Series
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.
Princess Hannah, with the homeless, 1989-1994
Few photographers have had the courage and constancy of Olivier Coulange who, since 1989, has been accompanying the homeless, watching them debate and testifying while living with them, in the Salvation Army and in the streets.
On the Line, 1994
It was on the border line between Belgium and France that, from 1992 to 1994, Michel Vanden Eeckhoudt cast an ironic but rarely solicitous eye on his fellow men.