Martine Franck
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PHOTO LONDON ANNOUNCES 2019 TALKS PROGRAMME Photo London has announced details of the Talks Programme for the fifth edition of the Fair, which will take place from 15 - 19 May 2019 at Somerset House. The Programme will showcase the rich and diverse history of photography up until the present day, and explore the current and future direction of the medium in a dynamic format. It will feature talks, debates and discussions with some of the world’s most important and innovative photographers, artists, curators, critics and authors. As well as featuring many celebrated practitioners including Erwin Olaf, Susan Meiselas, Ralph Gibson, Hannah Starkey, Tim Walker, Maja Daniels, Ed Templeton and Vanessa Winship, the Talks Programme includes: • The Photo London Master of Photography 2019 Stephen Shore in conversation with curator David Campany • Martin Parr discusses British identity in his work with historian and broadcaster Dominic Sandbrook • The acclaimed biographer Ann Marks in conversation with the author Anna Sparham on the legacy of Vivian Maier • Gavin Turk discusses his Photo London project Portrait of an Egg with Matthew Collings • Zackary Drucker discusses her work on transgender identities in photography with Chris Boot, Executive Director of Aperture Foundation • Contemporary portrait photographer Martin Schoeller in conversation with publisher Gerhard Steidl • Liz Johnson Artur in conversation with Hans Ulrich Obrist • Photographer, electronic music producer and DJ, Eamonn Doyle discusses his special Photo London installation Made in Dublin with collaborators David Donohoe and Niall Sweeney • Panel discussions on subjects such as representations of the body; collecting photography; the future of photography curation and the legacy of the pioneering early photographer Roger Fenton • Tickets on sale now at photolondon.org/tickets – Fair tickets are not required to attend talks The Photo London Talks Programme is curated by William A. -
James Ensor the Entry of Christ Into Brussels in 1889
James Ensor The Entry of Christ into Brussels in 1889 Pandora Publishers James Ensor The Entry of Christ into Brussels in 1889 Xavier Tricot WITH THE SUPPORT OF BART VERSLUYS In memory of Martine Franck and Henri Cartier-Bresson pp. 6-7 Martine Franck The Salon bleu Ensor’s house Ostend, 22 April 1998 © Magnum Photos The Entry of Christ into Brussels is a world one would like to study at leisure, providing countless resources to those who take it upon themselves to explore it. This is certainly one of the boldest, strangest and most disconcerting works that a modern artist has ever undertaken. Waldemar-George, 1926 contents 10 Acknowledgements 11 Foreword by Timothy Potts 13 Introduction 15 Situating the painting — 15 The significance of the title 20 Four studio photos as research sources 31 Analysis of the painting — 31 Significance of the subject 33 Composition and perspective 38 Figures and characters 55 Sources — 55 Religious sources The Gospels Jesus’s return to Earth 57 The figure of Jesus in the nineteenth century 63 Pictorial sources Historical painting Religious painting French painting English caricature Japanese prints 94 Folkloric and historical sources The carnival Joyous Entries and historical & religious processions The Brussels Ommegang The Saint-Verhaegen The Blessing of the Sea in Ostend 108 Literary sources Balzac and Jésus-Christ en Flandre Dostoevsky and The Brothers Karamazov 115 Aspects and context 188 Published studies on The Entry — 188 Exhibitions of The Entry 115 ‘A Picture of Belgium’ in 192 The sale of The -
Sweet Returns Y M a Al Y/ R A
modernizing an iconic look W4 Calvin Klein’s Francisco Costa on FASHION FRIDAY - SUNDAY, OCTOBER 21 - 23, 2011 WEEKEND JOURNAL. The Golden Future of Hungary’s Tokaji Sweet Returns helps bring autumn inside W8 From lights to chairs, copper HOMES Martine Franck in focus W10 The portraits of photographer ART WSJ.com/lifeandstyle Cephas Picture Library/Alamy W2 THE WALL STREET JOURNAL. Friday - Sunday, October 21 - 23, 2011 PAGE TWO WEEKEND JOURNAL. 6-7| Cover Story Sweet and sumptuous, Hungary’s Tokaji is enjoying a second renaissance. 4| Fashion Calvin Klein Collection’s Francisco Costa on his inspirations, true style and crimes of fashion. ‘Being sexy is not about what’s on show, it’s all about suggestion, or insinuation.’ 8| Homes For contemporary designers, using copper to add a warm glow to interiors is elementary. 3| Music Andreas Scholl’s move illustration by Jean-Manuel Duvivier from counterterrorism to ‘countertenorism.’ The End of a Cold War Confection [ European Life ] life’s work. Currently he and his still clung to many of its pre-1989 5| Fashion firm, Gerkan, Marg und Partner, provincial ways. Pockets of so- From Karachi to Houston, fashion weeks burgeon. or gmp, are creating ambitious phistication have popped up in BY J. S. MARCUS IN BERLIN plans to redevelop the area after the city’s gentrified corners, but, it stops being an airport. apart from the thriving cultural Books Berlin’s Tegel Air- Tegel, explains Mr. von Gerkan, scene, a lot of daily life remains a 9| port, in the north- may have been designed at the little second rate. -
Projet De Thèse Balthus Et La Photographie (1956-2001)
Projet de thèse Balthus et la photographie (1956-2001) Balthus photographe5 9résentatio" de la recherche Le Mu%7e Nat$onal P$ca%%o,Par$%5 Hu$ -o%%3de dan% %e% collect$on% Les e"#ants :u2ert et Th)r;se Blanchard1 et le 9ortrait de <a&es Lord2 de Balt2u% a valor$%7 lor% de %on r7cent accro(2a6e le -roce%%u% (r7at$. -$(a%%$en5 nota))ent -ar le 8$a$% de lXYuvre -2oto6ra-2$Hue& Notre re(2er(2e5 Hu$ -rend %on ancra6e dan% la -arut$on r7cente d'un cor-u% de -2oto6ra-2$e% de Balt2u%5 %B$n%cr$t dan% une recon%$dérat$on de lBoeuvre d'un -e$ntre -ar lB2$%to$re de la -2oto6ra-2$e& Co)-o%7 de )$lle,2u$t (ent -olaro$ds -r$% -endant la dern$3re d7cenn$e du II3)e %$3cle5 (e -re)$er lot .a$t .ace au -arado+e d'un co))enta$re 2;8r$de5 celu$ de lB2$%to$re de la -e$nture atta(27e D un o81et -2oto6ra-2$Hue& /e lD une lecture .onct$onnelle5 -rot27t$Hue et docu)enta$re de lB$)a6e Hu$ %Bentend co))e F ult$)e 7tudeCG& Or cette a--ro(2e conclu%$ve %Bo--o%e D la (o)-o%$t$on $n7dite de% -r$%e% de vue 4 D rebour% de% -olaro$ds5 de% )$ll$er% dB7-reuve% %tructurent non -a% un 7-$%ode5 )a$% une -rat$Hue -rolon67e du )7diu)& La -2oto6ra-2$e co))e 7-$lo6ue5 2;-ot23%e Hue dévelo--a$t notre )7)o$re de M'E5 entend -r7($%er lB$ntent$on 2$%tor$o6ra-2$Hue Hu$ e%t la n0tre 4 du -olaro$d te%ta)enta$re5 nou% re)onton% ver% un %econd 7-$%ode %$6n$Tcat$.5 celu$ d'une -r$%e de vue r76ul$3re co))en(7e D la V$lla M7di($% en 1969& /e lD5 nou% -ouvon% reculer encore et fa$re re)onter l'e+-7r$ence de lB$)a6e -2oto6ra-2$Hue en 19565 date D laHuelle Balt2u% %e -rUte5 au+ (0t7% de %a n$3ce et )odèle Fr7dér$Hue T$%%on5 D %on -re)$er re-orta6e dan% une -7r$ode Hu$ con%t$tue -our Sa8$ne ReOald le tournant de %a -e$nture et de %a l76ende d'art$%te D la ve$lle de %on d7-art -our Ro)e& Sou% l'o81ect$. -
7.10 Nov 2019 Grand Palais
PRESS KIT COURTESY OF THE ARTIST, YANCEY RICHARDSON, NEW YORK, AND STEVENSON CAPE TOWN/JOHANNESBURG CAPE AND STEVENSON NEW YORK, RICHARDSON, YANCEY OF THE ARTIST, COURTESY © ZANELE MUHOLI. © ZANELE 7.10 NOV 2019 GRAND PALAIS Official Partners With the patronage of the Ministry of Culture Under the High Patronage of Mr Emmanuel MACRON President of the French Republic [email protected] - London: Katie Campbell +44 (0) 7392 871272 - Paris: Pierre-Édouard MOUTIN +33 (0)6 26 25 51 57 Marina DAVID +33 (0)6 86 72 24 21 Andréa AZÉMA +33 (0)7 76 80 75 03 Reed Expositions France 52-54 quai de Dion-Bouton 92806 Puteaux cedex [email protected] / www.parisphoto.com - Tel. +33 (0)1 47 56 64 69 www.parisphoto.com Press information of images available to the press are regularly updated at press.parisphoto.com Press kit – Paris Photo 2019 – 31.10.2019 INTRODUCTION - FAIR DIRECTORS FLORENCE BOURGEOIS, DIRECTOR CHRISTOPH WIESNER, ARTISTIC DIRECTOR - OFFICIAL FAIR IMAGE EXHIBITORS - GALERIES (SECTORS PRINCIPAL/PRISMES/CURIOSA/FILM) - PUBLISHERS/ART BOOK DEALERS (BOOK SECTOR) - KEY FIGURES EXHIBITOR PROJECTS - PRINCIPAL SECTOR - SOLO & DUO SHOWS - GROUP SHOWS - PRISMES SECTOR - CURIOSA SECTOR - FILM SECTEUR - BOOK SECTOR : BOOK SIGNING PROGRAM PUBLIC PROGRAMMING – EXHIBITIONS / AWARDS FONDATION A STICHTING – BRUSSELS – PRIVATE COLLECTION EXHIBITION PARIS PHOTO – APERTURE FOUNDATION PHOTOBOOKS AWARDS CARTE BLANCHE STUDENTS 2019 – A PLATFORM FOR EMERGING PHOTOGRAPHY IN EUROPE ROBERT FRANK TRIBUTE JPMORGAN CHASE ART COLLECTION - COLLECTIVE IDENTITY -
Fondation Henri Cartier-Bresson 79 Rue Des Archives 75003 Paris Mardi Au Dimanche De 11H À 19H 2020
MARIE BOVOCRÉATION NOCTURNES EXPOSITIONS DE 25 FÉVRIERPHOTOGRAPHIES EXHIBITIONS EXTENDED UNTIL AUGUST 23 17 MAI 2020 MARTINE FRANCKCOLLECTION FHCB FACE À FACE London / : Atalante-Paris — 2020 : Atalante-Paris Magnum Photos — Conception graphique Magnum Photos — Conception / FONDATION HENRI CARTIER-BRESSON 79 RUE DES ARCHIVES 75003 PARIS MARDI AU DIMANCHE DE 11H À 19H Paris mennour, the artist and kamel Courtesy Photos © Marie Bovo, © Martine Franck MARIE PRESS RELEASE BOVO NOCTURNES CREATION MARTINE FRANCK FACE À FACE COLLECTION FHCB EXHIBITIONS EXTENDED UNTIL AUGUST 23 PRESS CONTACT 79 rue des Archives – 75003 Paris Cécilia Enault 01 40 61 50 50 [email protected] henricartierbresson.org 79 rue des Archives - 75003 Paris 01 40 61 50 60 OPENING HOURS Tuesday to Sunday: 11am – 7pm PARTNERS ADMISSION Full rate 9 € / Concessions 5 € SOCIAL NETWORKS Front cover: © Marie Bovo, Courtesy the artist and kamel mennour, Paris/London © Martine Franck / Magnum Photos Graphic design: Atalante Paris - 2020 CONTENTS 5 FOREWORD MARIE BOVO - NOCTURNES 6 EXHIBITION 7 BIOGRAPHY | PRESS IMAGES MARTINE FRANCK - FACE À FACE 9 EXHIBITION | BIOGRAPHY 10 PRESS IMAGES 11 2020 PROGRAMME AT 79 RUE DES ARCHIVES 12 PRESS IMAGES 13 SUPPORTERS OF THE FONDATION HCB FONDATION HCB – PRESS RELEASE – MARIE BOVO - MARTINE FRANCK 4 FOREWORD An exhibition for an artist is always an exceptional event that mobilizes his/her energy, his/her demand and his/her emotion, not to mention his/her time. Marie Bovo’s exhibition was barely open when it was closed and it turned into an unfair blow of fate. This is why the Fondation HCB has decided to postpone the Jan Groover exhibition, from the fund deposited at the Musée de l’Élysée in Lausanne, until 2021, in order to extend the two exhibitions Marie Bovo and Martine Franck until the middle of summer. -
Martine Franck
Martine Franck A photograph isn’t necessarily a lie, but nor is it the truth. It’s more of a fleeting, subjective impression. What I most like about photography is the moment that you can’t anticipate: you have to be constantly watching for it, ready to welcome the unexpected. Biography (1938-2012) April 2, 1938: Martine Franck was born in Antwerp, Belgium. Since the early years of her childhood, she was accustomed to distant horizons and constant travel. Leaving her native town, without ever coming back, she grew up in the United States and completed her studies in Long Island and Arizona. Later she left for Great Britain where her father joined the Army. 1956: Began studying Art History studies at the Madrid University, before being accepted to the Ecole du Louvre in Paris in 1958. She was 20 years old and learned to read French with notes from Robert Escarpit in Le Monde newspaper. Supporting her thesis on “Sculpture and Cubism: 1907-1915”, she met Ariane Mnouchkine, who became a major player in French Theater. 1963: During an initiatory journey in the Far East with Ariane Mnouchkine, Martine Franck began to photograph the charms and splendors of other civilizations such as China, Japan, India, Cambodia, Nepal, Pakistan, Afghanistan and Iran. She published her travel pieces in Eastern Horizons in Hong Kong. “Photography appeared randomly in my life. I obtained a visa for China and my cousin lent me a Leica telling me I was lucky and that I had to bring back pictures” confided Martine Franck in a 2007 interview to Roland Quilici. -
Martine Franck Novembre Février
MARTINE FRANCK NOVEMBRE2018 FÉVRIER 2019 DOSSIER DE PRESSE NOUVELLE ADRESSE 79 RUE DES ARCHIVES 75003 PARIS SOMMAIRE UNE DOUBLE ÉMOTION 3 EXPOSITION INAUGURALE MARTINE FRANCK INTRODUCTION 6 EXTRAITS DU LIVRE 7 BIOGRAPHIE 9 LIVRE 11 79 RUE DES ARCHIVES, NOUVELLE ADRESSE DE LA FONDATION HCB AMÉNAGEMENT DU 79 RUE DES ARCHIVES PAR NOVO 12 DÉVELOPPEMENT DES ACTIVITÉS 13 PERLES DES ARCHIVES 14 ÉQUIPE 15 NOUVELLE IDENTITÉ GRAPHIQUE PAR ATALANTE 16 2003-2018 LA FONDATION HCB À MONTPARNASSE 17 VISUELS PRESSE 18 OUVERTURE AU PUBLIC LE 6 NOVEMBRE 2018 VISITE PRESSE LE 5 NOVEMBRE 2018 79 rue des Archives – 75003 Paris 01 56 80 27 00 henricartierbresson.org CONTACT PRESSE NOUVEAUX HORAIRES D’OUVERTURE Thomas Lozinski Mardi à dimanche : 11h – 19h Claudine Colin Communication [email protected] TARIFS 3 rue de Turbigo – 75001 paris Plein tarif 9 € / Tarif réduit 5 € 01 42 72 60 01 SUIVEZ-NOUS SUR LES RÉSEAUX SOCIAUX FONDATION – DOSSIER DE PRESSE – MARTINE FRANCK NOVEMBRE 2018 / FÉVRIER 2019 2 / 20 UNE DOUBLE ÉMOTION UNE DOUBLE DÉCOUVERTE, UNE DOUBLE ÉMOTION PROGRAMME D’OUVERTURE POUR LA PHOTOGRAPHIE Les quatre premières expositions sont toutes — La Fondation Henri Cartier-Bresson inaugure ses des événements qui reflètent la diversité chère nouveaux locaux dans le Marais à Paris le à la Fondation, toujours attachée à présenter 6 novembre 2018. rigoureusement des artistes talentueux : — Martine Franck, première exposition de la Fondation — 6 novembre 2018 / 10 février 2019 Henri Cartier-Bresson au 79 rue des Archives. Martine Franck – Une rétrospective. Traversée d’une vie de femme libre (belge 1938-2012), de compagnonnages MARTINE FRANCK militants en paysage méditatifs, d’engagements À l’initiative de la Fondation HCB, l’artiste dont l’œuvre politiques en portraits amicaux, ce regard ouvert à photographique est enfin l’objet d’une lecture complète. -
Université Paris-Sorbonne
UNIVERSITÉ PARIS-SORBONNE ÉCOLE DOCTORALE VI Centre André Chastel T H È S E pour obtenir le grade de DOCTEUR DE L’UNIVERSITÉ PARIS-SORBONNE Discipline : Histoire de l’art Présentée et soutenue par : Alexandra MARINI le : 2 octobre 2015 De la camera oscura à la « caméra visible » : Eloge du plan-séquence dans l’œuvre de Sam Szafran Sous la direction de : M. Serge LEMOINE – Professeur émérite, Université Paris-Sorbonne (Paris IV) Membres du jury : M. Rémi LABRUSSE – Professeur, Université Paris Ouest Nanterre La Défense (Paris X) M. Pierre WAT – Professeur, Université Panthéon-Sorbonne (Paris I) POSITION DE THESE L’objectif de cette étude monographique est de proposer une synthèse de l’œuvre de Sam Szafran (né en 1934 à Paris) au travers de nouvelles réflexions et à partir de documents inédits. Figure singulière de l’histoire de l’art, Sam Szafran est un peintre au parcours atypique qui mène depuis plus de soixante ans une aventure solitaire, faite de recherches personnelles et empreinte d’exigence. Mû par un désir inassouvi de peindre, il place l’expérimentation au cœur de ses recherches et s’est évertué, dès le départ, à battre en brèche les modalités optiques traditionnelles qu’il n’a en vérité jamais apprises. A Montparnasse, il se retrouve au carrefour de tous les ismes de l’après-guerre, et face à l’ardeur des combats qui déchirent le milieu artistique parisien au cours des années cinquante, il sera finalement l’un des rares à sillonner les différents groupes. Proche de Raymond Hains, qui lui fera découvrir l’œuvre de Kurt Schwitters et l’initiera au collage, il adhèrera au surréalisme le temps d’un Cadavre exquis chez André Breton, imitera les expériences psychotropiques d’Henri Michaux, et sera l’assistant d’Yves Klein qui lui proposera, en vain, de rejoindre l’Ecole de Nice : Szafran connaît bien la peinture de son temps, mais se détache volontairement de l’influence des avant-gardes qui se succèdent pour créer un style qui restera unique. -
CREAM News Issue 22 / Winter 2015
CREAM NEWS 22 CHANTAL AKERMAN AT AMBIKA P3 HIGHLIGHTS CONGRATULATIONS CHANTAL AKERMAN NOW channel video installation with surround David Campany’s book, The Open at Ambika P3 30 October - 6 December sound. Road: Photography and the American 2015 Road Trip, published by Aperture Chantal Akerman (born 6 June 1950, (New York NY) in 2014, has won the We have all been profoundly shocked Brussels, died 5 October 2015, Paris) prestigious Alice Award, which comes and saddened by the tragic news of was one of the most unpredictable, with a prize of $25,000. the death of Chantal Akerman. She will farsighted, indefinable, rigorous and be greatly missed. The exhibition and playful film artists of her generation. Uriel Orlow has won the prestigious screening provide our collective tribute While showing the troublesome Fine Art Prize from the city of Zurich. to a great pioneering film-maker and complexity of human existence, This is the second time the prize has artist, and to Chantal Akerman herself. Akerman’s works are filled with been awarded and allows for the beautiful imagery, music, yearning development of new work. ‘Comparable in force and originality and hope, yet she also investigates to Godard or Fassbinder, Chantal hot-button themes such as racism in the Akerman is arguably the most important Mykaell Riley has won £530,000 American South, illegal immigration, European director of her generation’ J. from AHRC for his Bass Culture project, and terrorism in the Middle East. Hoberman. which will document the history of Chantal Akerman NOW was jointly Jamaican and Jamaican-influenced Ambika P3 presented a major curated by CREAM’s Michael music in Britain over the past six exhibition of work by the internationally Mazière and A Nos Amours (Joanna decades. -
2017/8/DP Présence De La Peinture En France 1974 2016 (2).Pdf
SOMMAIRE Communiqué de presse 3 Éditorial de Florence Berthout, Maire du 5e arrondissement 5 Extrait de la préface du catalogue d’exposition par Marc Fumaroli 6 Éditorial de Vincent Pietryka, Commissaire de l’exposition 7 Éléments biographiques et démarches des artistes 8 Catalogue de l’exposition 24 Entretiens autour de l’exposition 25 Informations pratiques 26 2 Exposition « Présence de la peinture en France, 1974 - 2016 » Du 28 septembre au 30 octobre 2017 Mairie du 5e arrondissement, Paris André Boubounelle, Colline à Volterra, 2010, huile sur toile, 97x130 cm À l’initiative de Marc Fumaroli, avec le parrainage de Jean Clair, Florence Berthout, Maire du 5e arrondissement, est heureuse d’accueillir, du 28 septembre au 30 octobre, l’exposition consacrée à dix artistes mettant à l’honneur la peinture, la gravure, le dessin et la sculpture: André Boubounelle, Érik Desmazières, Gérard Diaz, Philippe Garel, Denis Prieur, Gilles Seguela, Sam Szafran, Ivan Theimer, Jean-Pierre Velly, Pascal Vinardel. L’exposition « Présence de la peinture en France, 1974 - 2016 » est née d’un amour vrai pour l’art et de la joie que l’on trouve à fréquenter les œuvres d’artistes féconds. La France en a vu apparaître dans les dernières décennies, mais dans une relative discrétion. Si quelques galeristes parisiens au regard aiguisé, des critiques et des collectionneurs attentifs ne les ont pas ignorés, le grand public n’a pas eu cette chance. Le souhait de Marc Fumaroli a été de réunir quelques-unes des plus belles de leurs œuvres en un lieu unique, afin de les rendre enfin accessibles au public, invité à cette occasion à les contempler, à entendre leurs commentateurs et à rencontrer les artistes eux-mêmes. -
B Digital Stitching
DIGITAL STITCHING 175 B D I G I TA L STITCHING 1 ANDREAS GURSKY’S EXPANDED REALITIES An oriented reception “Although he has occasionally used a computer to help him make im- ages, this is in order only to recreate an image that he has seen and not to create something unseeable. Computers can knit together an image too panoramic for a camera lens to capture.” Fiona Bradley’s statement in the introduction of the catalogue for the 1995 exhibition Andreas Gursky, Images at the Tate Gallery Liverpool in 199561 clearly shows a rather common historiographical tendency, which interprets Gursky’s digital imaging techniques as mechanisms that allow him to show a certain pre-existing reality impossible to capture with a con- ventional photographic device, using a tool in order to transfer a men- tal into a physical image. Incidentally, this statement suggests that Gursky does not circumvent the conventional idea of photographic depiction, as the truth claim of the photographic is not impaired. “The [digital] montage doesn’t falsify anything,” Martin Henschel further claims,62 in an important monograph on the artist, introducing the idea of falsification, unavoidably attached to the notion of photographic truth. Stefan Gronert, one of the specialists of Düsseldorf photography, concurrently argues in an exhibition catalogue on Thomas Demand, Edward Ruscha and Andreas Gursky, that the Düsseldorf photogra- pher guides the viewer’s gaze toward something that is pre-existent in 61 Andreas Gursky. Images, exhibition catalogue (Tate Gallery Liverpool, 1995), London, Tate Gallery Publications, 1995, p. 10. 62 Martin Henschel, “Das weltganze in seinen einzelnen Formen betrachtet.