Description
Ensemble de deux ouvrages et un coffret :
pERESS, gILLES (1946)
*Le Silence.
Zürich : scalo, 1995.
broché. 22,5 x 16,5 cm. édition originale.
Minimes défauts.
Complet avec son livret agrafé de textes en anglais.
Face à l'horreur des images... « le silence » s'impose.
JAAR, ALFREDO (1956)
*It is diffi cult. Ten years. Let There Be Light. The Rwanda Project 1994-1998.
barcelona : actar, 1998.
Deux volumes reliés, avec couvertures illustrées dans un emboîtage cartonné illustré.
22,5 x 22,5 cm chaque. édition originale. Petits défauts.
« It is diffi cult to get the news from poems yet men die miserably everyday for lack
of what is found there ». alfredo Jaar.
DEpARDON, RAyMOND (1942)
*Le Rwanda vu par Raymond Depardon.
Paris : Canal +, 2001.
agrafé. 23,5 x 16,5 cm. édition originale. Petits défauts.
texte de raymond Depardon, « Ces photographies ont été prises
au cours de trois voyages, en février et novembre 1994, en août 1999... »
Notes
RWANDA
Gilles Peress (born 1946) is an internationally renowned French photojournalist known for his documentation of war and strife, including in Northern Ireland, Yugoslavia, Iran, and Rwanda. His work has appeared in the New York Times Magazine, Du magazine, Life, Stern, Geo, Paris-Match, Parkett, Aperture and The New Yorker. He joined Magnum Photos in 1971 and served three times as its vice president and twice as its president.
Born in France, Peress grew up in Paris with an orthodox Christian mother from the Middle East and a Grandfather a Jew from Georgia. Peress studied at the Institute d'Etudes Politiques in Paris from 1966 to 1968 and then at the University of Vincennes until 1971. Peress began working as a photographer in 1970, embarking on an intimate portrayal of life in a French coal mining village as it emerged from the ashes of a debilitating labor dispute. He then joined Magnum Photos. Peress soon traveled to Northern Ireland to begin an ongoing 20-year project about the Irish civil rights struggle. One of his most famous pictures from this period captures a young man named Patrick Doherty moments before he was killed whilst crawling to safety in the forecourt of the Rossville flats during Bloody Sunday (1972). Power in the Blood, a book that synthesizes his years of work in Northern Ireland, is the first part of his ongoing project called Hate Thy Brother, a cycle of documentary stories that describe intolerance and the re-emergence of nationalism in the postwar years. Farewell to Bosnia was the first part of this cycle, and The Silence, a book about the genocide in Rwanda, was the second. In 1979 Peress traveled to Iran in the midst of the Revolution. His highly regarded book, Telex Iran: In the Name of Revolution, is about the fragile relationship between American and Iranian cultures during the hostage crisis. Peress has also completed other major projects, including a photographic study of the lives of Turkish immigrant workers in Germany, and a recent examination of the contemporary legacy of the Latin American liberator Simon Bolivar. Now, Peress is professor of Human Rights and Photography at Bard College in New York and is Senior Research Fellow at UC Berkeley. He lives with his wife Alison Cornyn and their three children in Brooklyn.
Alfredo Jaar is a Chilean-born artist, architect, and filmmaker who lives in New York. He was born in 1956 in Santiago de Chile. He is mostly known as an installation artist, often incorporating photography and covering socio-political issues and war - the best known perhaps being the 6-year long The Rwanda Project about the 1994 Rwandan genocide. He has also made numerous public intervention works, like The Skoghall Konsthall one-day paper museum in Sweden, an early electronic billboard intervention A Logo For America, and The Cloud, a performance project on both sides of the Mexico-USA border. He has been featured on Art:21.
The art of Alfredo Jaar is usually politically motivated, strategies of representation of real events, the faces of war or the globalized world, and sometimes with a certain level of viewer participation (in the case of many public interventions and performances). "There's this huge gap between reality and its possible representations. And that gap is impossible to close. So as artists, we must try different strategies for representation. [...] [A] process of identification is fundamental to create empathy, to create solidarity, to create intellectual involvement."
His work has been shown extensively around the world, notably in the Biennales of Venice (1986, 2007), São Paulo (1987, 1989, 2010), Istanbul (1995), Kwangju (1995, 2000), Johannesburg (1997), and Seville (2006). His work, Park of the Laments, was part of the 100 Acres: The Virginia B. Fairbanks Art and Nature Park which opened in 2010 at the Indianapolis Museum of Art.[3] Important individual exhibitions include the New Museum of Contemporary Art, New York (1992); Whitechapel Gallery, London (1992); Museum of Contemporary Art, Chicago (1992); Moderna Museet, Stockholm (1994); Museum of Contemporary Art of Rome (2005); Fundación Telefónica, Santiago (2006); Musée des Beaux Arts, Lausanne (2007); and the South London Gallery in 2008.
He became a Guggenheim Fellow in 1985 and a MacArthur Fellow in 2000. He was also a 2006 recipient of Spain's Premio Extremadura a la Creación.
Raymond Depardon (b. 6 July 1942, Villefranche-sur-Saône, France) is a French photographer, photojournalist and documentary filmmaker. In 1966, Depardon co-founded the photojournalism agency Gamma, and he became its director in 1974. He became an associate of Magnum Photos in 1978 and has been a full member since 1979. Depardon is also the author of several documentary shorts and feature films notably including 1974, une partie de campagne, on the 1974 presidential campaign of Valéry Giscard d'Estaing, Reporters (1981) and New York, N.Y. (1986), both winners of the César Award for best short documentary, La captive du désert (1990), nominated for the Palme d'Or at the 1990 Cannes Film Festival[1] and Délits flagrants (1994) which won awards for best feature documentary at the César Awards, the International Documentary Film Festival Amsterdam (Joris Ivens award) and the Vancouver International Film Festival. At the 2000 Kraków Film Festival, Depardon received the Dragon of Dragons, a lifetime achievement award. Depardon's approach as a director is influenced by cinéma vérité and direct cinema. Depardon is for the most part a self-taught photographer, as he began taking pictures on his family's farm when he was 12. He apprenticed with a photographer-optician in Villefranche-sur-Saône before he moved to Paris in 1958.[2] He began his career as a photojournalist in the early 1960s. He travelled to conflict zones including Algeria, Vietnam, Biafra and Chad. He covered the Prague Spring and directed his first short film Jan Palach (1969) about Jan Palach, a Czech student who self-immolated in protest of Soviet occupation.