Series - Agence VU'

Night Time, 2012

Serie | Days are too short, and too much lighted. Remains the night to live in peace of stolen hours, to life or death, who knows...

Il fait déjà jour, 2012

Series | One day a child was asked what he thought was the most important star, the Moon or the Sun.

Pieter ten Hoopen séries

North-East Congo DRC, 2012

Series | In the North-East of The Democratic Republic of Congo (DRC Congo), two regions are neglected by the authorities in Kinshasa.

Stéphane Duroy séries

Série | Stéphane Duroy pursues his artistic approach by this constancy on the human condition, its endless frustrations, between boredom and resignation, reactualizes the deep injustices that, throughout the twentieth century, have plunged the European peoples in an endless tragedy.

Bernard Descamps séries

Right here, 2012

Series | Conducted between 1974 and 2012, mostly in France or Europe, these images satisfy my desire to meddle in the moments and places a priori no relation with each other in a kind of automatic writing, like the surrealists.

Rip Hopkins séries

Portraits de Familles (Fnac Studio), 2012

During the « Studio Fnac » operation, Rip Hopkins met and photographed several families who entered into the spirit of the game by letting themselves be staged.

Sophie Chivet séries

Journey, 2012

Série | Here as elsewhere, I like to go where the wind takes me. Little preparation. It is the encounters that make everything.

Martina Bacigalupo séries

Burundi, Places of Memory, 2012

Series | Martina Macigalupo and Iwacu journalist Roland Rugero have travelled during several month throughout Burundi’s places of memory. Places charged with traumatising memories, often hidden or not talked about in public. Places where massacres, coup d’état and civil war have happened.

Isabelle Eshraghi séries

The Debutante Ball, 2012

Series | 25 carefully selected young girls under 20 are being introduced to society during the Bal des Débutantes, created in 1957.

Martin Bogren séries

Tractor Boys, 2012

A silent witness – it is truly remarkable that these images of moments of fury should be silent to this extent – he observes. In compositions as flexible as they are precise, as natural and instinctive as they are understated, he endeavours to report what he sees and what he perceives.