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Synopsis
Cet ouvrage est édité dans le cadre du Prix Niépce auquel The Eyes Publishing est associé depuis 2019. La maison d’édition offre au lauréat ou la lauréate la publication d’une édition d’artiste limitée à 400 exemplaires. La réalisation de l’ouvrage bénéficie du soutien de Picto Foundation.En 2020, le Prix Niépce a été décerné par l’association Gens d’Images à Marina Gadonneix.Issue de la série « Phénomènes » que l’artiste a poursuivi entre 2014 et 2019, Tornades met en scène et reconstitue ces tourbillons de vent isolés qui défraient souvent la chronique.Réalisées dans un lieu de recherche scientifique consacré à l’analyse et la reconstitution de phénomènes naturels, les photographies réunies dans ce livre s’inspirent du scientifique et du spectaculaire pour en extraire une forme trouble évanescent, une espèce d’atmosphère poétique et enveloppante. La volupté du vent laiteux en contraste avec l’arrière-plan austèrement noir, la délicatesse des niveaux de gris esquissant les maquettes d’architectures, tout est ici mis en lumière par l’artiste de sorte de nous laisser absorber par la magie, le rythme et l’attraction de ces phénomènes naturels extraordinaires.
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Hardcover. Condition: new. Hardcover. This book is published within the framework of the Prix Niepce, with which The Eyes Publishing is associated since 2019. The publisher offers the winner the publication of an artists edition limited to 400 copies. It is supported by Picto Foundation.In 2020, the Prix Niepce was awarded to Marina Gadonneix.From the series Phenomenes that the artist pursued between 2014 and 2019, Tornades stages and reconstructs these isolated wind vortices that often make the news. Produced in a scientific research facility dedicated to the analysis and reconstruction of natural phenomena, the photographs gathered in this book draw inspiration from the scientific and the spectacular to extract an evanescent form of disorder, a kind of poetic atmosphere and enveloping atmosphere. The voluptuousness of the milky wind in contrast with the austerely black background, the delicacy of the grey levels sketching the architectural models, everything is highlighted by the artist in such a way as to let us be absorbed by the magic, the rhythm and the attraction of these extraordinary natural phenomena.A photographer fascinated by the reverse side of photographic images, or more precisely by the hollow, erased device that invites a particular representation, the artist has been thwarting so-called documentary photography since her first photographic series. Instead of photographing works of art, she shows us the invisible devices (plinths, backdrops, etc. ) that are in the process of disappearing as soon as the expected photograph is taken.The inlay backgrounds of film studios become these blue or green monochrome landscapes, perceptual spaces close to the immateriality of James Turrells immersive luminous pieces. Materiality and immateriality, lights and colored spectres, but also presence and absence, reality and fiction are recurring photographic dualities that will be found in After the image and will discover their artistic maturity in the Phenomena series, images of what appears, but also of what can hypnotise the gaze and sharpen the imagination as much by the incomprehension of what is seen as by the conceivability of the unknown.Thus, these latest images, resulting from research work carried out in scientific laboratories that reconstitute the operations of natural phenomena, become spaces of projections as poetic as the names of the scientific objects of which they are the theaters of our imaginations supernova, dark matter, vortex.In the introduction, the text of the photographer and writer Marcelline Delbecq describes with force and effectiveness the apprehension of this threatening moment of the catastrophe.We have to tell ourselves that in this place there was something and that suddenly there was nothing left, in an extreme speed and slowness, as if in the middle of sleep someone had erased our memory. There was something, a place, lives, gigantic towers and tiny plants, and all that was shifted from one instant to another, or rather from one time to another, because the instant was not so brief, as if it had slowed down, on the contrary, a before that became after, extended in a duration that no one tried to calculate, because it was necessary to understand what was happening, to find a shelter. Something was there and then not. It was night, a black night such as only exists in certain remote places, deep in the plains, where only the glow of the stars makes you feel the presence of the sky above you their lights so frail, as if ready to break, to fade away. Marcelline DelbecqABOUT Marina GadonneixMarina Gadonneix was born in 1977 in Paris, where she lives and works. A graduate of the Ecole nationale superieure de la photographie dArles, Marina Gadonneix got HSBC Photography award in 2006 and Dummy Book award from Luma Foundation and the Rencontres dArles in 2018. Her Shipping may be from multiple locations in the US or from the UK, depending on stock availability. Seller Inventory # 9791092727487
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Hardcover. Condition: new. Hardcover. This book is published within the framework of the Prix Niepce, with which The Eyes Publishing is associated since 2019. The publisher offers the winner the publication of an artists edition limited to 400 copies. It is supported by Picto Foundation.In 2020, the Prix Niepce was awarded to Marina Gadonneix.From the series Phenomenes that the artist pursued between 2014 and 2019, Tornades stages and reconstructs these isolated wind vortices that often make the news. Produced in a scientific research facility dedicated to the analysis and reconstruction of natural phenomena, the photographs gathered in this book draw inspiration from the scientific and the spectacular to extract an evanescent form of disorder, a kind of poetic atmosphere and enveloping atmosphere. The voluptuousness of the milky wind in contrast with the austerely black background, the delicacy of the grey levels sketching the architectural models, everything is highlighted by the artist in such a way as to let us be absorbed by the magic, the rhythm and the attraction of these extraordinary natural phenomena.A photographer fascinated by the reverse side of photographic images, or more precisely by the hollow, erased device that invites a particular representation, the artist has been thwarting so-called documentary photography since her first photographic series. Instead of photographing works of art, she shows us the invisible devices (plinths, backdrops, etc. ) that are in the process of disappearing as soon as the expected photograph is taken.The inlay backgrounds of film studios become these blue or green monochrome landscapes, perceptual spaces close to the immateriality of James Turrells immersive luminous pieces. Materiality and immateriality, lights and colored spectres, but also presence and absence, reality and fiction are recurring photographic dualities that will be found in After the image and will discover their artistic maturity in the Phenomena series, images of what appears, but also of what can hypnotise the gaze and sharpen the imagination as much by the incomprehension of what is seen as by the conceivability of the unknown.Thus, these latest images, resulting from research work carried out in scientific laboratories that reconstitute the operations of natural phenomena, become spaces of projections as poetic as the names of the scientific objects of which they are the theaters of our imaginations supernova, dark matter, vortex.In the introduction, the text of the photographer and writer Marcelline Delbecq describes with force and effectiveness the apprehension of this threatening moment of the catastrophe.We have to tell ourselves that in this place there was something and that suddenly there was nothing left, in an extreme speed and slowness, as if in the middle of sleep someone had erased our memory. There was something, a place, lives, gigantic towers and tiny plants, and all that was shifted from one instant to another, or rather from one time to another, because the instant was not so brief, as if it had slowed down, on the contrary, a before that became after, extended in a duration that no one tried to calculate, because it was necessary to understand what was happening, to find a shelter. Something was there and then not. It was night, a black night such as only exists in certain remote places, deep in the plains, where only the glow of the stars makes you feel the presence of the sky above you their lights so frail, as if ready to break, to fade away. Marcelline DelbecqABOUT Marina GadonneixMarina Gadonneix was born in 1977 in Paris, where she lives and works. A graduate of the Ecole nationale superieure de la photographie dArles, Marina Gadonneix got HSBC Photography award in 2006 and Dummy Book award from Luma Foundation and the Rencontres dArles Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. Seller Inventory # 9791092727487
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