 Familial Ground is the product of a process that started several years ago when Rafael Goldchain’s son was born. Goldchain gradually realized that his new role as parent included the responsibility to pass on a familial and cultural inheritance.  It occurred to me recently that my fascination with photographic albums may be due in part to the fact that my family never kept one: we were box-in-drawer people, my mother making good use of packaging for notepaper and Christmas cards to keep some order in our small photographic hoard.  This article was originally published only in French. No translation is available. Voir aussi l'article reliéLe travail photographique et vidéographique de Pascal Grandmaison est souvent défini comme renouvelant le concept même du portrait.
 This article was originally published only in French. No translation is available. – Read the Abstract Voir aussi le portfolio de l'artisteBien que l’artiste soit encore jeune, le travail de Pascal Grandmaison a déjà fait l’objet de nombreux commentaires qui le caractérisent souvent comme « renouvelant le concept même du portrait1 ».
 This article was originally published only in French. No translation is available. Voir aussi l'article reliéDans sa série d’autoportraits, Version soft, l’artiste marocain Hicham Benohoud métamorphose ses traits en « martyrisant » sa tête dans des prises, brutales, rappelant celles du photomaton ou du portrait judiciaire.
 This article was originally published only in French. No translation is available. – Read the Abstract Voir aussi le portfolio de l'artisteIl y a mille et une manières de se montrer. Pour l’heure, Hicham Benohoud s’en tient à l’autoportrait, genre apparaissant a priori facile, mais qui aborde dans son cas des rives pour ainsi dire taboues.
 In his series Untitled (The Artist at Work), Klaus Scherübel presents a paradoxical system of references to myths and phantasms of modernism and to descriptive contexts of current art.
 “The Artist at Work” – does this legend not still revolve around phantasms of the genius emotionally strained to the limit in his studio (for this legend is a male one), bent over his artwork (preferably a painting or a sculpture), doing battle with the overly extravagant imaginary, struggling for a form that will ultimately be the brilliant result of this reclusive, prototypically subjective process of creation?
 The Bigger Picture: Portraits from Ottawa, organized for the Ottawa Art Gallery by Karen Love, gathers together over 200 Ottawa portraits by 78 image-makers, presented thematically in order to provoke a range of questions about how we understand the idea of a portrait.  Artists have portrayed themselves and their fellows since the beginnings of human representation. The advent of the camera in the nineteenth century augmented portraiture’s accessibility with enormous rapidity and variation, both for those who wished to be portrayed and for those who were impelled to depict. By Jacques Doyon Evergon, Marisa Portolese, and Olivier Christinat offer three very different ways of presenting the female body. Juxtaposed as they are here, they both encounter and confront beauty and age, attraction and maintaining distance, self-affirmation and abandonment in the other’s gaze. Nude or in intimate garb, all of these women are posing.  This article was originally published only in French. No translation is available. Voir aussi l'article reliéEvergon livre ici au spectateur, avec simplicité et respect, le corps nu de sa mère âgée. Preuve d’une situation qui a existé entre elle et lui. Puis il reprend la pose de sa mère « en Olympia », les constituant ainsi tous les deux en couple œdipien.  This article was originally published only in French. No translation is available. – Read the Abstract Voir aussi le portfolio de l'artisteNous disons : la Mort – et cette abstraction nous dispense d’en ressentir l’infini et l’horreur. En baptisant les choses et les événements nous éludons l’Inexplicable : l’activité de l’esprit est une tricherie salutaire, un exercice d’escamotage ; elle nous permet de circuler dans une réalité adoucie, confortable, inexacte.  Self-possessed women of all shapes, sizes, and ages, each fills the frame with intense looks, confidence, sex appeal, and power as she looks head-on into the camera’s lens and past, to the viewer. Compellingly seductive, these subjects pose for themselves and for the camera with a confronting gaze that is just as powerful.  Whether you like to admit it or not, we live in a society with an intense beauty-addiction problem that is directly tied to female representation and fantasy fulfilment. Our process of picking images apart to understand our relationship to them is becoming exhausting.  This article was originally published only in French. No translation is available. Voir aussi l'article reliéLes mises en scène épurées d’Olivier Christinat s’attachent à des portraits ou à des nus de jeunes femmes en une sorte de huis clos entre artiste et modèle qui outrepasseraient les limites de la pudeur.  This article was originally published only in French. No translation is available. – Read the Abstract Voir aussi le portfolio de l'artisteOn reste médusé face aux images d’Olivier Christinat. Une aura particulière émane de chacune d’elles à travers des mises en scène sobrement cadrées. Ses portraits et ses nus affichent une « lignée » de jeunes femmes endossant à ravir le rôle du modèle.  This article was originally published only in French. No translation is available. Voir aussi l'article reliéLes collectionneurs dotent les objets quotidiens de sens et d’une perspective historique qu’ils transmettent aux millions de consommateurs qui utilisent ces objets. Ils peuvent donner une valeur et un contenu nouveaux à des objets qu’on avait déclarés vains et condamnés à la destruction.  This article was originally published only in French. No translation is available. – Read the Summary Voir aussi le portfolio de l'artistePar Veli Granö Les collectionneurs sont des gens faciles à aborder puisqu’ils semblent toujours avoir beaucoup de choses à raconter sur ce qu’ils collectionnent.
 This article was originally published only in French. No translation is available. Voir aussi l'article reliéSur la plaque photographique, un homme : nous cherchons son regard et nous l’observons, droit dans les yeux. Sur ces photos d’un noir violacé, ce visage attentif vient à notre rencontre. L’ensemble se réduit à un espace étroit, défini par un énorme arrière-plan violet dont certaines surfaces sont retouchées de noir et de tons rouge sang. |
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