagination, a little bit as Alice’s world by Lewis Caroll.
Three hardcover books 14,5 x 21 cm, open spine with silkscreen cover, in a box set.
More info : http://shyuewoon.com/
After defeating Polyphemus on the Cyclops island, Ulysses, in an excess of arrogance, reveals his identity to the giant who in rage asks his father Poseidon to inflict the worst torments to Ulysses during his journey back over seas.
One eyed Ulysses, by JM Ramirez-Suassi is a fable, a contemporary odyssey, and the transposition is successful. For four long years, the photographer evolves around Madrid and its suburbs. No explanation accompanies the photographs, it is up to us to find a meaning … or not. The rythm is slow and we focus on small things, small people, small here having the sense of ordinary and not value. There is no broad view, the horizon never appears, as if to hide the final goal, or to tell us that the road will be long. Sequences are constructed and deconstructed to better lose us.
One of the great qualities of this book lies in its lack of explanations, but also and especially in the sequencing. The author could have easily fallen into a compilation of beautiful pictures, a collection of views. But on the contrary the story makes sense, recurring patterns return to the rhythm of pages, bottles, dead animals, people. All these elements stand at the margins of our society, they form signs that show us the hidden face of what surrounds us. All these little details that we no longer see, either because they are without value, without interest, or because we are in a hurry, because the goal matters more than the way.
Then JM Ramirez-Suassi challenges us and shows us that the journey becomes an experience in itslef. We get lost to better wonder what the next moment will reveal to us. We struggle in our progression, barriers, gates, strings strew our way, we must make detours. Associations are made, as in a dream, a broken windshield gives place, on the next page to a delicate spiderweb revealed by the morning dew. We must then abandon our preconceived ideas, leave the presuppositions aside and let us be guided by our imagination. Memories arise, a moment that we had already glimpsed, elsewhere, on another path, that we had not captured, but which our unconscious remembers.
The book reminds us of the montage of attractions theorized by SM Eisenstein. The sequences cannot be the result of chance, they must have a meaning, it could not be otherwise. We must cling to something that makes sense, reassures us and so, everyone will find their story by filling the gaps. This succession of small encounters becomes touching. We find ourselves in the middle of the story and it seems to us to belong to these places, we recognize ourself and we move in there with facility. Our ability to appropriate our surroundings reassures us and makes this environment safe in a resolutely resilient nature.
After being through this wandering, the book ends with a contemporary metaphor of our societies. The odyssey ends facing a wall surmounted by barbed wire which evokes the fences on the borders of Europe, and what we finally discover behind this wall, which, perhaps, was the goal of this quest, remains cold and scary. And now remains the bitter taste of what is inside and what is outside, wether it is in our societies or in a globalization context.
I finally want to add that everything written above is just a personnal interpretation due to the sequencing and the choice of the photographs. Everyone will have his own perception and his own reading when opening this book. And I really encourage you to do it by your own…
Harcover book published in 2018 by NOW photobooks. 24 x 30 cm, 144 pages, 91 color photographs. Very limited print run of 175 copies which may sell fast !
Cape of Good Hope was first a photobook blog by David Nollet. It became an independent publishing house when David published his own book entitled « Façade Démocratique » in 2016. Two years later Cape of Good Hope offers us a new book whose poetry is reminiscent of the previous one.
Geert Van Den Eede is a Belgian photographer who brings us, throughout this book, in the Balkans. The photographs were taken from 2007 to 2015 in Romania, Bulgaria, Macedonia, Albania, Kosovo, Bosnia and Herzegovina, Serbia and Montenegro. The title of the book refers, as much, to the state of this fragmented, disputed, broken territory, as to the photography itself and its own question of representation. Where are we now? of these borders, lines and continually changing patterns that have fueled all fantasies and generated so many dramas for centuries. Where are we now? of this ability to represent with the photography medium. In the foreword, Ognjen Lopušina compares these two statements with the Sisyphus ordeal, finally condemned to continually climb a rock at the top of the mountain without ever succeeding, so Where are we now?
Usually, I do not read the foreword of a book before seeing the pictures, I do not want to condition my perception by the considerations of another. Yet this time I did it, without really knowing why, so I already know a little what I’m going to find, especially since this text is a kind of caption of the photo on the cover: a structure of concrete terraces whose we do not know if it is a finished work, a work in progress, or a demolition site; a kind of perpetual movement which, like this country, never stops to reshape itself, to redraw itself, moving back and forward. So, actually, the photographic representation becomes a challenge. How by its immediacy could it show these turbulences, these movements, sometimes so subtle that a foreign eye would not succeed in discerning them.
So we turn the pages and move on to the book. Very quickly, we are touched by these ephemeral moments that get entangled. We walk with the photographer, we stop for a moment, then we resume the journey. We meet a few people, some suspicious, others distant and, everywhere, traces where an uncertain future stands alongside the tortured past. Geert Van Den Eede describes his work as a travelogue, a sort of wandering across the Balkans, with no purpose nor goal than to record everything that crosses his path, to try to understand this territory and its figures … and the form is successful. The layout is sober and a certain poetry emerges from these places that are not at first very attractive. They become touching or even fragile, even if they are embedded in concrete structures. Each image is rich and the frame filled. We stop and the drama begins, the actors are in place, the acts follow each other and are not alike, or maybe they are, since we read harmonics that hold the piece all along, which gives it its coherence. Each of these bits of history would be a pretext for a novel, point of departure or arrival of a story that would be built in the background.
Concrete is very present throughout the book, it give rythm to the sequences and punctuates the spaces, both public and private. It is subject, becomes scenery, sometimes disappears in rural areas to reappear further. It is the leitmotif of this country, a promise of a modernity to come which is already fading by turning to new futures, like this cosmonaut with the colors of America and its neoliberalism devastating trend. There remains, however, a certain grace in these modernist abstractions, but perhaps it is the same kind of grace that can be found in the photographs « underexposed on an expired 3200 ASA film from a forgotten East German stock », to quote Ognjen Lopušina.
So, I really do not know Where are we now? but with a certain humility, I got to know this country better now, and that’s not bad! Thanks to Geert Van Den Eede and Cape of Good Hope.
Softcover book published by Cape of Good Hope in 2018. 24 x 30 cm, 56 pages and 31 B&W photos. Essay by Ognjen Lopušina
More info : http://www.cape.ag/
The link for my previous review of Façade démocratique : https://whoneedsanotherphotoblog.wordpress.com/2016/05/16/facade-democratique-by-david-nollet/
It is becoming urgent for our society to resolve conflicts with our fooding community and the agricultural world. Conscious of its excessive practices, driven by capitalist excesses, this community has gone through many economic and identity crises. What touches me the most in this book is the infinite sweetness with which Philippe Bazin approaches a world close to his neighborhood, in the geographical meaning, to reveal its qualities.
For a dozen years, Philippe has been through being a neighbor then a friend; however, and this is important, he remains a « foreigner » to the family and to the farm domain of Les Coupes. We are in 2015 and, at the request of Muriel Martin, Philippe Bazin will document life at Les Coupes during a summer that, under the gaze of the photographer, seems a never ending one.
What we notice at first glance is the empathy and closeness with which the photographer is involved in this story, fruit of a constantly renewed astonishment and a complicity that is tied up throughout the pages. And by the way, this book is not so much a book of photographs than a narration of a relationship within the farm community. We meet Muriel Martin with the various members of the family that Philippe meets, approaches, and then sometimes, he removes distant, as embarrassed to be in this place, clumsy facing situations that seem to us from another era. All along this long summer, Philippe Bazin looks witness this agricultural world of polyculture and breeding. He pays the same attention to everything, be it a piece of landscape, humans, animals, agricultural tools… Each element is part of the harmony of the exploitation, each of them is interdependent of the others, they are rub shoulders and rub as if to perform a dance or a farandole. With the photographer, one is always closer to the actions, until smelling furs, fresh milk, blood, manure. It comes back to us the memory of the trips we had made, as children, at the farm of an uncle, an aunt or a cousin, each gesture then seemed simple and natural.
This book also tells us about the tie of the family to the farm, the transmission within the family. Traditionally, it is the boy who takes over the farm, but at Les Coupes, the cards are redistributed, it is a family inheritance that is transmitted intuitively and, from an early age, children testify to this ancestral relationship to animals and everyday tasks. This is this tie, that Philippe Bazin discovers during this long summer which is also explained by Muriel Martin who speaks to us, with her words, in the last part of the book. It was not originally planned, when Muriel asked Philippe to come and have his « foreigner » look on Les Coupes, it was rather a form of hindsight, a distance of the everyday to better look at ourself, from distance, more like watching a video to correct our flaws. But when autumn came and Philippe organized a projection of the photos of the previous summer, emotion overwhelmed her, she had to put her emotions on paper and tell the story, weaving a dialogue with the photographer. The text is generous, as are the photos. We discover a narrative talent that takes us through the persistence of the images encountered in the book, Muriel reveals the images, the hidden meaning we had noticed, but above all, it extends the history of Les Coupes, it enriches. Faced with the eyes of the « foreigner », it brings us the point of view from within, the everyday experience, with its strengths, its weaknesses, its joys and its pains.
Finally, I should precise that to fully appreciate this book, it is important to make yourself available to it and to spend time with it. At first reading, I found it a little bit to obvious with some basic framing, even not close enough (you know, in the meaning of Capa), but it is a book to which we must return, again and again, as a long summer spent in the countryside : at the beginning you get bored and then when you get to know Hermès, Hollywood, Jaurès or Agathe (the animals who are the subjects of these photographs), you take a liking to them and you look forward to the next summer and the moment when you will be there again. It is the same for this book which, once closed, gives us the furious desire to spend a summer at Les Coupes !
Harcover book published in 2017 by Créaphis Editions, 136 pages, 62 color photographs, 21,5 x 23 cm, with a foreword by Marie-Hélène Lafon.
More info about Philippe Bazin : http://www.philippebazin.fr/
And about Créaphis Editions : http://www.editions-creaphis.com/
In Zona, his previous book, Nuno Moreira explored the limit of the dream and the unconscious. Using the same techniques of staging and scenography, he has published, early this year, this new opus, much more accomplished and which now clearly claims its surrealist filiation, including the title borrowed from a poem by Paul Eluard: She looks into me, which opens the book.
In his previous work, it seems that Nuno sought to « capture » his moments of unconsciousness, whereas in the realization of She looks into me, he appropriated the unconscious to strive to represent it, and his work is now much closer to that of the Surrealists. Life, death, dreams, thoughts, are the raw material. The threads are woven into a play. The pictures are always aesthetic, but it is to make us forget their presence and allow us to focus on the narration which remains interpreted by everyone’s mind. It draws, one after the other, the « being », the « becoming » and the process of deconstruction that follows (« unbecoming »). Consistency remains throughout the book, with recurring patterns that allow us to read a continuum, such as the cycle of life and death, which are, of course, ubiquitous motifs throughout the book. The rhythms change, accelerate and then slow down, before accelerating again. In this book, all the formal elements that constitute it (photos, layout, texts …) disappear at the service of the storytelling.
And finally, the title refers us to the perception that Nuno Moreira proposes to us. It is no longer a question of looking at things, but rather of looking into things, in the sense of the original French title of the poem, Elle se penche sur moi, which speaks of being available to understand the other, to find a confidence in him/her. Where it is about seeing in the other to put his life/love in his/her hands, proof of ultimate confidence, beyond life and death. Then one reads there love, the only one capable of transcending the physical limit of the body, of time, of the wear and tear that reappears in the third part of the book. Death approaches, and one then questions oneself about existence, his own and that of the other, whom we build a relation with.
The book is beautifully printed with black and white tones incredibly rich. The open spine allows a clear reading of the photos. A booklet with a text in Portugese and in English by Adolfo Luxuria Canibal, Portugese musician and poet accompanies the softcover book. Limited edition of 200 copies, 22 x 28 cm, 84 pages with 42 B&W photos. Foreword by M. F. Sullivan and afterword by Jesse Freeman.
More info : http://nmdesign.org/