Thursday, 3:00 pm, 1996

Series | Thursday, 3:00 pm, covers two years of photographic portraits of a young man, Xavier. For two years, 95 meeting, and until his death, Xavier and I met every Thursday at 3 p.m.

Anvers / Valparaiso, 1996

Series | Antwerp-Valparaiso is the journey I undertook to return to Chile after 22 years in France.

Cuba, 1996

Serie | This photographic portrait of the Havana has been done during several trips between 1996 and 2000.

Twins, 1996

Série| Remus and Romulus, Castor and Pollux, twins are recurring characters in mythology and continue to fascinate the "singular" today.

Blurred Pictures of Homeless people, 1996

Olivier Coulange made many reports on the harsh reality of the homeless. Through blurred portraits, he testifies to the daily life of these anonymous people, who live and sleep on the sidewalks of increasingly impersonal cities.

Japan, 1992-1995

Series | Result of several trips in the Japanese archipelago, this work reflects the photographer’s liking for the lightness and tranquility specific to the land of the rising sun.

Nimulé, 1995

Why do you say South Sudan? Why are you telling me things that I don’t understand, that I don’t know, that I’ve never heard of? More refugees, more displaced people, war again, weapons, children in distress.

Poverty, 1995

If the “Rue des Lombards” was her "school of photography", Jane Evelyne Atwood continues to work on the street. Fascinated by people and by exclusion, she has photographed the homeless of the capital, always with deep respect for others and with empathy.

Argentina - Women in Jail, 1993

Serie | The prison life is, in collective imaginary, an environment deeply masculin, virile, and even chauvinist. Yet, many women are imprisoned in the world. How do they conciliate their confinement and their woman, mother, and wife’s life?
Adriana Lestido documents this taboo issue and submerges us in a little-known environment.

The Silence, And Nothing Around, 1994

By organizing, on white sheets, the dialogue between photographs captured in everyday life of this wartime and the words emerging from this wartime situation, we do not claim to add a new stone to the factual narrative.