The Poetry of Daily Life exhibition is a carte blanche for a Erich Hartmann show to CLAIRbyKahn, the gallery which represents the photographer’s archives. Hartmann (b. 1922 in Munich, d. 1999 in New York) is celebrated for the subtle, mysterious poetry that emanates from his photography, the play of shadow and light that is captivating yet respectful. He embraced places, objects, and people with his camera, never unsettling the moment, always capturing it in a way that allowed it to be rediscovered. The Poetry of Daily Life exhibition features 27 images by Hartmann that magnify the glory of the ordinary and the dignity of the routine. The photographs on display are all vintage prints that have the unique quality of being developed by Hartmann’s own hand.
The Gallery Catherine et André Hug presents “Am I What You’re Looking For?” an exhibition from Endia Beal whose work was supported with funds provided by the Magnum Foundation. This work focuses on young women of color who are transitioning from the academic world to the corporate setting, capturing their struggles and uncertainties on how to best present themselves in the professional workspace. As the young women pose in front of an office backdrop in the home, they recall conversations during interviews. The women explain how employers would tell them that their natural hair was unprofessional or their name was too difficult to pronounce, suggesting they alter themselves for the job. This project provides an in-depth investigation into the experiences and fears of being a woman of color in corporate America. “Am I What You’re Looking For?” honors a constellation of black women’s aesthetics, a topic Beal has documented in the past.
Though Paradis herself strikes theatrical, quirky, comically chic action poses in her tableaux, it is this blue that is the perennial muse and star As Paradis works through different series, each with its own key counterpoint color (blinding deep orange, saturated lime, dark crimson), this blue is the constant. In her most recent work, the blue is joined by a certain lime green, a neon hue that radiates light for the blue to absorb and amplify. Whereas the blue is deployed mainly in its rightful, quasi-naturalistic place of sky or perhaps a kind of watery ground, the green performs as clothing, origami props and set pieces, which trace the elements of narrative. It is centrally important to her enterprise that the scenes in Paradis’ images are “really photographed,” which to say, pictures are taken of elaborate optically-charged but fundamentally analog scenarios. Animating her on-location fictions is the figure of the artist herself, the living heroine of her own mechanical story, and another object poised among many. Baudrillard wrote, “Today abstraction is no longer that of the map, the double, the mirror, or the concept. Simulation is no longer that of a territory, a referential being, or a substance. It is the generation by models of a real without origin or reality: a hyperreal.” That makes sense to Paradis, for whom reality is both elusive and essential.
Catherine et André Hug presents a photography’s selection from the two last Mona Kuhn’s series .. Mona Kuhn likes to create a visual world that possibly exists just in our thoughts because she likes to escape realism whenever possible. In the series “She disappeared in complete silence ” her visual narrative shifted from the nude expressed in the physical body to the abstracted expressions of the body. The desert light and glass architecture from Robert Stone ‘s house “Acido Dorado” presented the perfect platform to create magic images in this surrealistic desert of Joshua Tree while her new works from her last series “Poem” has been taken in les Landes a pine forest in France where the artist has brought her signature process of photographing the human form with striking intimacy and candor.
The exhibition features 20 photographs by New York artist, Joni Sternbach. “Ocean Side” brings together three select bodies of work, all made along the shoreline and captured on different media. Sternbach’s use of historic techniques (cyanotype, tintype and ambrotype) and equipment, including an Petzval 184o’s Petzval lens are part of her ongoing conversation with history.
Sternbach’s most celebrated series: “Surfland,” a collection of portraits of surfers taken on beaches around the world using the 19th century wet-plate collodion process, is at the center of the exhibition. “Surf pictures are traditionally studies in motion — a figure in the spray of a cutback or under the curl of a jewel-toned barrel. But Joni Sternbach, who has spent the last twelve years making large-format tintype photographs of surfers on beaches around the globe, is after something different: a kind of ethnographic study in stillness, silvery portraits of a tribe united by a sense of adventure, the love of a sport and a connection to the ocean.” Diane Cardwell, NY Times
Until March 30th 2018 The Catherine and André Hug Gallery invites you to enter the universe of five great artists through their Portfolios giving a global vision of one of their particular series while allowing to see a project photographic as a whole . From Susan Meiselas, great figure of American Photojournalism, photographed and watched grow
up “girls of Prince Street ” in Little Italy neighborhood in New York to Kourtney Roy who is photographing her self in the small Canadian town of her childhood, passing by Reine Paradis and his introspective trip to the heart of the American West which is also at the center of Vincent Mercier’s Portfolio and finally Philippe Chancel’s Portfolio initiated in 2005 on 14 iconic territories.
As part of Photo Saint Germain, Galerie Catherine & André Hug is exhibiting the project carried out in the Antarctic by Philippe Chancel in 2017: “Datazone 13″.
The Antarctic continent was discovered during the first 30 years of the 20th century. It was an age of pioneers, names that became legendary in connection with the land of ice explored in extreme conditions. The initial 30 years of the 21st century has become the moment to raise questions about this untouched beauty threatened by terrible risks and potential disaster. A growing number of occurrences vouch for this. Geopolitical, economic and above all ecological issues culminate in a most likely accelerated future limiting the core, but already weakened values of our planet at the same rate as the accelerated calving of the ice floe.
Catherine et André Hug Gallery presents Kourtney Roy’s third solo exhibition. Sorry, The work continues to use Kourtney Roy’s own image as protagonist in a world where external reality is ripe with strange and mysterious juxtapositions and scenarios.
In Sorry, No Vacancy, the artist has melded the ineffable with the vast and isolated spaces of Southwest Texas. The settings for this series are marginal and transient sites; remote highways, abandoned tourist stops, and lonesome towns that seem to hover over the landscape as ghost images of a past time. These sites become the grounds where Roy performs her cryptic rituals of self-transformation. No Vacancy reveals a parallel universe where the realm of the imaginary spreads itself as a fine netting over the peripheral world.
Shot in many locations throughout America, the photo series «Jungle» takes us on an introspective journey across a symbolic and chromatic world, projected above the limit of reality and imagination.
All the scenes are imagined and conceptualized before shooting in real locations. Once the scene is visualized in it’s entirety, Paradis makes sketches and paints the scene to use as a blue print when photographing the final scene. All the costumes, accessories and origamis are meticulously designed and prepared according to the initial vision of the scene.
Each scene is an adventure and a story in and of itself.
Architecture fascinates Vincent Mercier and has left its stamp on his meticulously ordered, geometrical images. Lines are scattered over his landscapes. What Mercier describes in his own personal America, a reflection of the indelible mark left on him by the games of his childhood. His gifts as a colorist give his images a texture all their own. As in Edward Hopper paintings, the rare figures he includes seem frozen in a post-trip time warp. Time has come to a halt in the memory of a photographer seeking to experience this moment for all eternity. Today or tomorrow these images will always have their place: that of an idealized America offering hints of its extremes of temperature and its deathly silence. The dry matte paper conjures up this desert terrain shot through with solitude. Traveling alone, Mercier is not seeking the Other in his photographs; what interests him are these silent, sun-struck landscapes.’
In conjunction with Photo Saint Germain, Catherine and André Hug Gallery present “Mona Kuhn: New Works ” a selection of photographs from Kuhn’s two most recent bodies of work, Private and Acido Dorado. Kuhn begins each series with a specific color palette and emotion in mind; consequently each body of work is like a lyrical ballad, opening up a dialogue about the human body’s interaction with its physical environment. Her primary focus is the body, and though her early work leans more towards traditional figuration, these pieces see her actively broaden her scope, turning her attention to landscape, abstraction, and the body’s relationship to architecture. Acido Dorado is set inside architect Robert Stone’s secluded modernist structure in Joshua Tree National Park, California. In this series, Kuhn and her subject, close friend and long-time collaborator Jacintha, explore pools, mirrored ceilings and glass walls to produce sandy-colored hallucinations filled with dreamy light leaks and seductive reflections. Landscapes, architectural details, reflections and a single figure repeatedly obscured and dislocated create photographs that verge on abstraction. Kuhn playfully combines a number of visual stratégies; patterning, translucency, and reflectivity and conflates them with the casual closeness of a photographer and her subject. Private proposes a world in which concrete reality and the imaginary are one. Plants and animals on the edge of survival, sun-drenched landscapes and wind-sculpted earth are intercut with a series of nudes that push Kuhn’s renowned sensitivity to human form into unexpected directions. Shot over two years in the Mojave desert Kuhn created a sequence of pictures that is seductive, enigmatic and a little unsettling
The gallery is keeping up her “american dream” exploration and extends summer with the exhibition “Pacific” showing Will Adler and Morgan Maassen photography’s.
Will Adler is a 30 year old west coast photographer known for his distinctive take on the surf world. Adler’s laid back, light infused images, convey the spirit and atmosphere of place as much as the action of the sport and have earned him a cult following in surfing and photography circles. , Adler shows pictures from California shot for himself and for magazines such as Juxtapoz, Neon, Surfer, WAX, and The New Yorker. For his exhibition at the gallery Catherine and André Hug Adler has invited a friend to exhibit with him, Morgan Maassen a young photographer and filmmaker from Santa Barbara.. Both of them take a more laid-back approach in this series of atmospheric seascapes that focus on sensual pleasure, not athletic feats.
The Gallery Catherine and André Hug presents Philippe Chancel’s last series “DRIVE THRU” which takes place in Flint.
Flint, USA is the eleventh cardinal point of the Datazone constellation. Neighbouring Detroit, and currently abandoned to a disastrous de-industrialization, the city was once the stronghold of General Motors, main employer and creator of the cult object of American happiness. If the 40s saw the Buick Roadmaster or Slylark become stars of Hollywood’s silver screen, the Riviera, Gran Sport or Wildcat models were television action hero’s best companions, the Special embodied family happiness in the American Dream. Fulfilling the American Dream also meant ownership of a Dream House. A utopian ideal, founded on access to individual housing rather than city building – the guarantee of social peace and Economic development: building houses, filling them with all sorts of appliances, and reaching them by car. But Flint is now bloodless. Approaching, Philippe Chancel accomplishes the crossing of Walter Evans’ photography’s graphic and temporal lines. Then, in his own way, the photographer dives into the abandoned neighbourhoods, enters neglected houses, and lays his eyes on the hidden lives – before the brutal wake up to a state of emergency – declared by Barack Obama in 2016, for deadly lead pollution of water supplies, a nefarious consequence of the factories’ grounding. Philippe Chancel refines his documentary approach with a coherent writing: the present is the force that compels him to return to the essential, to remain focused, classic, ineffective and to grasp with precision. By stepping back, he maps disappearance in a proposal to reclaim territories. His photographs awake our humanity, their presence bearing the light of a possible reversal.
The Gallery Catherine and André Hug presents the series “Crossings” made in 1989 by Susan Meiselas.
During her long photographic career marked by the temporality of her times, committed to topics that deserve the eye of a witness of history
and united with roaming peoples, Susan Meiselas accompanies migrants as they try to cross the border between the United States and Mexico.
The “Crossings”, series was exhibited for the first time in 1990 at the Art Institute of Chicago, portrays the risks taken by men and women
to cross the border, the dividing line between two Americas, between two realities. They are propelled across this point of entry for a better
life, drawn by the American dream, a symbol of freedom and democracy.
Continuing our exploration of the American dream the gallery exhibits from February 5 to March 12, 2016 the series “California Trip” conducted in 1968 by Dennis Stock. American photographer - sent to Hollywood to start his career with the Magnum Photos Agency - gave birth to series of photographs in black and white, which proved timeless Hollywood legends and masters of jazz, but also various subcultures such as biker gangs or hippies communities. For the legendary series The California Trip (1968), Dennis Stock traveled around and along the west coast of the United States, photographing the heyday of the hippie culture thus fulfilling a real journey of initiation.
In 1980, Raymond Depardon has just joined Agence Magnum and for his series
Manhattan Out, he leaves for New York with a friend. Every day, he takes his camera ,pops it around his neck, and along his daily wanderings starts shooting with no focus from his chest.
On the following year in summer 1981, the photographer returns to New York
and begins Correspondance new yorkaise for the french newspaper Libération Beeing asked to send a caption daily picture from Big Apple to the newspaper, he delivers a very personal vision of New York through the melancholic view of a man permanently reflecting on the surrounding world.
Galerie Hug is very pleased to present the first solo exhibition in Paris of Joni Sternbach’s critically acclaimed series, Surfland.
Her ongoing project is comprised of contemporary tintype portraits of surfers created using the historic wet-plate collodion process. The photographs are a unique blending of subject matter and photographic technique. Using this instantaneous process, Sternbach creates one-of-a-kind artworks that are imbued with a feeling of ambiguity, timelessness and mystery.
“Cheyenne , Wy ” is Jean Queyrat first solo exhibition in the gallery. In this series Jean Queyrat photographed Larry , Jim, Tom , Bill, Ned … These are some of the names that forged the American West legend .
Wind, rain, snow , sun, carved these men’s faces.
Looks like nature made them take a test before hiring them .
They watch over the bison which have almost disappeared from the Great Plains ……
Those who enjoy the comfort of a routine life go their way .
Larry , Jim, Tom , Bill , Ned are characters who take on the role of a lifetime and Jean, through these photographs, makes us share their fate which mold the Great Plains bison ..
Maroesjka Lavigne is born in 1989 , she lives and Work in Gang (Belgium). At the age of 21, the young Belgian photographer Lavigne spent four months driving alone across Iceland, pulled to the stark scenery. In her series “Island” ,snow becomes an amorphous studio backdrop, indeterminate but infinitely malleable. It swallows ground and sky; coats buses, boats, and intrepid sight-seers; and then transforms again into a bleached sink basin, chalky house paint, and a plume of white steam. In Ísland the world may be pale, but life is anything but colorless.
Maroesjka Lavigne; Ebbe Stubb, George Tatge; Stuart Franklin, Tribble & Mancenido
For the month of photography organized by the Maison Européenne de la Photographie, the Catherine et André Hug gallery presents “Odyssey” by Miki Nitadori. It is part of a collective project organized by Valérie Fougeirol around the theme “Famous Anonymous People and Amateurs”. For this exhibition Miki focused on Japanese immigration in Hawaii, which started at the end of the nineteenth century. These Japanese-American photographs, which range from the beginning of the XIXth century up to the 1950s, will be the centerpieces of the exhibition. Miki scanned and enlarged these images, transferring them by hand onto printed fabrics representing a diverse range of cultural, traditional and symbolic models. They each reflect a particular environment and community.
The gallery presents an exhibition of black and white photos around landscape. The works from George Tatge ,Adam Katseff, Stuart Franklin( Narcissus) and Shinya Ichikawa (Mother lake)answer to Virginia Woolf who recommend “”Observe, observe perpetually” until landscape’s spiritual dimension comes out.La galerie présente une exposition de photographies en noir et blanc autour du paysage. Les travaux de George Tatge ,Adam Katseff, Stuart Franklin( Narcissus) and Shinya Ichikawa (Mother lake) répondent à Virginia Woolf qui recommande « Observe, observe perpetually » jusqu’à apprécier la dimension spirituelle du paysage…
Jessica Craig-Martin in her exhibition “The Optimists” in Catherine and André Hug Gallery reveals once again the distance between the hypocrisy of celebrity magazines and reality behind.”I m not interested in the individual but in the compulsive celebration, voyeurism, judgment ans conspicuous consumption that are endemic to our culture. I find beauty in the optimism, mistaken as it may be, as perhaps all optimismis. My camera wants to eradicate the personnal. I see my work as abstract studies of sequins, evicted mollusks ans air conditioned mink , vanity, excess, vulnerability, arcan social, failed armor, imagining the oscars is more fabulous than beeing there. Glamour is a mirage as you approach it, it evaporates” JCM.
Kourtney Roy mixes fiction and self-portrait through female characters too perfect encapsulated in the banality of another time .. In her wonderful presence, the heroin expects the other to give a meaning to the story and her self-portraits are movies with a unique function
Disportraits explores the correlation between the concepts of distance and space, presence and absence, and ultimately, the human condition. Matthias Schaller says ” I think the astronaut suit is a metaphor for human beings. Through them I am able in a visual and simple way to show that I believe we are all astronauts. We are all alone, we are isolated from each other. And we are all trying by verbal and non-verbal communication to get in contact with each other. To not feel alone. Each individual is a space with its own rules, materials, history and relations to the space outside of itself.”
.For his second exhibition in the gallery , Acey Harper keeps surprising us with his shoots from these athletic artists in unexpected places, without makeup, costumes or artificial lighting. “I always tried to make the landscape and the acrobat become one,”says Acey Harper .. Thus his subjects are dangling from trees, rafters, industrial cranes and old train trestles, making hand stands in subway stations and on cracked desert floors, floating in the woods, flying over water, hanging from the sides of the buildings
The Gallery dedicates a solo exhibition at the great figure of American Photojournalism, Susan Meiselas (born 1948) and more particularly to her former documentary projects in the streets of New York in the late 1970s. In the Little Italy neighborhood, Susan Meiselas photographed and watched grow ” Prince Street Girls” She captured their daily lives, after school or at the beach with a primary focus on their intimate relationships.