From Thursday to Saturday : 1 pm – 8 pm
On Sunday: 1 pm - 7 pm
09 - 12 November 2023
CARLOS CARVALHO ARTE CONTEMPORÂNEA
The Paris Photo project brings together 5 artists who emphasize the narrative potential of photography, whether by making written text interact with the image or by showcasing constructed settings or languages and fleeting events.
With Daniel Blaufuks, Marguerite Bornhauser, Os Espacialistas + Gonçalo M. Tavares, Roland Fischer, Noé Sendas
Grand Palais Éphèmere
Os Espacialistas + Gonçalo M. Tavares
Laboratorial collective of theoretical and practical investigation of the connections between Art, Architecture and Education. It replaces the pencil with the photographic camera, as a drawing, thinking, perception and natural and built space diagnosis device.
Among the works done the highlights are: exhibitions, installations, artistic assistance to works of architecture, architecture projects, scenic spaces, performances, literary collaborations, photographic illustrations, workshops, seminaries, publications, etc.
Gonçalo M. Tavares
Portuguese writer, is the author of a vast work that is being translated in around sixty countries. His language in rupture with Portuguese lyrical traditions and the subversion of literary genres make him one of the most innovative European writers today.
His books gave rise, in different countries, to plays, radio plays, short films and plastic art objects, art videos, opera, performances, architectural projects, academic theses, etc.
In these works arranged together, the mannequin figure emerges as a silent yet powerful protagonist within an enigmatic narrative.These seemingly lifeless figures transcend their conventional roles, evolving into expressions that embody the surreal and the uncanny. In this series, the artists skillfully challenge our perceptions of reality and storytelling.
Dans ces œuvres présentées ensemble, la figure du mannequin émerge en tant que protagoniste silencieuse mais puissante au sein d'une narration énigmatique. Ces figures en apparence sans vie transcendent leur condition et évoluent vers des expressions qui intègrent le surréalisme et l'étrange. Dans cette série, les artistes défient habilement nos perceptions de la réalité et de la narration.
Marguerite Bornhauser elaborates a visual writing form filled by intense colors, graphic forms and deep shadows that narrow the difference between the real and the fictional. The artist expands all the details: plants outlines, shadows and human bodies, isolating and removing these elements from its context to try to find abstraction in reality.
The artist work has been shown at the museum of European Photography in Paris and Paris Photo in 2019, in the streets of Cincinnati for the Cincinnati Art museum, in Arles during the festival of Photography, in Deauville during the Festival Planches Contact, at BETC agency, Agnès B, in the festival MAP Toulouse, in London. In 2020 she won the Photo London x Nikon Emerging Photographer of the Year Award. Currently she is taking a residency for The Grand Palais em Paris.
When black is burned is a series somewhere between reality and fiction, poetry and everyday life, that plays with the codes of abstraction and photographic figuration to plunge us into a chiaroscuro universe, brightly coloured and populated by shadows, ghosts and daydreams. This work is made up of dense light and materials where shadows create landscapes and motifs. The burnt black of the shadows resonates with the intensity of the colours and the sensuality of the bodies. In this series, we present, for the first time, reworked negative photographs - painted or coloured - alongside silver and digital photographs of all kinds.
When black is burned est une série à la marge, entre réalité et fiction, poésie et quotidienneté, qui se joue des codes de l’abstraction et de la figuration photographique pour nous plonger dans un univers clair-obscur, coloré et éclatant peuplé d’ombres, de fantômes et de rêveries. Un travail fait de lumières denses et de matières où le noir des ombres brûlé fait résonner l’intensité des couleurs et la sensualité des corps. Dans cette série, sont présentées, de manière inédite, des photographies négatives retravaillées - peintes ou colorées - aux côtés de photographies argentiques et numériques de tout type.
Since the 1980s, Roland Fischer has been developing different series of work on a solid and consistent career using architecture and portraiture as subjects presenting them on a large scale photographs. The Facades series, for example, attempts to understand architecture as a modernist painting using its formal principles: color, rhythm, shape, shadow, composition, patterns, to show how globalized culture has a common and universal vocabulary. In “New Architectures” the composition is made simultaneously of pictures taken from many vantage points placed in one frame converting the work into an abstract visual photograph.
Roland Fischer‘s lives and works between Munich and Beijing. His work has already been shown in 120 museums and art institutions worldwide including Musée d’art Moderne in Paris, the CGAC in Santiago de Compostela, The Photographers Gallery in London, Museum of Art Architecture and Technology (MAAT) in Lisbon, Museo DA2 in Salamanca, Centre Culturel la Maison Rouge in Paris, Institute d’Art Contemporain in France, Fonds National d’Art Contemporain in Paris (FNAC), Musée d’Art Moderne de la Ville de Paris, Musée d’Art Moderne et Contemporain in Strasbourg; Museum van Hedendaagse Kunst in Antwerp, Museo de Arte Contemporáneo de Castilla y Leon (MUSAC). His work is represented in many public and private collections.
Roland Fischer’s new series “Transhistorical Places" begun in 2018 and is comprised by "photographic works, geometrical figures, such as colored circles, spheres, rectangular elements and other formations, stand on equal footing with photographic details of Brutalist buildings. The latter overlap in part the striking, colorful surfaces, resulting in completely new spatial constructs.
All the series by Roland Fischer that are concerned with Modernist and contemporary architecture have one thing in common: they do not seek to depict the buildings, but strive for “autonomous image creation”. These exciting inventions emerge from assembling real and fictitious parts into a hybrid between “painting” and photography.”
La nouvelle série de Roland Fischer, “Transhistorical Places" , a débuté en 2018 et est composée d'œuvres photographiques où des formes géométriques telles que des cercles colorés, des sphères, des éléments rectangulaires et d'autres formations se dressent sur un pied d'égalité avec des détails photographiques de bâtiments brutalistes. Ces derniers se chevauchent en partie avec les surfaces frappantes et colorées, créant ainsi de toutes nouvelles constructions spatiales.
Toutes les séries de Roland Fischer axées sur l'architecture moderniste et contemporaine ont une caractéristique commune : elles ne cherchent pas à représenter les bâtiments, mais visent à une "création d'image autonome". Ces inventions passionnantes résultent de l'assemblage de parties réelles et fictives pour créer un hybride entre "peinture" et photographie.
Daniel Blaufuks uses mainly photography and video, presenting his work through books, installations and films. He has a predilection for issues such as the connection between time and space and the intersection between private and public memory. The artist has exhibited widely in group and solo shows throughout Portugal and internationally in Spain, France, UK, Germany, Italy, Switzerland, Mexico, USA and Brazil. Blaufuks’ work is held in many public collections, including those of the Byrd Hoffman Foundation, New York, Centro de Arte Moderna da Fundação Calouste Gulbenkian, Lisbon, Centro Cultural de Belém, Lisbon, Centro Galego de Arte Contemporânea, Santiago de Compostela, Colecção BES, Lisbon, Fundação PLMJ, Lisbon, MEIAC, Badajoz, Museu de Arte Contemporânea, Funchal, Museu de Arte Contemporânea - Colecção Berardo, Sintra, Palazzo delle Papesse, Siena, Sagamore Art Collection, Miami and The Progressive Collection, Ohio. Among other awards, he was nominated for the Deutsche Börse Photography Prize (2007, 2015), shortlisted for the Pilar Citoler Award, 2007 and the European Photography Award, 1996. In 1990 he won the Kodak National Award, in 2007 the BES Photo Award, and in 2016 Daniel Blaufuks the AICA - International Association of Art Critics Award for Visual Arts.
The three works from Daniel Blaufuks' series "Suite Veneziana" show how, for the artist, the individual experience is a means of conveying stories, real or fictional, as if the author were creating a text within a book.
Les trois œuvres de Daniel Blaufuks de la série "Suite Vénitienne" montrent comment, pour l'artiste, l'expérience individuelle est un moyen de raconter des histoires, qu'elles soient réelles ou fictives, comme si l'auteur était en train de créer un texte à l'intérieur d'un livre.
Noé Sendas (b. 1972, Brussels), lives and works in Berlin, Madrid and Lisboa. Sendas began presenting his work in the late Nineties. Explicit and implicit references to artists and literary, cinematic or musical creations are part of his raw materials. Specific concerns about the reflection and practise of visual arts can also be added to his repertoire. These include: the body, as an entity that is simultaneously theoretical and material; the observer’s perception mechanisms; or the discursive potential of exhibition methods.
His work has been shown in numerous solo and group exhibitions, including CAV Center for the Visual Arts, Coimbra, PT; Contretype – Centre d’art contemporain pour la Photographie, Brussels.B; Porto’s Municipal Gallery, Porto, PT; Multimedia Art Museum (MAMM), Moscow; Maat Museum, Lisboa; Kunstraum Botschaft, Berlin Calouse Gulbenkian Museum, Lisboa; MEIAC Museu Extremeno e Iberoamericano de Arte Contemporaneo Badajoz; C/O Berlin Foundation, Berlin; MNAC The National Museum of Contemporary Art-Museu do Chiado, Lisbon, DesignhausDarmstadt, Darmstadt, DE; VAC-Visual Arts Center at the University of Texas, Texas, USA; Patio de la Infanta - Ibercaja, Zaragoza, SP; Goethe-Institut/ Instituto Cervantes, Stockholm; TENT, Rotterdam, ND; CAHO-Centro de Artes Helio Oiticica, Río de Janeiro, BR; Museo de Arte Contemporáneo Gas Natural Fenosa, La Coruña, SP; Museu Fundación ICO, Madrid.ES; Kunstmuseum Bonn, G; Akademie der Kunst, Berlin (a.o.).
His work is represented in many public and private collections in North and South America and Europe such as Calouste Gulbenkian Foundation Collection, Lisbon; EDP Foundation Collection, Lisbon; Contretype Centre d`Art Contemporain pour la Photographie Collection, Brussels; CAV Foundation Collection, Coimbra, PT; Caixa Geralde Depósitos Art Collection, Lisboa; MEIAC Museum Collection, Badajoz, SP; MAR – Museu de Arte do Rio, Rio de Janeiro, Brazil; Susanne von Meiss Collection, Sw; Charlotte Olympia, London; NOVO BANCO Art Collection, Lisbon; DGARTES Instituto das Artes Collection, PT (a.o.)
In his "Desconocidas" series, Noé Sendas reclaims and transforms images of female models from the 1940s, originally captured by anonymous photographers. Through his work, he creates a visual storytelling experience that melds photography and sculpture.
Dans la série "Desconocidas", Noé Sendas récupère et transforme des images de mannequins féminins des années 1940, à l'origine capturées par des photographes anonymes. À travers son travail, il crée une expérience visuelle narrative qui fusionne la photographie et la sculpture.