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We are pleased to show you the elections campaigns through VU’ photographers’ eyes.

VU' a Paris is a new perception of today's Paris transformed by the contemporary glances of VU' photographers. Photographer's project on the city went with a 'carte blanche' given to Fémis young film makers.

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 New books

 Lars Tunbjörk : Lars Tunbjörk - Retrospective

 Lars Tunbjörk - Retrospective

Initially inspired by Swedish masters such as Christer Strömholm, as well as Stephen Shore, Lars Tunbjörk (1956–2015) was one of the great and truly original European photographers. Tunbjörk's international breakthrough came in 1993 with the photobook Country beside Itself.
Celebrated by Martin Parr and Gerry Badger as "an acute observer of modern life," Tunbjörk's color images amplified the mundane and the absurd in a quietly surreal fashion using the hard light of flash photography, which became his signature style and influenced a subsequent generation of photographers. His best-known photobook series include Office (2001), which depicts office workers in bizarre chance positions, and Home (2003), in which everyday items such as flowers or armchairs are made to reveal a quiet absurdity in Swedish suburbia.
With more than 250 images, this volume constitutes the most substantial overview of his work.
Text by: Kathy Ryan, Göran Odbratt et Maud Nycander

Publisher: Max Strom (2018)

336 pages
Size: 29,2 x 26,7 cm

  JR : JR - Album RSF

 JR - Album RSF

Le portfolio inédit du nouvel album « 100 photos pour la liberté de la presse » de Reporters sans frontières vous fait parcourir le monde dans les yeux de JR.
Les yeux de femmes du monde entier, les rides de nos anciens, les silhouettes de nos archives… JR accouche la ville de ses secrets, de nos oublis et des injustices de nos sociétés. Il est doté de ce talent qui fait les grands artistes : savoir s’adresser à tout le monde.

En 2018, JR a été désigné par le magazine Time comme l’une des 100 personnalités de l’année.
Text by: Serge July

Publisher: Reporters Sans Frontières (2018)

144 pages
Size: 21 x 28,8 cm

 Massimo Siragusa : Respirano i muri

 Respirano i muri

For Paolo Di Stefano, the bond that unites a man to his own home is something profound and fundamental. The houses are furnished, lived, cared for and sometimes abandoned, absorbing the smells, moods, feelings and lives of those who live there and influencing them at the same time, becoming a fundamental part of man's most intimate memory. The book tells this relationship from the description of the house where he was born.
Text by: Paolo Di Stefano, Goffredo Fofi

Publisher: Editions Contrasto (2018)

149 pages
Size: 17x23,5 cm
ISBN :8869657337

 Vanessa Winship : And Time Folds

 And Time Folds

This beautiful volume accompanies a career retrospective exhibition of British photographer Vanessa Winship at London’s Barbican Art Gallery. The extensive show is catalogued in the book which encompasses all Winship’s major series and includes previously unpublished recent work.

An essay by renowned photographic historian and writer David Chandler offers a lyrical and insightful view into Winship’s practice.

Vanessa Winship (b. 1960 in Lincolnshire, United Kingdom) is a photographer whose work explores concepts of borders, land, memory, desire, identity and history. Her projects have received numerous awards including the World Press Photo, Leica Oskar Barnack Award, Sony World Photography Awards, Taylor Wessing Photographic Portrait Prize, and the Fondation Henri Cartier-Bresson prize. she dances on Jackson (MACK, 2013) was Winship’s third book, following Schwarzes Meer (2007) and Sweet Nothings (2008). Member of Agence VU
Text by: David Chandler

Publisher: Mack (2018)

256 pages
Size: 23 cm x 24 cm

 Denis Dailleux : Persan-Beaumont


Réalisée par Denis Dailleux à partir de 1987, cette série de portraits en noir et blanc, publiée ici pour la première fois, commence par une rencontre dans le train :
« C’est en rentrant de mon village où, durant l’été, j’avais photographié les habitants et ma grand-tante Juliette que j’ai fait la connaissance dans le train Corail des garçons de la cité « Le Village » de Persan. Ils étaient une dizaine et avaient passé quelques jours de vacances aux Sables-d’Olonne. Ils déambulaient de wagon en wagon avec un radiocassette qui diffusait du rap sans que personne ne les interpelle. Je leur ai montré les images de Juliette et je me souviens qu’en les voyant ils ont dit « Classe ! ». Et c’est à ce moment précis que je leur ai demandé s’ils étaient d’accord pour que j’aille les rencontrer dans leur cité. C’est Coco qui m’a donné son numéro de téléphone. À cette époque on parlait très peu des problèmes de banlieue mais ce n’est pas sans une petite appréhension qu’au début de l’automne 1987 je me suis enfin décidé à appeler Coco. Il m’a donné rendez-vous le dimanche suivant à la gare de Persan-Beaumont. Bientôt, j’ ai su que je tenais quelque chose. Comme une révélation photographique qu’autorisait le lâcher prise des enfants face à mon objectif. »

L’immersion de Denis Dailleux à Persan, commune du Val d’Oise, va durer cinq ans. Les longues séances de poses qu’il mène avec les jeunes du quartier ne seraient sans doute plus possibles aujourd’hui sur ce territoire où la situation était déjà tendue.

Ainsi, la puissance intemporelle des photographies de Denis Dailleux, alliée au texte engagé d’Abdellah Taïa avec qui il est retourné à Persan-Beaumont trente ans plus tard, font de ce livre une parution importante sur le sujet sensible des banlieues.
Text by: Abdellah Taïa

Publisher: Le bec en l'air (2018)

72 pages
Size: 24 x 31 cm

 Jane Evelyn Atwood : Pigalle People. 1978–1979

 Pigalle People. 1978–1979

It is 1978 in Pigalle. Jane Evelyn Atwood, a young American, has been in Paris for a few years. She’s just completed her very first photo story about the prostitutes in town, in which she asserts from the beginning what will remain the fundamentals of her practice: long-term involvement, immersion, respect, empathy. And nightlife fascinates her. She continues. She wanders the small streets in back of the Boulevard de Clichy, the ones that climb to Abbesses, rue Houdon, André Antoine, Lepic, and the rue des Martyrs… Transsexuals dot the streets, soliciting men for 100 francs. The bars here are holes in the wall, not for outsiders. The tourists stay down on the Boulevard. There’s warmth, happiness as well as violence in the air.

One day she sees two trans disappear into a building, she follows them. She photographs them. That’s where this book begins. It brings together photographs that were taken over a period of a bit more than a year.

In the very beautiful text in which she recalls these days, Jane Evelyn Atwood writes: “I photographed the trans of Pigalle as I saw them, but I couldn’t photograph what they’re all about. Their lives are hard because they’re ridiculed, feared, ostracized, pushed to the margins by society –but even more so, because they’re so complicated. They have a sorrow deep within, too deep to capture with a camera, almost too far to reach with words. It’s private: a secret, even from them.”

Then AIDS hit in the 1980s. Many died, some moved to other neighborhoods, skinheads came down from the projects nearby to beat up the few trans who were left. It wasn’t safe for them to be in Pigalle. Then the law banned soliciting on the streets. With their departure, Pigalle, as it is recounted in this book full of compassion and lucidity, vanished.
Text by: Jane Evelyn Atwood

Publisher: Le Bec en l'air (2018)

160 pages
Size: 16 x 22,5 cm

 Françoise Huguier : Françoise Huguier

 Françoise Huguier

Reporters Without Borders (Reporters Sans Frontières RSF) dedicates the next issue of the collection « 100 PICTURES FOR THE FREEDOM OF PRESS » to Françoise Huguier's work.

When Françoise Huguier defines herself as a simple « documentary photographer », she has though imposed her multifaced sight in the world of photography, but also in the worlds of cinema, fashion, documentary films and reporting. Her long and eclectic collaboration with the daily newspaper Libération, her long term stays in Africa and Asia, Siberia, St. Petersburg as well as Brittany have sharpened her sense of discreet closeness to her subjects, especially with women.

This original portfolio published in this new album « A 100 pictures for the freedom of press » from Reporters Without Borders is a wonderful kaleidoscope of her « art of withdrawal », as qualified by Gerard Lefort, a journalist and writer who pays homage to Françoise Huguier with both emotion and amusement.
Text by: Gérard Lefort

Publisher: Reporters sans frontières (2018)

Size: 21,1 x 28,8 cm

 José Manuel Navia : Photobolsillo


Apart from their evident mastery of colour and framing, Navia’s documentary photographs are noted for their humanistic approach to landscapes and peoples of the South: the Mediterranean, Africa, Latin America and any regions with Latin and Iberian roots.

According to series director Chema Conesa, “Navia has created a highly personal photographic style which is related to literary construction. The airy silence of his chromatic chiaroscuros are pure atmosphere and evocation. He stops the world and activates suggestion, with images that are constructed with the same imperfections as life—what’s half done, the emotion of that which
is about to happen, the hum of time itself.”

The PHotoBolsillo series publishes monographs on the most important Spanish, Latin American and African photographers in a didactic and affordable format.
Text by: Chema Conesa

Publisher: La Fabrica (2018)

96 pages
Size: 13 x 18 cm
ISBN :8417048510

 Ad Van Denderen : Stone


For almost 25 years Ad van Denderen has been photographing daily life in Israel and the Palestinian territories. He originally worked in black and white, in a classical, direct, reportage style. About 15 years ago he switched to colour, and since then he has employed a more detached and monumental photographic style. 'Stone' unites these two approaches to create a subtle depiction of the complex and precarious situation in this part of the world, and makes much use of stone as a metaphor. It is stone that principally defines the landscape. Its quarries provide the material for houses on both sides of the border. Stones are used to throw up barriers and throw at adversaries. At one and the same time, stone is a weapon, an obstacle, but it also offers shelter.
Text by: Ad van Denderen

Publisher: Fw: Books (2017)

200 pages
Size: 14 x 21 cm

 Ferhat Bouda : Cahier 2003-2016

 Cahier 2003-2016

Ferhat Bouda s’inscrit clairement dans une tradition de la photographie documentaire, de la narration, de l’essai et de l’engagement. Témoigner, donner à voir, de préférence en noir et blanc, pactiser avec le temps pour aller au-delà des apparences, se faire accepter pour à la fois respecter ceux qu’il représente et livrer des clés qui dépassent l’anecdote, telles sont les bases de ses enquêtes au long cours.
Chez lui, en Kabylie, tout comme auprès des militants de l’Azawad avec lesquels il entretient d’abord une proximité culturelle ou en Allemagne où il est basé, il s’attache aux gens, au regards, aux attitudes. Il tente de décrypter les situations et de nous partager avec nous ces univers complexes souvent difficiles à approcher ou, trop souvent, dissimulés par des clichés et des stéréotypes.
Ferhat Bouda s ’intéresse principalement aux minorités : des Berbères aux peuples nomades comme les Touaregs, les Mongols.

Cahier est une collection de carnets de travail édités en fac-similé, dirigée par Zoème à Marseille

Publisher: Filigranes Editions (2017)

64 pages
Size: 14x21 cm

 Jean-Luc Chapin : Natures


Entre l'homme et la nature se tissent des liens indicibles, mystérieux, puissants. Le paysage, plan large ou plan serré, en présente d'innombrables traces, que la photographie révèle. Elle nous aide à déchiffrer le palimpseste du visible, à déceler dans le fouillis de la forêt de symboles chantée par Baudelaire un sens, une harmonie, une écriture. 
Le livre se présente comme une succession d'univers (la rivière, le marais, l'arbre, la terre, la mer, la montagne) dont l'exploration sollicite non seulement le regard, mais la mémoire la plus intime de chacun. 
Les photographies de Jean-Luc Chapin se construisent dans la contemplation des lumières d'hiver, des berges qui s'étirent sous le ciel plombé, des flaques lumineuses dans des crépuscules de suie, des plages de vase où des oiseaux ont laissé leurs empreintes, des marnes incertaines dans les lueurs de fin – ou de début – du monde : l'aube des formes. Elles cherchent les premiers tremblements de la vie, le contact avec la matière. L'anecdote n'y a pas sa place. 
Dans chaque partie alternent les visions larges et les détails dont sont faits les vastes paysages : végétaux, animaux, traces dans la terre molle, écorces, reflets... La marque du vivant recherchée dans l'inerte, la photographie faisant apparaître les indices de son émergence. La marque nette d'une patte d'oiseau peut être lue comme un idéogramme, de même que les graffiti gravés voici deux siècles dans l'écorce des hêtres, déformés par le temps, dessine sous nos yeux une écriture nouvelle. 
Les photographies sont en noir et blanc, travaillées en argentique. Les pages s'ouvrent sur le secret de correspondances imprévues. Le livre propose un récit, indique des passages d'une photo à l'autre, d'une page à l'autre, d'un chapitre à l'autre : le langage du monde. Les textes de Jean-Marie Laclavetine accompagnent cette méditation en images, sans les commenter mais en proposant un rythme, une musique, suivant l'itinéraire rêveur jalonné par les photographies – la «voix native» dont parle Muriel Barbery dans sa préface, où elle compare natures aux rouleaux de la Chine ancienne qui illustrent «la profonde solidarité de la nature et des signes».
Text by: Jean-Marie Laclavetine et préface de Muriel Barbery

Publisher: Gallimard (2017)

168 pages
Size: 22,5 x 25,5 cm

 Guillaume Zuili : Smoke & Mirrors

 Smoke & Mirrors

"To impress these complex sentiments that combine contemplation and decoding, comprehension and reverie, Guillaume Zuili resorts to the most photographic aspect in image production: the print. This provides a salutary reminder that a photograph only exists in virtual and ephemeral form—the most successful, apparently, today—if it does not take material form and become an object, were it only of paper and fragile. It is a reminder that these refined, masterfully produced sheets of paper shimmer with often uncontrollable changes in tonalities, endowing depth in both the velvety blacks and range of grays that modulate and caress the forms. This is where a perception of time resides, sometimes distracted beneath its charming appearance, and nudges us in the direction of dreams of palm trees and pinups, motifs employed by pop art and repurposed by advertising. Time is halted and simultaneously suspended, between a yesterday unknown by either the photographer or what he creates, and a today that he exploits to send us back to a universe that we are unable to see, that he brings into existence.
For us this is mostly certainly an illusion presenting itself as a reality, so much is it able to convince us by arousing memories, an allayed awareness of time, and a possible evasion in the dream that mellows the decor and opens a possible space for us. All this through matter and materials, sensualities couched and inscribed in the gelatin, the sheet of paper, and the successive layers worked by the light."
Text by: Christian caujolle

Publisher: Clémentine de la Féronnière (2017)

120 pages
Size: Relié toilé, 26 x 34

 Davide Monteleone : The April Theses

 The April Theses

"In March 1917, Vladimir Ilych Ulyanov (Lenin), leader of the revolutionary Bolshevik Party left his exile in Zurich. Eight months later, he assumed the leadership of 160 million people occupying one-sixth of the world’s inhabited surface. On April 9th 1917, with the support of German authorities, at war with Russia at the time, he travelled back to his own country on a train across Germany, Sweden and Finland to reach Finland Station in St. Petersburg on April 16th where, after a decade in exile, he took the reins of the Russian Revolution. One month before, Czar Nicholas II had been forced from power when Russian army troops joined a workers’ revolt in Petrograd, the Russian capital. In a bullet point document, known as "The April Theses", Lenin called for the overthrow of the Provisional Government and outlines the strategy which, within seven months, will lead to the October Revolution and bring the Bolsheviks to power. 100 year later, I created a chronology of two weeks of Lenin's life just before the events that changed Russia and the entire world. In search of the original draft of “The April Theses”, I recreated and sometimes reenacted, on a real non-invented trip, Lenin’s epic journey inspired by the archival documents I found at the R.G.A.S.P.I. (Russian State Archive of Soviet Political History) and historical books including “To Finland Station” by Edmund Wilson and “The Sealed Train” by Michael Pearson. The final work is a collection of contemporary landscapes, forensic archival photographs and staged self-portraits which retrace a journey in space and time."
Text by: Davide Monteleone

Publisher: Edizioni Postcart (2017)

112 pages
Size: 16,8 x 23,6 cm

 Frédéric Lecloux : Népal. Épiphanies du quotidien

 Népal. Épiphanies du quotidien

Nepal. Epiphanies of the Everyday

Nepal is most famous for its extraordinary geography, yet the everyday life its inhabitants is played out elsewhere. Since 1994, Frédéric Lecloux has been documenting its upheavals and tumultuous history, right up to the earthquake in 2015 and the mass migrations of its workers. These Everyday Epiphanies were created in the light of this documentary writing, on which they expand in their own poetic language.
Text by: Frédéric Lecloux

Publisher: Le bec en l'air (2017)

144 pages
Size: 25.5 x 28 cm

 Frédéric Lecloux : La grande route par tous les temps

 La grande route par tous les temps

Récemment, cherchant à identifier ce que je prends quand je dis que je prends une photographie, ces mots sont venus : une photographie, une de ces images qui existent en moi, sans que je sache ni où ni sous quels traits, jusqu’au moment où me fait signe une vibration dans le réel – et scintille la découpe à y opérer pour que l’image prenne chair et s’apparie avec sa trace intérieure, latente encore une seconde plus tôt.
Dans les années 1990 je photographiais en sonnets. Je ne l’ai pas su de suite. J’ai longtemps cru que je les écrivais. Que je les avais écrits. Mais non. Je les ai reconnus, vibrant dans le réel, réclamant d’être appariés avec leur trace intérieure, et j’ai obtempéré, rien de plus. Je les ai recueillis, découpés dans le paysage au long des routes et des rails, des Monts Célestes à l’Ardenne, d’Ostende à Katmandou, de Bruxelles à la vallée de la Hunza. C’était il y a vingt-cinq ans, trente en comptant large – une paroi de temps. Quelques-uns l’ont traversée. Des images (des photographies ?), nées plus tard vers le lieu d’écriture de chaque sonnet, voudraient ouvrir des portes vers le dehors de ce qu’ils sont.

Frédéric Lecloux, janvier 2017
Text by: Frédéric Lecloux

Publisher: Arnaud Bizalion (2017)

132 pages
Size: 15 x 15,5 cm

 Guy Tillim : Edit Beijing

 Edit Beijing

Design by SYB. Edition limited to 500 copies with a signed c-print.

Color snapshots took in the street by south african photographer Guy Tillim during his artistic residency in Beijing
Text by: Guy Tillim

Publisher: Éditions Bessard (2017)

Size: 27,5 x 25,5 cm

 Israel Ariño : La pesanteur du lieu

 La pesanteur du lieu

La nuit est sublime, le jour est beau. Emmanuel Kant
La pesanteur du lieu est un projet réalisé dans le cadre d’une résidence de création au Domaine de Kerguéhennec, en Bretagne. Kerguéhennec est un centre d’art contemporain qui présente plus de 30 sculptures installées au milieu du paysage. C’est un lieu chargé de mémoire et de sens où d’autres artistes ont laissé leur empreinte.
La série explore le concept de “lieu” comme axe de lien émotionnel à travers l’obscurité, de la limite du représentable et de la perception de la réalité. La nuit apparaît comme outil de découverte, de mystère et de plaisir, comme un espace hiéroglyphique qui nous porte à imaginer quelque chose au-delà de ce que nous voyons réellement. Nous entrons dans le domaine du mental, de l’imperceptible, de la découverte.
C’est, en somme, une proposition plus sensorielle que raisonnée, emplie d’éléments intangibles qui apparaissent et disparaissent lentement à mesure que l’on tourne les pages.
Ce travail a été édité avec la participation du département du Morbihan dans le cadre d’une résidence de création d’Israel Ariño au Domaine de Kerguéhennec d’octobre à novembre 2016. Il a également reçu le soutien et la participation de la Galerie VU’ et de Grisart.

Publisher: Ediciones Anomalas (2017)

120 pages
Size: 32 x 24 cm

 Rip Hopkins : Canada Canada

 Canada Canada

“Before I went to Canada, I felt that I was intimately familiar with this part of the world through the pursuit races, the butt stories and the tricks of North American cinema.” Canada Canada is a cinematic fantasy. Canada my own film where I am its main protagonist.

In this documentary series I have constructed the photographs as North American film excerpts in the style of those of Martin Scorcese, the Cohen brothers or Brian de Palma. Each image has its own scenario and each plays its own role in its own reality. A story that encourages us to imagine what happened before and after the shooting.
Canada is a land of welcome and reinvention. We are what we want without being held accountable. By immersing myself in the reality of my models I play with the potential life that could have in Canada, as if I were really the person I embody in the image. Sometimes my real life catches up with me. Seeing the photograph where I tenderly hold the hands of a beautiful woman in our VW combi, my wife worried, immediately telephoned me to find out if we were still together.
Rip Hopkins
Text by: Pépita Car

Publisher: Filigranes Editions (2017)

300 pages
Size: 17 x 20 cm

 Bernard Descamps : Autoportrait


Je me souviens que lors d’une agréable discussion sur la photographie, Edouard Boubat m’avait dit : finalement nous, les photographes, nous tournons inlassablement autour d’une même photographie, une sorte d’image parfaite, un graal que nous n’atteignons jamais, et qui serait un autoportrait idéal.
Le grand portraitiste américain Richard Avedon disait aussi : dans mes portraits, l’autre est le miroir de mes propres états d’âme.

Je pense qu’en effet, toute photographie est un autoportrait, plus ou moins abouti.
Il en va ainsi pour les portraits. L’autre est un miroir pour le photographe.

Ce livre réunit une soixantaine de portraits, de gens connus ou anonymes, d’Afrique, d’Asie, de France, de mon village ou de ma famille…une soixantaine de très beaux souvenirs, une soixantaine de personnes avec lesquelles je me suis retrouvé, avec qui je partage un certain nombre de valeurs et qui réalisent donc, collectivement et sans trop le savoir, un autoportrait !…
Text by: Bernard Descamps

Publisher: Filigranes Editions (2017)

96 pages
Size: 21 x 30 cm

 Stéphane Duroy : Unknown #2

 Unknown #2


In 2007, Stéphane Duroy published Unknown, an anthem to anonymous rebels and people in exile. A few years later, he remade the book by tearing the pages of the original edition and once the new version was completed, he repeated this method over the years to make 29 different and one-off variations of the same book.

What is to be said about this disconcerting, dizzy-making challenge? A displayed desire to be always re-writing the same story, differently? Does it call to mind the quest for a truth and its opposite, supreme chaos? Does it have to do both with the exercise of an extreme concentration and an anarchic outcome? At the beginning and end of Unknown, there is a geography, on the one hand of Europe and its centre, Germany and, on the other, North America, pivotal continent, mealting-pot of exiles and dreams, graveyard of dashed hopes and failures. And as in all geographies, there are rivalries here between centre and periphery, between new world and old, and armies of proletarians and exiles who periodically go from one to the other. At the origin of Unknown there is also the everlasting recommencement of a story, deliverance and oppression, going beyond history and oblivion. Horizon and loss.

Ezra Nahmad
Text by: Stéphane Duroy

Publisher: Filigranes Éditions (2017)

64 pages
Size: 24 x 33 cm

 Bertrand Carriere : Le Capteur

 Le Capteur

For years now, Bertrand Carrière has been working on a photographic journal, in parallel to his documentary projects. Le Capteur was first conceived out of 42 artists books he produced during this 10 year process. These books enable him to explore the many aspects of his work and are the meeting place where images collide and relate. In a distillation process, the journal looses here its chronological aspects and the usual thematic structure to become a new book, where images meet in improbable ways.

With this new project, Carrière continues his seach for the small, marginal moments, détails that mark his way, his family life, his travels, be they dark or luminous. Using motifs and recurring signs, he slowly builds an inner territory, a personal atlas, where the strange and the ordinary meet.

Carrière also gives us notes from his diary, a series of lists, that act as counterpoints to the photographs. Conceived in the flow of the everyday, these poetic texts allow the construction of a constellation of mental images which, by accumulation, become written contact sheets, accompanying the remarquable intensity of his photographs.

In afterwords, Mona Hakim and Emmanuel d'Autreppe give us two essays that bring new light to the photographer's work process.
Text by: Mona Hakim et Emmanuel d’Autreppe

Publisher: Les éditions du renard (2016)

200 pages
Size: 21 x 21 cm

 Monika Macdonald : In Absence

 In Absence

"I don't like the idea of taking pictures very much. But I keep coming back to that. This feeling of getting close to things for which there are no words. That's why I keep going. I balance between different worlds and try to build a relationship with them. My pictures are memories. To gain access to the feeling of loneliness and vulnerability. To be let into the realms beyond reason, far from what is called reality." (Monika Macdonald) The women portrayed in In Absence have one thing in common: their lonely search for belonging - to something or to someone. This autobiographical report, which is also a psychological and intimate reflection, runs through the pictures like a red thread. Women are soul mates, in their hesitation and insecurity, in their longing for some form of love. In Absence comes from motherhood - without necessarily being part of a maternal world. Monika Macdonald (*1969) lives and works in Stockholm, Sweden.

Publisher: Kehrer Verlag (2016)

72 pages
Size: 22 x 28 cm

 Françoise Huguier : Virtual Seoul

 Virtual Seoul

Avec Virtual Seoul, la photographe Françoise Huguier tente de résoudre une énigme qui la hante depuis qu’elle sillonne le monde et particulièrement l’Asie : Comment une ville a-t-elle pu devenir en trente ans le fer de lance de la culture populaire de toute l’Asie ? Comment la Corée du Sud est-elle parvenue à accroître son influence au point de faire pâlir la modernité japonaise ? Ce sont les traces et les signes de cette spectaculaire mutation que l’artiste nous donne à découvrir et à comprendre en parcourant un univers urbain où les frontières virtuel/réel semblent s’abolir ou se dissoudre. Mais cette modernisation trop rapide a un revers… Françoise Huguier explore, en profondeur, le mal de vivre engendré par des bouleversements dont une société restée très confucéenne pâtit pour une grande part.
Text by: patrick Maurus

Publisher: Actes Sud Editions (2016)

252 pages
Size: 17,0 x 22,5 cm

 Juan Manuel Castro Prieto : Cespedosa


Catalogue of the exhibition at Tabacalera, Promocion del Arte, Madrid (16/09/2016 – 13/11/2016). The exhibition project of the winner of the National Price of Photography 2015, Juan Manuel Castro Prieto, goes around the construction of the author’s memory in the form of a pictorial history through his 39 years of photographic production. The exhibition focuses on Cespedosa de Tormes, a small town of the Salamanque region where were born and lived the parents of the author.

Through 200 photographs gathered in six sections completed by three videos, Castro Prieto shows a Cespedosa that goes beyond descripting, beyond documenting and reveals itself like a magical place for the authors where unleashes his dreams and his creative instincts.
Text by: Chema Conesa, Publio Lopez Mondejar, Vicenta Hernandez, Juan Manuel Castro Prieto - en espagnol

Publisher: Ministerio de Educacion, Cultura y Deporte / Aera de Cultura / Auht' Spirit (2016)

262 pages
Size: 27 x 22 cm
ISBN :8481816523

 Martin Bogren : Italia


The artist Martin Bogren has spent most of the past three years in italy, capturing the country's atmosphere. This publication, beautifully designed by Greger Ulf Nilson, captures a historic traditional style of street photography and typifies a photographer's romantic notion of place.

Publisher: Bokforlaget Max Ström (2016)

80 pages
Size: 23,7x30,7cm

 Bernard Faucon : Rescapés


Les polaroids préparatoires des mises en scène de Bernard Faucon nous font entrer dans la fabrication de ses images, racontée pas à pas par Anaël Pigeat. La plupart ont disparus, seuls restent ces “rescapés”, reliques un peu sacrées, que le livre offre d’ausculter à la manière d’un archéologue.
Text by: Anaël Pigeat

Publisher: Éditions de l'Œil (2016)

294 pages
Size: 21 x 21 cm

 Claudine Doury : L’homme nouveau

 L’homme nouveau

Up to now, I have been photographing a lot of young girls, bring- ing back my childhood and adolescence through them. In these works, the rare masculine gures just played a secondary role.
With this series, I now want to explore the masculine identity in a moment of transition at the end of adolescence. When and how does the boy becomes man? What are the signs of this mutation? How is it diferent from the previous generations?
I produced this series mainly in St Petersburg where a new generation of Russians emerges, born at the time of the Soviet Union’s collapse.
Sons of the new middle class, those young Russians are now twenty and at the opposite of their parents: they come from all over Russia and chose St Petersburg as the place of their new life.
At odds with an entangled Russia stuck by the heaviness of its structures, they are rmly modern, interested in art and culture, connected with the rest of the world, and they appropriate the codes of the running world.
That new “new man” de ning himself there is a witness of the mutations of our time.
— Claudine Doury
Text by: Dominique Baqué

Publisher: Filigranes Editions (co-production : La Galerie Particulière) (2016)

72 pages
Size: 22 x 33,5 cm

 Adrien Selbert : Srebrenica, nuit à nuit

 Srebrenica, nuit à nuit

On 9th July 1995, the Serbian army attacked Srebrenica’s Muslim ghetto. Nearly 8,000 people were massacred in three days. In Bosnia, and in the rest of the world, the former spa town becomes the symbol of former Yugoslavia's barbarity. Twenty years after what remains the greatest slaughter in Europe after the Second World War, the city’s history seems frozen in obscurity. A new generation, however, is travelling its ruins and learning as much as it can from its consequences.
This series of photographs by Adrien Selvert, annotated with text by New York Times journalist Roger Cohen, has won numerous awards including the Prix Maison Blanche 2015.
Text by: Roger Cohen

Publisher: Le Bec en l'air (2016)

88 pages
Size: 19 x 25 cm
ISBN :978-2-36744-091-0

 Amélie Landry : Les Chemins égarés

 Les Chemins égarés

Cruising sites can be found everywhere but not just anywhere. Once located in the heart of urban centres, today they are nearly exclusively located on the city limits or outside of cities: disused industrials zones, scrublands, motorway rest areas, and coastal dunes... Autonomous and free spaces, their exact location escapes the consciousness of the non-initiated.
The Wayward Paths is an exploration of these sites of freedom where, despite the fear of police raids or gangs, despite threats of administrative closure, desires for free experiences between men of all ages and from all walks of life continue to be exercised.
Text by: Laurent Gaissad & Mathieu Riboulet

Publisher: Le Bec en l'air Editions (2016)

184 pages
Size: 16,2 x 22,5 cm

 Steeve Iuncker : Se mettre au monde

 Se mettre au monde

Le photographe Steeve Iuncker a mené une recherche de plusieurs années sur le passage de l’enfance à l’âge adulte, interrogeant l’absence de «rites de passage» clairement identifiés dans nos sociétés laïques. Ses images captent des actes d’adolescents qui s’apparentent à des rites inconscients. Prises de risques, quête d’oubli comme une forme de mort et de renaissance, flirt avec les limites, actes transformateurs : le photographe tisse un paysage visuel subtil de la mue et esquisse un portrait nuancé d’une jeunesse en quête de soi.

Ces photographies, réalisées à la chambre argentique puis transformées par un tirage au charbon Fresson quadrichrome, sont accompagnées des textes de Caroline Recher, historienne de l’art, et de David Le Breton, anthropologue.
Text by: Caroline Recher et David Le Breton

Publisher: Le bec en l'air éditions (2016)

96 pages
Size: 22.5 x 28.5 cm

 Anne Rearick : Township


I have been working as a documentary photographer for nearly thirty years. Over the past decade I have photographed life in the townships of Langa, Khayelitsha, Philippi and Mitchell's Plain outside of Cape Town, South Africa. My work there began during a Guggenheim Fellowship year for my exploration of the culture of amateur boxing. During my trip, I met people living in Langa and Khayelitsha and began photographing the Luvuyo Boxing Club in Khayelitsha. I felt uncomfortable as another white person with a camera, photographing people with less resources and access to power. Subsequently, I cut my trip short, unsure of the work I was doing and who would actually benefit from it. Upon my return to the States, I looked at the pictures I had made decided to go back to learn more, to further explore post-apartheid life in black communities. After over a dozen trips and more than a thousand rolls of film, I began to believe that the pictures mattered-they were not about people as victims, or about poverty, or any of those things we imagine life in black South African townships to be.
Outside the cities frequented by tourists and business travelers, in vibrant townships, I found beauty and strength and all the contradictions of being human in the people I photographed; a preacher testifying to his rapt congregation; a couple's loving embrace at day’s end; the proud regard of my friend Sindi in her traditional Xhosa dress; the moving funeral of a young Sotho man; the poetry and grace of a girl dancing on a warm Sunday afternoon; and the striking face of “Dream Girl,” a young woman studying to be a traditional healer, a “sangoma."

This work has taken me into classrooms of overcrowded schools, the emergency room of an underfunded government hospital, burgeoning churches and the homes of those who live there. With South Africa’s current political climate, economic instability and increasing social unrest, these images serve as a reminder of all that is at stake in this fragile new democracy.

From my first body of work, on Basque life and culture in southwest France, to this current project, I have worked in the humanist tradition of photographers such as Dorothea Lange, Eugene Richards and Peter Magubane, striving to make images that foster empathy, understanding, and social change. I endeavor to honestly portray the rich and full range of day-to-day experience of the people I encounter. I have launched this campaign to raise money to defray the costs of a book of these photographs that I am thrilled to be co-publishing with Editions Clémentine de la Féronniere. "
Text by: Phillip Prodger et Sipho Mpongo

Publisher: Editions Clémentine de la Féronniere (2016)

144 pages
Size: 25 x 28 cm

 Denis Dailleux : Ghana


Denis Dailleux est célèbre pour le portrait inédit et passionné de l’Égypte qu’il élabore depuis plus de quinze ans. En quête de nouveaux espaces de création, il se rend aussi régulièrement au Ghana depuis 2009. Les pêcheurs du port de James Town, ancien quartier d’Accra, la capitale, sont devenus l’un de ses sujets favoris. Il trouve au sein de cette communauté une source d’images fortes?: marines aux ciels changeants, ballets des pêcheurs, vie des femmes et des enfants qui travaillent sur le port… Il y explore de nouvelles relations au corps et à l’espace, à la vie et à la mort, à la religion, à la mer, qui renouvellent sa photographie. La sérénité, l’évidence picturale de ses images réenchantent un monde et des territoires aujourd’hui menacés et sont, à ce titre, d’autant plus précieuses.
Text by: Denis Dailleux

Publisher: Le Bec en l'air (2016)

112 pages
Size: 20 x 29 cm

 Denis Dailleux : Givaudan, une odyssée des arômes et des parfums

 Givaudan, une odyssée des arômes et des parfums

Acteur majeur du monde de la parfumerie et des arômes alimentaires, la maison Givaudan est à l’origine de nombreuses créations olfactives et gustatives. Depuis 250 ans elle innove et insuffle les tendances et crée aussi de nouveaux goûts s’attachant les savoir-faire de grands chefs toqués afin d’élaborer les arômes de mets d’exception accessibles à tous. Au fil des pages, sera racontée la formidable aventure des parfums et arômes à travers le monde.
Text by: Caroline Champion, Annick Le Guerer, Brigitte Proust

Publisher: Editions de La Martinière (2016)

248 pages
Size: 24 x 31 cm

 Rip Hopkins : Belgian Blue Blood

 Belgian Blue Blood

British photographer Rip Hopkins presents us here with a surprising range of 96 portraits he made in Belgium, the country of aristocracy.
Belgian historian Olivier de Trazegnies explores the paradoxes of Belgian aristocracy, while French Author Pauline de la Boulaye, like a botanist pinning a butterfly, examines closely these representations of nobility .
For each family portrayed, its history, titles and motto are explained.
Text by: Olivier de Trazegnies et Pauline de La Boulaye

Publisher: Filigranes Editions (2016)

240 pages
Size: 25 x 34 cm

 José Manuel Navia : Miguel de Cervantes or the Wish to Live

 Miguel de Cervantes or the Wish to Live

“In this project, no doubt one of the most personal in which I have been involved to date, I set out to address unreservedly the difficult and fascinating relationship – which for me is essential – between image and word, photography and literature, always on the basis of the importance that I, as a photographer, attach to the idea of the trace (as opposed to that of aura). To explore all this, I took the liberty of working on the life and oeuvre of one of the greatest writers not only of Spain but of universal literature: Miguel de Cervantes. I was incessantly plagued by surprises and uncertainty. It was quite a bold undertaking.” José Manuel Navia.
Text by: José Manuel Navia

Publisher: Ediciones Anomalas (Coedition: Acción Cultural Española) (2015)

144 pages
Size: 24 x 22 cm

 Gérard Rondeau : J'avais posé le monde sur la table

 J'avais posé le monde sur la table

Ce livre à caractère monographique offre une formidable perspective sur l’œuvre de Gérard Rondeau, des coulisses si singulières des musées à ses nombreux portraits de peintres et d’écrivains contemporains réalisés pour Le Monde, de ses pérégrinations avec l’écrivain Bernard Frank à son travail engagé auprès des humanitaires de Médecins du Monde, sans oublier sa collaboration avec le grand peintre Rebeyrolle.

J’avais posé le monde sur la table évoque les allers et retours de Rondeau entre le siège de Sarajevo et l’Est de la France, dans une géographie des traces de la guerre, mais aussi du temps, 14-18, 1992-1996, un voyage singulier qui s’appuie sur sa fréquentation à la fois des lieux de la Première guerre mondiale et de ceux de la Bosnie-Herzégovine en guerre.
La confrontation des images se fait de manière géographique - une photographie de voyages –, mais aussi de manière très picturale – les paysages d’ici et d’ailleurs – ; un Maroc en hommage à Delacroix dialogue avec une chronique rémoise dans une lecture très personnelle de la ville à travers les jeunes rebelles du "Grand Jeu".

L’on découvre aussi des photographies très personnelles de Rondeau, à la fois poétiques et surréalistes, notamment par son travail « sur l’écrit » et par celui sur le corps.

Catalogue de l’exposition éponyme qui se tient à Reims pendant tout l’hiver 2015-2016, l’ouvrage s’attarde également sur la Champagne, des portraits anonymes réalisés à la fin des années 80 à l’approche singulière de la cathédrale de Reims.
Text by: Christian Caujolle, Jean Clair, Philippe Dagen, Bernard Frank, Olivier Frébourg, Jean-Paul Kauffmann et Bernard Noël.

Publisher: Equateurs (2015)

288 pages
Size: 22 x 28,5 cm

 Jean-Robert Dantou : Les murs ne parlent pas

 Les murs ne parlent pas

The trilogy The Walls Don’t Speak (Les murs ne parlent pas) is the result of a three-year dialog between the photographer Jean-Robert Dantou, and an interdisciplinary Social Sciences team coordinated by the anthropologist, Florence Weber. The photographer set up his studio in various institutions (psychiatric nursing homes, private clinics, psychiatric hospitals) as well as beyond their walls, working directly with patients, friends, family and caregivers on images which mean something to them. In the first section, the authors put into perspective representations of madness in the history of photography, and propose a series of objects and texts presented as windows into the daily lives of those described as mad. In the second section, they reflect on the boundaries of madness through a series of portraits in which patients and caregivers of a psychiatric nursing home are portrayed without distinction. The third section is an essay combining photography and writing to question the limits of what can be photographed inside a closed psychiatric unit.
Text by: Jean-Robert Dantou, Florence Weber, Christian Caujolle

Publisher: Kehrer (2015)

344 pages
Size: 17 x 23,5 cm

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