Wuhan Boulevard

PHOTOBOOK BY ALESSANDRO ZANONI


[click cover to preview photobook]

2017 / 1st edition
Limited of 100

36 photographs
86 pages
29.7×21 cm
Hardcover, perfect binding

Euro €32.50

BUY NOW

 

Wuhan Boulevard is an invitation to a journey through a city in progress where time stands still. A journey through an elevated urban railway located in the capital of Hubei province traversed by the Yangtze River: Wuhan. Consciously or unconsciously, deliberately or unthinkingly, the focus on a specific mode of transportation is of particular interest. Wuhan is indeed a major transport and logistic hub connecting key provinces in China, notably thanks to its port. Yet the usual watery landscapes that surround the city are not the focal point of this visual journey. Wuhan Boulevard is in truth one of the stops of the metro line one Zanoni has used to travel across the city. Immediately struck by this appellation, the artist chooses it while thumbing his nose at the fantasy about the Western famous boulevards, such as the Sunset Boulevard: the legendary route to fame and success in Los Angeles. But here the glamour and the density have turned into a rather unsettling and abandoned urban environment. Here we embark on a train that leads to an infinite landscape made of concrete and empty skyscrapers, an endless road towards unceasing urbanization.

Wuhan Boulevard seizes non-places, in other words transitional spaces which are supposed to be crossed. Probing into social commentary, the series reifies the notion of unqualified city. It allows us to look behind giant advertising panels, unveiling a dreamt city struggling to be completed, a city made of brand-new skycrapers that cohabit with old crumbling housing, a city built to welcome more inhabitants while excluding others. In fact Wuhan is the most populous city in Central China, but it seems its inhabitants have been discarded from these photographs. Where are the people? Only a lone wanderer here and there, or some cloths hung outside testify to the human presence. What is left of their houses then? Are they under construction or being knocked down? Zanoni’s pictures unveil an anxiety about modernization. A sense of dehumanization, of alienation, while enhancing at the same time local attempts to take over these non-places.

Zanoni does not only document what contemporary Chinese metropolises are made of today. He embraces the role of the urban flâneur by exploring the ways in which inhabitants can move or are prevented from moving across their environment. Zanoni climbs up the ground hills, cuts across rubbish mounds, wanders around forbidden construction areas, while gazing from above on the elevated railway. As an attempt to depict a city on the move populated with people on the move, these photographs reinforce the fact that paths are alternatively opened and obstructed.

In sum Wuhan Boulevard intertwines the notions of order with disorder, hope with disillusion, leftover past with uncertain future. It caught a glimpse of Chinese urban life as the train is passing by.

Marine Cabos
Art historian – Photography of China

 

ALESSANDRO ZANONI

He’s a visual designer and photographer based in Milan, Italy. After attending Fine Art School and taking courses in illustration at the European Design Institute of Milan, he began his profession as a graphic designer, first in the field of printing and publishing and subsequently in web and interaction design. A devourer of music he worked for a decade writing reviews for the influential rock magazine Jam. He recently began his approach to photography obtaining important awards at the IPA’s and Sony World Photography Awards. He have exhibited in both solo and group shows in Milan, Naples Paris and New York. A tireless metropolitan traveler, his work is focused on finding unusual and urban wastelands: the quest of human footprint in the anthropocene era captured through the lens of his sleek yet detached gaze.

ALESSANDROZANONI.COM

 

 

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Wuhan Boulevard

EXHIBITION BY ALESSANDRO ZANONI
16 – 31 October 2017

2016

Wuhan Boulevard is an invitation to a journey through a city in progress where time stands still. A journey through an elevated urban railway located in the capital of Hubei province traversed by the Yangtze River: Wuhan. Consciously or unconsciously, deliberately or unthinkingly, the focus on a specific mode of transportation is of particular interest. Wuhan is indeed a major transport and logistic hub connecting key provinces in China, notably thanks to its port. Yet the usual watery landscapes that surround the city are not the focal point of this visual journey. Wuhan Boulevard is in truth one of the stops of the metro line one Zanoni has used to travel across the city. Immediately struck by this appellation, the artist chooses it while thumbing his nose at the fantasy about the Western famous boulevards, such as the Sunset Boulevard: the legendary route to fame and success in Los Angeles. But here the glamour and the density have turned into a rather unsettling and abandoned urban environment. Here we embark on a train that leads to an infinite landscape made of concrete and empty skyscrapers, an endless road towards unceasing urbanization.

Wuhan Boulevard seizes non-places, in other words transitional spaces which are supposed to be crossed. Probing into social commentary, the series reifies the notion of unqualified city. It allows us to look behind giant advertising panels, unveiling a dreamt city struggling to be completed, a city made of brand-new skycrapers that cohabit with old crumbling housing, a city built to welcome more inhabitants while excluding others. In fact Wuhan is the most populous city in Central China, but it seems its inhabitants have been discarded from these photographs. Where are the people? Only a lone wanderer here and there, or some cloths hung outside testify to the human presence. What is left of their houses then? Are they under construction or being knocked down? Zanoni’s pictures unveil an anxiety about modernization. A sense of dehumanization, of alienation, while enhancing at the same time local attempts to take over these non-places.

Zanoni does not only document what contemporary Chinese metropolises are made of today. He embraces the role of the urban flâneur by exploring the ways in which inhabitants can move or are prevented from moving across their environment. Zanoni climbs up the ground hills, cuts across rubbish mounds, wanders around forbidden construction areas, while gazing from above on the elevated railway. As an attempt to depict a city on the move populated with people on the move, these photographs reinforce the fact that paths are alternatively opened and obstructed.

In sum Wuhan Boulevard intertwines the notions of order with disorder, hope with disillusion, leftover past with uncertain future. It caught a glimpse of Chinese urban life as the train is passing by.

Marine Cabos
Art historian – Photography of China

 

ALESSANDRO ZANONI

He’s a visual designer and photographer based in Milan, Italy. After attending Fine Art School and taking courses in illustration at the European Design Institute of Milan, he began his profession as a graphic designer, first in the field of printing and publishing and subsequently in web and interaction design. A devourer of music he worked for a decade writing reviews for the influential rock magazine Jam. He recently began his approach to photography obtaining important awards at the IPA’s and Sony World Photography Awards. He have exhibited in both solo and group shows in Milan, Naples Paris and New York. A tireless metropolitan traveler, his work is focused on finding unusual and urban wastelands: the quest of human footprint in the anthropocene era captured through the lens of his sleek yet detached gaze.

ALESSANDROZANONI.COM

 

 

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Between Dreams

EXHIBITION BY SALEEM AHMED
8 – 22 October 2017

2015-2016

Between Dreams is a short story about being adrift in the middle of a mirage. A place where the surrounding environment feels familiar, yet foreign at the same time. A place where uncertainty and impermanence echo from buildings built on deceivingly gentle sand. A place where culture and labor are hand-selected and structured. A place where the idea of beauty is fabricated and imperfection is swept away, as the next dust storm approaches.

 

SALEEM AHMED

Saleem Ahmed is a photographer, writer, and educator based in Philadelphia, Pennsylvania. He has an MFA in photography from the Hartford Art School and a BA in photojournalism from Temple University. He has been involved with photographic and arts-based education projects in Bolivia from 2010-2015, and is also an occasional contributor for The Huffington Post.

SALEEM.US

 

 

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No Man’s Land

PHOTOBOOK BY FRANCO SORTINI


[click cover to preview photobook]

2017 / 1st edition
Limited of 100

38 photographs
64 pages
29.7×21 cm
Hardcover, perfect binding

Euro €26.50

BUY NOW

 

The no man’s land is a portion of land not occupied or claimed by several parties that leave that area not occupied due to fears or uncertainties that would result to take possession. The term was originally used to define a contested territory or a dumping ground for waste positioned between two feuds. It’s used primarily to describe, in the first world war, the area situated between two enemy trenches that neither of two fighters wanted to take for fear of being attacked by the enemy during the action, with this sense the term was coined in the English language no man’s land.

All around the big cities have been developed the new urban settlements, to welcome those who moved from the countryside. The large suburbs many times have become even larger than the city itself, while remaining outside the city center, and reduced to sleeping quarters. Most often lack the most basic social services. We live in an almost deserted city where the need for a place to live is most important than the right to have a better life. Francesco Erbani in his book “Rome: The Decline of the Public City”, he asks: “are we sure that the transformations that are taking place are necessary to meet to collective needs of Rome? or are, however, the effect of real estate strategies that give prestige and money to private and downloading charges on the public and don’t carrying a very helpful to the city?” .In fact, the suburbs have no reason to exist if within them not are provided, in addition to residences, services, commercial and management activities, offices and part of those of the public office who can no longer stay in the central areas of a city. These large suburbs, however, look very much like “no man’s land” means an area of border between the city as a place of life, exchange of social relationships, entertainment, culture and the countryside, no longer as a productive place but as a abandoned space.

 

FRANCO SORTINI

Franco Sortini (1958) is an Italian photographer. Beginning in the 1980s, under the supervision of Franco Fontana, has produced color photographs of landscape and architecture. His photographs are presented with a deadpan wit and always considering the tenuous balance between people and their surroundings. He works in series, photographing urban scenes of his native Italy and Europe. His use of color has been lauded for its capacity to express reality and the mediterranean light.

His work has featured in many galleries in Europe and his photographs are in the collections of Bibliotheque Nationale de France in Paris, the AFOCO Archive in Cordoba, the Galleria Civica of Modena, the Department of Modern Art of University of Siena and in many private collections.

He has published several photography book and some artist’s book in limited editions. His photographs also have been published in many magazines and web magazines.

Professional photographer since 1986, he is a member of the Italian Association of Professional Photographers.

Currently he lives in Salerno (Italy).

FRANCOSORTINI.EU

 

 

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No Man’s Land

EXHIBITION BY FRANCO SORTINI
1 – 15 October 2017

2016

The no man’s land is a portion of land not occupied or claimed by several parties that leave that area not occupied due to fears or uncertainties that would result to take possession. The term was originally used to define a contested territory or a dumping ground for waste positioned between two feuds. It’s used primarily to describe, in the first world war, the area situated between two enemy trenches that neither of two fighters wanted to take for fear of being attacked by the enemy during the action, with this sense the term was coined in the English language no man’s land.

All around the big cities have been developed the new urban settlements, to welcome those who moved from the countryside. The large suburbs many times have become even larger than the city itself, while remaining outside the city center, and reduced to sleeping quarters. Most often lack the most basic social services. We live in an almost deserted city where the need for a place to live is most important than the right to have a better life. Francesco Erbani in his book “Rome: The Decline of the Public City”, he asks: “are we sure that the transformations that are taking place are necessary to meet to collective needs of Rome? or are, however, the effect of real estate strategies that give prestige and money to private and downloading charges on the public and don’t carrying a very helpful to the city?” .In fact, the suburbs have no reason to exist if within them not are provided, in addition to residences, services, commercial and management activities, offices and part of those of the public office who can no longer stay in the central areas of a city. These large suburbs, however, look very much like “no man’s land” means an area of border between the city as a place of life, exchange of social relationships, entertainment, culture and the countryside, no longer as a productive place but as a abandoned space.

 

FRANCO SORTINI

Franco Sortini (1958) is an Italian photographer. Beginning in the 1980s, under the supervision of Franco Fontana, has produced color photographs of landscape and architecture. His photographs are presented with a deadpan wit and always considering the tenuous balance between people and their surroundings. He works in series, photographing urban scenes of his native Italy and Europe. His use of color has been lauded for its capacity to express reality and the mediterranean light.

His work has featured in many galleries in Europe and his photographs are in the collections of Bibliotheque Nationale de France in Paris, the AFOCO Archive in Cordoba, the Galleria Civica of Modena, the Department of Modern Art of University of Siena and in many private collections.

He has published several photography book and some artist’s book in limited editions. His photographs also have been published in many magazines and web magazines.

Professional photographer since 1986, he is a member of the Italian Association of Professional Photographers.

Currently he lives in Salerno (Italy).

FRANCOSORTINI.EU

 

 

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Magazine – The Great Escape by Ricardo Dominguez Alcaraz

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Special Edition
September 2017
12 photographs
34 pages

Featuring
Ricardo Dominguez Alcaraz (Spain)

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

 

THE SEA

It is said that floating in the sea is like being in your mother’s womb, like coming back to a prior stage, to an unconscious stage, where your only target was, simply, to be.

Because of that, it is said, we like the water, we like the feeling of floating on the sea. We can’t explain why exactly, but it calms us. This is because of the water, because you are swayed by the sea waves, because you don’t hear anything apart from your own breathing, and because you get in a semiconscious state where all remains outside of you, where nothing can affect you, where the only feeling you have is peace.

Maybe because of this we like the water, maybe because of this we like the sea. Maybe because of this we go to the beach, coming from many roads and paths full of decisive crossings and detours. We go there with the only purpose to hear the murmuring of the sea, constant and always unpredictable, noisy and calming at the same time. And we stand there, in front of the sea, and we ask our deepest questions. The response is carried to us by the sea breeze. “Breathe” it says, “breathe with the rhythm of the waves. And you will see that where your troubles are, you will find the solutions”.

But, these solutions will not come with ease. You must to look for them in the water and, also, in the sand that the sea puts under your feet. You must walk through this sand and feel its texture, its temperature, its own life. “Then,” the sea says, ”you will see that everything will begin to flow again”.

The sea never fails; it is always right. When you need a break from your oppressive city life, there is the beach, there is the sea waiting for you and welcoming you. When you need solitude, there is the beach, there is the sea isolating you from everything. When you need quietness, there is the beach, there is the sea keeping you away from any noise that may disturb you.

They stop time, or make it slower, unhurried. They merge you with the environment, so you can become the sea, the beach, the waves and the breeze. Because the seaside not only calms you, not only helps you to be: the seaside is you.

And, suddenly, you start to float again, you start to flow again.

 

RICARDO DOMINGUEZ ALCARAZ

He is an art historian and a landscape photographer based in Valencia, Spain. The photography for him is more than a job or hobby. It’s a way of life, a way of thinking and a way of see the world around us. So, his work is focused in the environment itself and how do we use them as human beings. For this reason, his works are based on urban and natural environments that we use for specific issues. It’s a therapeutic thing for him when he can explain the world and answer all that questions with pictures.

DOMINGUEZALCARAZ.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: 30×21.4cm, limited to 10 editions
  • Medium: 40x28cm, limited to 5 editions
  • Large: 70x48cm, 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:

  • Digital C-type
    Chromogenic print. Silver based real photographic prints. Continuous tone.
    Fuji Matt papers. ZBE Chromira printers.

 

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System of Absurdity

EXHIBITION BY BARRY FALK
23 September – 7 October 2017

2015

In October 2015 I visited Lithuania as part of the MAP6 Collective Photography Group, a collective project to explore the shifting concept of what defines modern Europe. In particular we wanted to visit the country that was, at the time of our visit, recognised as the “official” centre of Europe. I was interested in exploring the impact of the Soviet Occupation on the Baltic States between 1944 and 1991 and for this purpose I arranged to visit the Soviet Bunker, set just outside Nemencine in Lithuania.

I was met by the organiser, Mindaugas, who kindly agreed to took me on a tour of the bunker, a square grid covering an area of 2500 m². The bunker was originally a telecommunications centre, set up as a back-up station to keep broadcasting in the eventuality of a nuclear war. It was built between 1983 to 1985, at the height of the Cold War, and was part of the LRT: Lithuania Radio & Transmission, a back-up telecommunications centre set up by the occupying Russians. It was abandoned in 1991 when the Russians left Lithuania. The departing Russians stripped the space clear, leaving the bare concrete cells of an extensive bunker, covering a square grid of 2500 m².

The space has now been adapted into a place of theatre, a fabricated space constructed from the leftover paraphernalia of the Soviet Occupation. The rooms are set up to present a bewildering array of set tableaus set around the theme of the Soviet Union. Within these set spaces is the re-enactment: an actor, in full KGB uniform, is employed to issue out a torrent of abuse at the audience. It is a one man tour de force, a piece of absurdist theatre designed to highlight the absurdity of real events. It’s purpose is educational: colleges send students here to learn from the experience. Afterwards the actor asks the audience whether they like their freedom – the implicit message being that the absurdities and horrors of the past need to be remembered so as not to be repeated.

This is a staged reality, a created fiction to highlight the absurdity of real events. The effect is eery: the uncanny reality of the Soviet regime enhanced by the subterranean and claustrophobic environment. These intricately set pieces occupy an interstice between the abandoned and the occupied, the past and the present, fiction and reality, fear and trauma. When the performance begins it adds another level of remembering, reinforcing both the absurdity and reality of past events. My interest is in the bunker as a psychological space: a place where a fragile sense of safety is held together by fear. Although this bunker no longer carries out it’s original function it remains a place of terror and represents an ever present and on-going preoccupation with human instability and imminent destruction.

 

BARRY FALK

Barry Falk (b. 1964) is an artist photographer documenting urban spaces and peripheral landscapes, areas that have undergone a process of displacement and loss. His focus is upon revealing certain disturbed states of mind which are buried in both the urban and rural landscape. He is particularly interested in the edges of the city where the built up areas merge with the rural landscape. As a photographer his meanderings have taken him from sprawling derelict sites to unclaimed brownfield areas, the land of scrapyards, temporary dwellings, quarries and derelict industry, where abandon accumulates and homes are makeshift. More recently he has concentrated on locations further afield, particularly Poland and the Baltic countries, to explore how these places hold a sense of memory and collective loss. His current project focuses upon the Jewish narrative in Poland from the turn of the Twentieth Century to the present day. His main interest is to explore how trauma effects individuals and communities and how memory is held through generations but can also be buried by collective amnesia.

BARRYFALK.COM

 

 

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So Far Away, Yet So Close

PHOTOBOOK BY BAPTISTE DE VILLE D’AVRAY


[click cover to preview photobook]

2017 / 1st edition
Limited of 100

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

Euro €28.00

BUY NOW

 

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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ORDER PRINTED COPY

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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