The different colours of Photography: Paris Photo 2012/Los Angeles 2013

©Angela Varricchio. ALL THE RIGHTS ARE RESERVED

Innovative experimentation without forgetting the tradition is the synthesis of Paris Photo 2013.

There are great possibilities to travel first-class for historical photo lovers: from the morbidity and voyeurism of female nude 3 D photos by Camille D’Olivier, through the positivistic reflection on the body in movement by Etienne-Jules Marey until the pioneer pictorialist interpretations of landscapes by Gustave Le Gray and his club. In addition to the exhibitions of the classics of Photojournalism (Cartier-Bresson, Doisneau, Capa) and of the Straight Photography (Strand, Weston, Cunningham), the international photographic show has proposed the betterment of Postmodernism, from the interiors of architectural photography by Lynne Cohen to the visionary lines created by black & white fish-eye and by the original use of a square format in work by Charles Swedlund.
An exceptional showcase of the Contemporary, this cultural event in the alluring “Ville Lumière” reels off the surrealistic vision. His based on Robert and Shana Parkeharrison and Jurgen Klaukethe richness´s graphic, which brings to mind the research about human condition by Gilbert Garcin; the hypnotic look of underexposed faces by Pieter Hugo; the solarized and multiple exposed 50th icons by Valérie Belin who makes real the theory about the image as “simulacrum” of Braudillard. The suspension and dilation of the time in the quotidianity of “Presents” by the street photographer Paul Graham; the magic of the girl facing abstract realism in the “The Planets” by Corinne Mercadier; the melancholic black spirit of humans and animals of Yusuf Sevincli, the essential colour formalism of Adam Fluss and the silent ancestral beauty in nature of Mimmo Iodice. Also feature Karen Knorr lingers on the relationship between the oriental interiors opulence and the elegance of wild animals, making harmonising the eternal collision nature versus nurture with the use of colours, more extreme and vivid than the naturalistic reportage by Daniel Naudé, but always with a classic photographic eye and sense of symmetry. Two tendencies distinguish Timm Rautert, the new talent: a use of multiple exposure in which each photo of interns is superimposed with another inverted landscape, which pushes us toward the reflection about the relationship between reality, the representation of reality and the representation of representation (photographed designs or photographed photos) and alluding, through a combination of the word and the image, to the universality of photography and relativity of language, going beyond the conceptual photography of Kenneth Josephson. A pleasure for the eyes is the delicate still lifes by Laura Letinsky, the uneasiness of adolescent phantoms by Hellen Van Meene, the visual purism of overexposed frozen mountains and symmetrical snowflakes by Rinko Kawauchi and Stephan Crasneanscki; the innovative formalism of contemporary photojournalism, especially through the female eye by Malala Andrialavidrazana with the funambulatory balance between the sacred and the profane, and women soldiers portraits, and very close to the chauvinistic universe by Ayana Jackson. An incredible photographer stands up: Julie Blackmon and the metaphysic and silent moment in a perfect composition, where each inanimate object becomes impregnated with life.

New talents of 2012 choose different language codes: the immanent spirituality in ambrotype portraits by Matthias Olmeta or the return to painted portrait Dutch style, especially in reference to Vermeer’s hand, by Hendrik Kerstens. Bruno Dunckel shines in originality for the refusal of his umbilical classic point of view: his proposal is based on the double point-of-view summary (his feet on the floor from up high and the air or ceiling on down low), a key to personal storytelling. The new photography forms reveal stimulating horizons of personal research: the fil rouge is the movement. The painting contaminates the digital photo and interrogates us about the fundamental features of photography. A question: the enormous red pixels by Jim Campbell that create a walking male silhouette in movement, the backlit photo of the sea by Peter Campus, in which the digital device reproduces the movement of the waves, the installation by Alan Rath in which the photos, installed like tree leaves, propose in sequence a hand in the act of counting, and the photo of diamonds positioned for creating Ava Gardner’s face or the dripped chocolate for composing a house by Vik Muniz, they are still definable “photos”?

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