So Far Away, Yet So Close

PHOTOBOOK BY BAPTISTE DE VILLE D’AVRAY


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2017 / 1st edition
Limited of 100

45 photographs
70 pages
29.7×21 cm
Hardcover, perfect binding

Euro €28.00

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The project “So Far Away, Yet So Close” brings together 7 years of exploration on a real territory, during a boom in urban development – a place that is resolutely contemporary and yet photographed in a timeless manner.

Baptiste de Ville d’Avray originally approached Morocco during regular short visits.

He was soon attracted by its unique Atlantic atmosphere and its coastline spanning thousands of kilometres, between the Algerian and Mauritanian borders. This country became a character in its own right within Baptiste de Ville d’Avray’s world. He was to revisit and chisel away at this material, honing a land that springs from his imagination. He thus transforms slices of life and atmospheres into stories with his camera. The lighting is always soft. The characters are like silent actors, appearing to perform in a set invented by and for the photographer.

In 2009, he began the series “Mediterrannea Saidia”, focusing on the “Plan Azur” project, with the scheduled creation of six seaside resorts. This series features the concrete sprawl over the coastline, through architecture and landscapes whose residents appear lost. Shortly after the events that shook the Arab countries, he continued his work on the coast with the series “Witnesses on the Horizon” [A L’horizon les Témoins]. These photographs capture a latent expectation in the air, at once calm yet full of tension, which can be found in many Mediterranean countries. Facing the sea, the witnesses wander. They pause, impassive. With their eyes turned to the future, they seem to deny themselves the right to dream.

In 2012, he moved to Morocco and began a contemplative photographic fiction compiled over the course of his travels and encounters, with “So Far Away, Yet So Close” [L’apparition d’Un Lointain si Proche]. This was the starting point for playing on the fringes of his practice, by moving away from a more documentary and serial approach. In each photo, time appears to slow down, with each of the titles reconstituting the pieces of a puzzle to form a fable.

He later embarked on a nomadic photography project “The Coast, Another Border” [Le Littoral, Une Autre Frontière], which follows the Moroccan side of the Mediterranean bypass that was never completed, originally intended to link up two countries, Algeria and Morocco. In a cinematographic style, the author reveals the radical transformations of the landscape.

Living between two continents, and flying many times over the Atlantic, he began Postcard from Morocco in 2016: a kind of visual and imaginary correspondence. In this series, he presents suspended moments devoid of exoticism.

 

BAPTISTE DE VILLE D’AVRAY

Baptiste de Ville d’Avray’s photography is orientated towards a cinematographic, latent and contemplative vision of the landscape and portraiture. Since 2009, he has been working on a project based on the transformations of Mediterranean landscapes, particularly in Morocco. His images seek to construct mini photographic fictions based on a real territory that becomes a character in its own right and on anodyne moments from daily life, by flirting with the boundaries of documentary photography and poetry. They express the contradiction between a perpetual movement and the immobility of bodies, thus presenting an X-ray view of the inner workings of a country and its inhabitants.

BAPTISTE-DVA.FR

 

 

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So Far Away, Yet So Close

EXHIBITION BY BAPTISTE DE VILLE D’AVRAY
15 – 30 September 2017

Morocco 2009 – 2016

The project “So Far Away, Yet So Close” brings together 7 years of exploration on a real territory, during a boom in urban development – a place that is resolutely contemporary and yet photographed in a timeless manner.

Baptiste de Ville d’Avray originally approached Morocco during regular short visits.

He was soon attracted by its unique Atlantic atmosphere and its coastline spanning thousands of kilometres, between the Algerian and Mauritanian borders. This country became a character in its own right within Baptiste de Ville d’Avray’s world. He was to revisit and chisel away at this material, honing a land that springs from his imagination. He thus transforms slices of life and atmospheres into stories with his camera. The lighting is always soft. The characters are like silent actors, appearing to perform in a set invented by and for the photographer.

In 2009, he began the series “Mediterrannea Saidia”, focusing on the “Plan Azur” project, with the scheduled creation of six seaside resorts. This series features the concrete sprawl over the coastline, through architecture and landscapes whose residents appear lost. Shortly after the events that shook the Arab countries, he continued his work on the coast with the series “Witnesses on the Horizon” [A L’horizon les Témoins]. These photographs capture a latent expectation in the air, at once calm yet full of tension, which can be found in many Mediterranean countries. Facing the sea, the witnesses wander. They pause, impassive. With their eyes turned to the future, they seem to deny themselves the right to dream.

In 2012, he moved to Morocco and began a contemplative photographic fiction compiled over the course of his travels and encounters, with “So Far Away, Yet So Close” [L’apparition d’Un Lointain si Proche]. This was the starting point for playing on the fringes of his practice, by moving away from a more documentary and serial approach. In each photo, time appears to slow down, with each of the titles reconstituting the pieces of a puzzle to form a fable.

He later embarked on a nomadic photography project “The Coast, Another Border” [Le Littoral, Une Autre Frontière], which follows the Moroccan side of the Mediterranean bypass that was never completed, originally intended to link up two countries, Algeria and Morocco. In a cinematographic style, the author reveals the radical transformations of the landscape.

Living between two continents, and flying many times over the Atlantic, he began Postcard from Morocco in 2016: a kind of visual and imaginary correspondence. In this series, he presents suspended moments devoid of exoticism.

 

BAPTISTE DE VILLE D’AVRAY

Baptiste de Ville d’Avray’s photography is orientated towards a cinematographic, latent and contemplative vision of the landscape and portraiture. Since 2009, he has been working on a project based on the transformations of Mediterranean landscapes, particularly in Morocco. His images seek to construct mini photographic fictions based on a real territory that becomes a character in its own right and on anodyne moments from daily life, by flirting with the boundaries of documentary photography and poetry. They express the contradiction between a perpetual movement and the immobility of bodies, thus presenting an X-ray view of the inner workings of a country and its inhabitants.

BAPTISTE-DVA.FR

 

 

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Magazine #4

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Where The Night Takes Us
September 2017
67 photographs
96 pages

Featuring
Guillaume Abgrall (France)
Saleem Ahmed (United States of America)
Ricardo Dominguez Alcaraz (Spain)
José De Almeida (Portugal)
Simon Deadman (Australia)
Mélanie Desriaux (France)
Barry Falk (England)
Andy Feltham (England)
Isa Gelb (France)
Markus Henttonen (Finland)
Markus Lehr (Germany)
Gaëtan Rossier (Switzerland)

Printed copy
21×29.7 cm
Hardcover, perfect binding
Euro €30.00

 

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Urbanesque

EXHIBITION BY ÁKOS MAJOR
8 – 22 September 2017

2013 – 2014

 

ÁKOS MAJOR

Ákos Major (b.1974, Hungary) graduated in 2001 from Moholy-Nagy University of Arts and Design (MOME) in Budapest, Hungary with a degree of Visual Communications. He is shooting 120 and 4×5″ color negatives.

AKOSMAJOR.COM

 

 

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1KM

EXHIBITION BY MARINA CANEVE
1 — 15 September 2017

2012 — ongoing

By numbers
1 linear km long
10 floors
6,000 people hosted

On présente parfois La Caravelle comme «la plus grande barre de France».

The banlieues represent the urban areas created at the outskirts of major French cities in the fifties and sixties. To cope with the severe housing shortage after WWII, and to counter the informal shantytown settlements (bidonvilles) that had grown in response to this the French governments instigated the construction of large-scale housing projects, whose forms owed much to modernist architecture as espoused by Le Corbusier and CIAM: the “Grands Ensembles”.

These building complexes stand for their oversized urbanism and their rough and poetic appearance; they often represent a sort of cultural and social failure. In this context ʽLa Caravelle’ remains a significative case study because it represents, unlike most of the others, a place where the grand ensemble tends to blend the metròpolis, Paris. This status has been generated by an intervention of urban re-modelage which produced as a result a sort of désenclavement (breaking the isolation of the community).

Working on this site does not only mean dealing with the fascinating power of the magnificent grand ensembles, but above all focusing on the relationship between them and the rest of the city. The ideas of enclavement and désenclavement recur constantly juxtaposing the ideas of opening and closing. It recurs both from a physical and a metaphorical point of view. Re-thinking the grand ensembles populating the Parisian banlieue is extremely significant against the ghettoisation, depersonalization and the social exclusion which are typical of these urban districts.

About la Caravelle: La Caravelle is a housing complex consisting of 1-kilometer-long plan. The complex was built during “The Glorious Thirty” as a refuge for the myriad of people that was at that time looking for a place to live in France. In that period this building was considered an admirable plastic work designed by Jean Dubuisson. At the beginning of the XXI century something started to go wrong. In contrast with the ideals of equality and dignity characteristic of the Modern Movement, criminal activities brought the area to a bigger and bigger state of degradation. The building has become an enclave averse to rest of the city, especially the mother-city, Paris.

In the 20ies La Caravelle was among the six Grand Paris’ districts most criminogenic in France.

The French government together the Atelier Castro from 1995 till 2003 realised a re-modelage of the area. Through punctual demolitions they created a new viability restoring the complex’s connection with the larger city. With the construction of smaller appendix and new buildings they attempted to reintegrate La Caravelle into the larger plan of the Grand Paris.

“On complique un système trop simple”
(Roland Castro)

 

MARINA CANEVE

Marina Caneve (1988) is a visual artist based in Italy and The Netherlands.

Facing to the inevitable – that means changes that are so prominent that people can only adapt their lives – her intention is to reconstruct things that seems too big and complex to be depicted. Her artistic research combined with a strong planning attitude aims to the construction of a mosaic of reality and result in the use of several forms of expression, ranging from fine art photography, production of books and video installations.

Caneve’s work has been exhibited internationally at institutions such as La Biennale di Venezia (Venice), ALT.+1000 (Switzerland), Fondazione Benetton (Treviso), Savignano Immagini Festival (Savignano sul Rubicone), Fondazione Bevilacqua La Masa (Venice), Centquatre (Paris). She is co-founder of CALAMITA/Á an interdisciplinary platform focusing on the geopolitical and especially the Vajont catastrophe.

MARINACANEVE.COM

 

 

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Solitary Flight

EXHIBITION BY OLE ERIK LØVOLD
23 August – 7 September 2017

2013 – 2014

This project came about at a time in my life when I felt torn between two countries, as my time studying abroad was coming to an end. Place and identity are intricately intertwined and this conflict unsettled me: I felt like I belonged nowhere. As a way of reconciliation, I wanted to make pictures of the places which held significance to me, both as a child and an adult, in both countries.

I found great pleasure in the act of photographing and carefully observing these places. To move around in the landscape, consciously and affectionately seeing it, felt like an act of love, a way of making myself at home. I am still taking these pictures today, years later: living in a new house, in a different place, but still at home.

 

OLE ERIK LØVOLD

Ole Erik Løvold (b. 1992) is a photographer and writer living in Oslo, Norway. He has a BA in photography from Middlesex University (London, UK) and recently selfpublished the photobook «Take Care» (2016), a collection of photos and autobiographical texts from his first two years in Oslo.

OLELOV.COM

 

 

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Postcards from Paradise

EXHIBITION BY SINZIANA VELICESCU
16 – 31 August 2017

2015

Postcards from Paradise explores traces of the American Dream along a highway in central California where gold mines were once prevalent in the 1800s. Once a major destination for idealists and dreamers, Owens Valley lies forgotten and empty. Now partially desolate towns were once given optimistic names such as Independence and Paradise, promising fortune for those who risked everything to pursue bigger dreams made tangible by the California gold rush. The reality, however, is that few settlers achieved any success from their endeavors, leaving empty handed with as much haste as they came in with.

Today, little evidence is left of the Gold Rush Era, yet hints of a steady economic downfall permeates throughout the valley. My photographs attempt to bring out the various manifestations of this region, in a direct representation of old and new. Most importantly, the series calls attention to the carelessness with which Americans settled and subsequently gave up on the West, leaving behind a footprint on the landscape and ultimately exposing the myth of the American Dream.

 

SINZIANA VELICESCU

Sinziana Velicescu is a photographer and filmmaker based in Los Angeles, California. She is a graduate of the University of Southern California with a B.A. in Comparative Literature and Film. Her photography explores human intervention with nature in landscapes that have undergone political, social, or environmental change. Selections from her award winning series, On The Periphery, have been shown in galleries internationally in Los Angeles, Chicago, New York, Hamburg, Melbourne, Tokyo, and Rome. Most recently, Photo Boite named her one of the 30 Female photographers under 30 to watch in 2016.

SINZIANAVELICESCU.COM

 

 

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In the Flat Field

EXHIBITION BY REINIER TREUR
8 – 22 August 2017

2015

The Netherlands and Belgium are jointly referred to as the Low Countries, the low lying delta of the Rhine, Meuse and Scheldt rivers, that all flow into the North Sea. The two countries have a lot in common – language, arts and culture, food, the flat landscape – and in fact historically were one nation for several periods of time, before eventually the Belgians separated from The Netherlands in 1830.

There are, however, also significant differences between the two states. In the southern part of the Low Countries Catholicism is the main religion, but the northern part is predominantly Protestant, which – at least partly – explains the different national characters of both countries. Or is it the other way around? However, in the Calvinistic north, people generally are strict, surly and thrifty, whereas the southern inhabitants show more joie de vivre and tend to take life a bit less seriously.

This schism is also reflected in the landscape and the way that is arranged. Long straight roads, short mowed lawns and rows of identical terrace houses in the north. Orderly and neat. Well maintained. Densely populated as The Netherlands are, there are only few abandoned and derelict buildings. Land is precious, and will be re-used soon after the previous user ends its activities. Old and obsolete infrastructure is demolished and immediately replaced by new facilities. For economic reasons but also because the Dutch like their environment to be orderly.

In the south we find messy terrains, overgrown plots of land, haphazardly located houses that sometimes look like follies. The Belgians are more individualistic, and therefore want to build their house according to their own taste and wishes, not restricted by rules and regulations. They don’t mind if a piece of land remains unused and is overgrown by weeds. Or when an abandoned factory slowly falls into pieces. They don’t care that their living environment is a bit untidy, as long as they can drink a beer and eat their chips or shrimp croquettes. Live and let live, and mind your own business.

In the eyes of the Belgians (and no doubt many others), the landscape in The Netherlands is flat, clean and boring. To the Dutch (and probably other North Europeans as well), Belgium seems a messy country, with ugly buildings and dirty industries.

It is the beauty of this boringness and ugliness that I want to depict in the series In the Flat Field, which derives its name from the song and album by the English post-punk band Bauhaus. “I do get bored, I get bored, in the flat field” the lyrics go. I’m bored and fascinated at the same time by the landscapes of the Low Countries.

 

REINIER TREUR

Reinier Treur (b. 1961) is a photographer and editor based in the north of The Netherlands. He holds a master degree in Dutch literature and had a career in pr & communications, before he switched to fine art landscape and documentary photography. As a photographer he is mainly self taught. He uses medium format (and sometimes 35mm) analog cameras and color negative film.

He is interested in the relation between mankind and the altered or changing landscape, with a particular curiosity for traces in the landscape that unveil human interventions from the past. He likes empty, dilapidated, gloomy and messy locations as much as excessively orderly and overly neat places.

His work shows the beauty of what most people regard as boring and ugly landscapes.

TREUR.ORG

 

 

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The Last Stand

EXHIBITION BY MARC WILSON
1 – 15 August 2017

2010 – 2014

Between 2010 and 2014, I photographed the images that make up The Last Stand. This piece of work aims to reflect the histories and stories military conflict and the memories held in the landscape itself. The series is made up of 86 images and is documenting some of the physical remnants of the Second World War on the coastlines of the British Isles and Northern Europe, focusing on military defence structures that remain and their place in the shifting landscape that surrounds them. Many of these locations are no longer in sight, either subsumed or submerged by the changing sands and waters or by more human intervention. At the same time others have re-emerged from their shrouds.

Over the four years I travelled 23,000 miles to 143 locations to capture these images along the coastlines of the UK, The Channel Islands, Northern & Western France, Denmark, Belgium and Norway.

It’s large format work and it’s quite beautiful (Paul Virilio’s Bunker Archaeology may be the most recognised photography of sea defences but that’s a different kind of book). Everything is shot in subdued diffused light, the pre-dawn it looks like much of the time, and the way in which the different defences merge and crumble into the landscape of which they are now part… The Last Stand is as multilayered as the landscapes which it features; there’s historical detail wrapped folded over into a chronotopia of functional brutalism, mixed with local touches that feeds into the geological, panoramic and tactical.

All the boxes are ticked in Robert Adams traditional landscape list: there’s geography, autobiography, and metaphor. But on top of that, Wilson gives us a politicised view of landscape and power that ties back to survey photography of Timothy O’Sullivan and the work of Mitch Epstein. Layered into that is an Arcadian vision. With its focus on Northern Europe it’s a dystopian Arcadia; there is a pagan feel to Wilson’s pictures, a syncretic vision where geology, flora, climate and war find a single expression. And it’s beautiful.

Colin Pantell

 

MARC WILSON

Born in London, 1968. Now living in Bath, England. Marc Wilson’s photography documents the memories, histories and stories that are set in the landscapes that surround us.

Marc works on long term documentary projects, such as his recent work ‘The Last Stand’ and his current work, ‘A wounded landscape’. Whilst his previous work focussed primarily on the landscape itself, and the objects found on and within, his current work combines, landscape, documentary, portrait and still life, along with audio recordings of interviews and sounds, to portray the mass sprawling web of the histories and stories he is retelling.

His work was one of the winners at The Terry O’Neill award in 2013 and ‘The Last Stand’ was published as a book in late 2014. It has sold out of its 1st edition by early 2015 and a 2nd edition has now been published.

Solo exhibitions include those at The Royal Armouries Museum, Focal point Gallery and The Anise Gallery, London. Group shows include those at The Photographers Gallery and the Association of Photographers gallery, London and the Athens Photo Festival, 2015.

His work has been published in journals and magazines ranging from The British Journal of Photography and Raw Magazine to Wired and Dezeen.

MARCWILSON.CO.UK

 

 

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Magazine – Cinémascope by Stéphane Guillaume

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Special Edition
July 2017
12 photographs
34 pages

Featuring
Stéphane Guillaume (France)

Printed copy
21×14.8 cm
Hardcover, perfect binding
Euro €13.50

 

Every photograph is a fiction that claims to be true

(Fontcuberta, The Kiss of Judas – Photographs and Truth, Arles Actes Sud, 2005)

My work shows contemplative spaces that create a fictional reservoir. Human interventions, geographical signatures and architectural perturbations all produce their own peculiarities. The banality, absent of humanity, creates a diffuse tension that summons the strange.

 

STÉPHANE GUILLAUME

After studies in art school that led me to teaching, I have abandoned all artistic practice. In 2013, the digital revolution in photography prompted me to reconnect with a photographic practice combining film shot and digitization work. My first photographic research will be done during a trip to Portugal. Then to develop different projects. I took part in my first collective exhibition in March 2017, where I presented the series Décorum. Now I work on several series of which I present: Cinemascope.

STEPHANEGUILLAUMEBLOG.WORDPRESS.COM

 


 


COLLECTOR’S EDITIONS

Two of the photographs found in this issue of Camera Infinita Magazine Special Edition are available to order as a Limited Editions prints for Collectors. These contemporary photographic artworks are curated and sold exclusively online by Camera Infinita. To order, simply click on any of the photos below.
 

ORDER PHOTO PRINTS

 
There are 3 print sizes available:

  • Small: 30×18.6cm, limited to 10 editions
  • Medium: 40×24.2cm, limited to 5 editions
  • Large: 78×45.7cm, limited to 3 editions

All our gallery-grade prints are accompanied by a Certificate of Authenticity, identifying the edition particulars: edition number, size, medium and production date. The Certificate is signed by the artist.

We have partnered with The Print Space, the famous and trusted professional photo lab, based in London, England. Prints are dispatched within 48 hours, and delivered to the desired address worldwide. To guarantee the prints arrive in perfect condition, they are carefully rolled into a protective tube, cushioned with protective paper and bubble wrap, and secured at both ends to ensure a tight and safe seal.

These Collector’s Editions are printed using the following professional archival quality process:

  • Giclée
    Inkjet print. Archival pigment inks. Epson UltraChrome HDX wide gamut inks.
    Canson, Epson, Hahnemühle or Harman papers. Epson printers.

 

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