Wuhan Boulevard

PHOTOBOOK BY ALESSANDRO ZANONI


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2017 / 1st edition
Limited of 100

36 photographs
86 pages
29.7×21 cm
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Euro €32.50

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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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No Man’s Land

PHOTOBOOK BY FRANCO SORTINI


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2017 / 1st edition
Limited of 100

38 photographs
64 pages
29.7×21 cm
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Euro €26.50

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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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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
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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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Following Cornelius

PHOTOBOOK BY MITCH KARUNARATNE

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2017 / 1st edition
Limited of 100

33 photographs
64 pages
21×29.7 cm
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Euro €24.50

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I come from Canvey Island, a small island in the Thames Estuary, 40km east of London. Despite the complex web of dykes and drains built to secure the land by the Dutch engineer Cornelius Vermuyden, in 1621, the land sinks slowly into the mud. Growing up, his name was memoralised everywhere – in my school’s name, in the street names, in shop names – he was the island’s hero.

I was curious to see where Cornelius went after leaving Canvey – so I followed his route from Canvey Island, 100 miles north to the Fens in East Anglia. The Fens, reclaimed from the sea, are still dry as well, thanks to Cornelius Vermuyden. Under every foot of land there are tunnels, drains, pumps, reservoirs, channels, sluices, gulley’s, cuts and embankments that pump, move and drain water continuously to ensure this land remains dry. 24 hours a day, 365 days a year, the tides, farm run-off, water usage, rainfall and ground water are monitored, rationed and controlled to keep everything in balance.

Despite now being almost three metres below sea level, the battle goes on to keep this land dry. Whilst it looks on the surface to be an agriculturally rich, rural, natural landscape – it’s the most intensely managed land in the country.

 

MITCH KARUNARATNE

Mitch Karunaratne is attracted to places that hold stories in the land, where the land shapes and helps give us a sense of identity and belonging. She received a MA in Photography from University of Brighton in 2012. She has exhibited widely both in the UK and abroad, most recently in Norway and Italy. She is a founding member of the MAP6 collective – travelling and creating collaborative projects with the group.

MITCHKARUNARATNE.COM

 

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6m²

PHOTOBOOK BY MÉLANIE DESRIAUX

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2017 / 1st edition
Limited of 100

50 photographs
82 pages
21×21 cm
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Euro €29.50

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Mélanie Desriaux observes Man and the vernacular; otherness. Especially, the wild as a conquest of the real. Her work bears reference to that particular history which links photography and exploration. She suggests that, in an age where everything has been charted, every frontier has been crossed, the only discovery left is inside the image itself. Going towards unknown, crossing borders, to find a visible limit and increase a point a view, are her goals. Then, she begins stories, she documents within an elliptical shape.

Her approach is contemplative. She looks intensively to find into the world an image – images – of what she feels into herself. Taking the road it’s looking for the wild, it’s changing landmarks and customs, it’s re-evaluating perceptions, it’s facing one’s fear to reveal the outlines of what limits us. So, the expedition raises metaphysical stakes, political and environmental reflections, and the journey takes on an unexpected thickness.

On Ré island, there is the detention center where are incarcereted the longest sentences of France. In Saint-Martin, one cell is equal to 6m². However, some of them express strongly realities of life – dreamed or lived – and the prison reality. Inside this floating zone, each object, each image, tries to drown walls. Photography is trying to put off boundaries of the document. So, to take the road on this territory of exile is to measure the meaning of penitence. The photographic work becomes the place of an interrogation on manufacturing process; a passage from the document to fiction. On one side as on the other – on the wire – each gesture defines a link to reality and the way in wich Man inhabits the real.

 

MÉLANIE DESRIAUX

Born in 1981 in La Rochelle, Mélanie Desriaux lives and works in France. She graduated from the School of Fine Arts (Rennes, France, 2006), and obtained Higher Competitive Exam in Education, in the Visual Arts, with Photography as a major subject (Aix-en-Provence, France, 2010). Ever since, she has shared her work between artistic orders, teaching and personal research. She also works in the editorial design of artists books. Mélanie Desriaux shows her work in France and abroad.

From 2006 to 2012, she exhibited her work at Le Radar Gallery (Bayeux, France), Art & Essai Gallery (University of Rennes 2, France), and the Federal University of Bahia, Brazil. Her work in the prison of Saint-Martin (Ré island, France) was selected by Carceropolis, along Jane Evelyne Atwood’s work for instance. It is regularly published by the Prison International Observatory, and used by production company as Phare Ouest for instance.

In 2015, she won a scholarship for a wandering photographic tour in The United States. Her point of view of the Oregon trail earned her the first Fisheye magazine Jury Prize, handed over by Theo Gosselin and Maud Chalard. In 2016, she was selected by Pascal Amoyel to exhibit this work in Bowen Island (Vancouver, Canada) for FotoFilmic / PULP Gallery & Store. Also, she has been part of the David Stewart’s selection among 20 finalists for Youthhood, Life Framer Photography Prize. Her works was published by C41 magazine for instance.

In 2017, Mélanie Desriaux will show pictures produced with Observatory of Paris (France), for the 350 years of the site.

MELANIEDESRIAUX.NET

 

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Twentysix Abandoned Catalan Gasoline Stations

PHOTOBOOK BY XAVIER ARAGONÈS



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2017 / 1st 210mm edition
Limited of 50

26 photographs
60 pages
210×210 mm
Hardcover, perfect binding

Euro €23.50

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2017 / 1st 294mm edition
Limited of 50

26 photographs
60 pages
294×294 mm
Hardcover, perfect binding

Euro €43.00

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You know, gasoline stations always bring life to small towns. You’d always have someone pumping the gas, buying things at the shop or just stopping by to say hello and have a little chat with the employees.

But at some point the farmers’ co-op decided to build their own station so they could get cheaper fuel and from then things went downhill. I could not compete with their prices at all. In the end, the guys from the oil company came here and stripped all the place down and now I’m left with the remains.

According to the law, I’m not allowed to use this place for any other kind of business because the underground gas storage tanks are still there and it would be way too expensive for me to remove them safely…

So you say you’re taking these photographs for a book? I bet you’ve found a few more stations like this!

Former Station Owner
Torregrossa, Lleida, November 2016

 

XAVIER ARAGONÈS

Xavier Aragonès (b. 1979) is an amateur photographer living in Terrassa, Spain. His main area of interest is the landscape, either natural or man-altered. When taking photographs he claims to be drawn to capturing atmosphere and suggesting possible narratives rather than telling a straight story. His first photobook, O.O.O., was published by Camera Infinita on February, 2017.

XAVIERARAGONES.COM

 

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Insomnia

PHOTOBOOK BY MARKUS LEHR


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2017 / 1st edition
Limited of 100

37 photographs
58 pages
29.7×21 cm
Hardcover, perfect binding

Euro €23.00 + shipping

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LIMITED SIGNED COPIES + PRINT

An autographed edition from the author makes the book a little more special. It creates a bond between the author and reader and becomes a wonderful addition to any collection.

That connection will become even stronger as you will also be sent a numbered and signed printed photo (the one just below), taken from the book, and dispatched by the artist himself.

Limited to 10 editions only, each signed book comes with an enclosed A4 297x210mm photo, numbered and signed by the author, printed with professional archival quality using pigmented ink on Museo Silver Rag 300gr coated cotton rag paper.


Destination (shipping included):
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Berlin is one of the most visited cities in Europe, which means – in our age of peak digital imagery – it’s also the most photographed: especially its major sightseeing icons such as the TV Tower, the Brandenburg Gate, the Reichstag… Yet you won’t find any such sights in this book, since Markus Lehr patiently and deliberately set out to discover an alternative side of the city; one that’s devoid of traffic and tourists, clubs and culture, and represents instead the beauty, peace and stillness of the night.

“Insomnia” comprises a selection of these images taken between 2013 and 2017. Characterised by the compelling synthesis of mood, light and texture that defines Markus’ work ever since, they reveal the city as it is rarely seen – a place where churches, supermarkets and petrol stations are deserted, their isolation exacerbated by the lonely glow of neon and the sodium glare of streetlights. Billboards advertise their wares to no-one; tunnels wait patiently for vehicles; even the cultural treasures of the Museum Island sit empty and forgotten. Markus shows how the city’s infrastructure is democratised at night.

“The size of the city and the diverse cultural and historical background makes Berlin special for night photography,” comments Markus. “I try to construct scenes that reflect the complexity of the location, which is why there are no people – any face or person makes the viewer focus on that instead of the scene. I would rather show the effect of what people are doing instead of the moment when they are there.”

Although there are no people in these images there are tell-tale signs of human activity. Trains streak by the lens like ghosts, creating a dynamic tension between the silence and the sudden rush of transportation, and lights beam tellingly from the interiors of buildings. The natural world creeps in too: trees, bushes and swathes of grass foreground and frame the images, all rendered somewhat unreal by the cinematic quality of the lighting.

The stillness of the photos that lends them a quietude and elegance that’s refreshing and thought-provoking in an era of trigger-happy digital photography. Their patient execution invites the viewer in to relish their intimate details and filmic ambiance. “We are living in a complex world and these images try to embrace it. “There is this rule for photography, that you should reduce a scene and composition to the bare essential,” says Markus. “I am trying to do the opposite.”

Paul Sullivan
April 2017

 

MARKUS LEHR

Markus Lehr studied communication at the University of Arts in Berlin and has been working in the field of marketing and new media ever since. Several notable publications have featured his work and he published his first photography book in December 2013. Markus has also showcased his work at solo and group exhibitions in Berlin, Munich, Paris and Wolverhampton.

MARKUSLEHR.COM

 

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Marfa

PHOTOBOOK BY GAËTAN ROSSIER


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2017 / 1st edition
Limited of 100

47 photographs
68 pages
29.7×21 cm
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Euro €25.50

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You will not come to Marfa by chance

All roads lead to Marfa, starting with the interminable highway that winds through the Chihuahua desert and rallying El Paso to this small lunar city of west Texas at the gates of Mexico. Declining since the closure of its military camp at the end of the Second World War, the rise of drug trafficking in the region and the drying up of the Rio Grande, Marfa, with its 2,000 residents, should never have become a hype destination. Yet for years now we are witnessing the same parade of aficionados pacing the dusty streets of this tiny city, a mirage in the torpor of the cactus fields. So, I went in Marfa in 2013. I took pictures and i loved it.

 

GAËTAN ROSSIER

Gaëtan Rossier (born 1975) is a Swiss photographer. He studied law at the University of Fribourg (Switzerland) and works as a lawyer in the administration (labor law).

Gaëtan Rossier is known for his images of banal scenes and objects in different countries (United States, France, Spain, Switzerland, etc…) and for his use of color in photography. Gaëtan Rossier was interested in photography from an early age. Self-taught, he received an Kodak Instamtic at age six. He began to use a 35mm camera ten years later and made his first color photographs. Gaëtan Rossier photography is rooted in the tradition of William Eggleston, Alec Soth and Stephen Shore. Gaëtan, an avid traveler, spent five years working his way down the American North West and documenting the places and people he saw with film cameras and various gears. Rossier’s photography has been exhibited on a collective exhibition in Lyon (France), “Kiss & Fly”. He has also been published in various collective projects.

GAETANROSSIER.CH

 

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Lost in Picardie

PHOTOBOOK BY GUILLAUME ABGRALL


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2017 / 1st edition
Limited of 100

32 photographs
48 pages
29.7×21 cm
Hardcover, perfect binding

Euro €21.00

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[FR]   La Picardie, c’est l’endroit où je vis. Parfois, je me demande si ce territoire que j’arpente quotidiennement existe réellement, tant il me paraît étrange: voitures tapies derrière des haies, rues et bâtiments déserts éclairés par un soleil pâle, quelques personnes ça et là. L’impression de dériver au sein d’un espace où rien n’arrive, d’une profonde mélancolie. Avec ces images faites lors de mes déplacements les plus ordinaires, pour le travail, les loisirs ou les obligations de tous les jours, je cherche à faire apparaître ce sentiment d’étrangeté qui nous saisit parfois face au réel le plus familier, cette impression de s’être perdu dans un monde légèrement différent du notre.

[EN]   Picardy is the place where I live. Sometimes, I wonder if this land does really exist: cars hidden behind hedges, forsaken streets and houses lightened by a faded sun, some people here and there. I feel like I’m drifting through a space where nothing happens, a space full of deep melancholy. With the pictures of this book, taken in my daily life, on the road to work, or during my spare time, I try to show this feeling of weirdness we could have in front of our close reality, when we feel lost in a world slightly different from usual one.

 

GUILLAUME ABGRALL

Guillaume Abgrall is a frenchman born in 1972. He lives in a little rural town near Amiens, in the North of France. He’s a teacher and an amateur photographer, who likes to take pictures both in analog and digital.

GUILLAUMEABGRALL.COM

 

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Brasilia

PHOTOBOOKS BY CYRILLE WEINER
 


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2017 / 1st edition
Limited of 100

42 photographs
62 pages
21×29.7 cm
Hardcover, perfect binding

Euro €24.00

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[click cover to preview photobook 02]

2017 / 1st edition
Limited of 100

28 photographs
46 pages
21×29.7 cm
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Euro €20.00

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Arriving in Brasilia is a strange feeling: an illusionary city that would reveal itself very slowly. From afar, the landscape is flat. Then, above the emptiness, a vibrant shape appears in the bright sun, like a giant model growing up from the ground. The vision speeding faster as the city progressively appears. Unbelievable.

Brasilia is the capital of a vast country. But it is not a city. It is the drawing of a city, a cross in the middle of the desert. An act of possessing a territory, perfectly and globaly achieved from scratch by architect Oscar Niemeyer and urbanist Lucio Costa, under the impulse of president Juscelino Kubitschek.

I came to see a city. I discovered an infinite garden. A wasteland. A suspended space that stretches out of human dimension.

I walked for hours. Off the map and its limits in an urban space that has not yet been conceived for a walker. I met a few men, as my own reflection in a mirror. They walked to the rodoviaria – the main bus station – at the crossing of the two wings of the Plano Piloto.

The public space in Brasilia is the whole territory. Cities’ grounds are covered with ashalt. In Brasilia, despite the sophisticated urban shaping, the red earth does not disappear.

Time is suspended. Life seems to have stopped the shining day of April 21st, 1960: the inauguration day of its new capital, built ex nihilo.

Strange scenes of parades of workers, soldiers and officials, between scattered brand new futuristic buidings, like an oversized movie set. A utopia that became real in a thousand days. Perpetual comeback, perpetual availability for the future.

I came to Brasilia with the feeling of coming back. I left it asking myself if Brasilia exists. It seems to. Not as a myth or a symbol of the modernist utopia, but an available open playground for all the improvisations of all of us.

Emptiness is the real monumentality of Brasilia.

 

CYRILLE WEINER

Photographer born in 1976 and trained at the Ecole Nationale Supérieure Louis Lumière. His work has been published by numerous international magazines (M Le Monde, Foam, British Journal of Photography, foam, Art Press…) and exhibited at MAC Lyon, at the Rencontres d’Arles, the laurent mueller gallery in Paris and at the Villa Noailles in Hyères. He was the laureate of the Prix Lucien Hervé and Rudolf Hervé in 2012 and the author of Presque Île (2009) and of Twice (2015). Cyrille Weiner recurrently poses the question of space, and how individuals appropriate themselves to their living spaces, distanced from directives coming from «on high». Progressively leaving the documentary register, he proposes a universe crossed by fiction, that he establishes with exhibitions, editorial projects and installations.

CYRILLEWEINER.COM

 


 

 


 

 

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