Olivier Spillebout France, Lille Born in Tourcoing Olivier Spillebout decided in to transform an old abandoned factory in Lille in the popular district of Fives into a museum space dedicated to photography. In this way it creates the Maison de la Photographie in which for 21 years he has focused on supporting the creation the production the promotion and the dissemination of artists and beyond the borders of regional creation.
At the same time in he initiated the Transphotographiques Festival where he directed the program every year focused on young European photography and exchanges with international galleries and festivals. AK: For me, a photobook is a living form that, like a narrator, is capable of telling a story. Apart of that, it is an artistic object itself that has nothing to do with, for example, a catalogue presenting images one after another. From my perspective, a photobook occurs when I feel that, despite lack of words and with images only, I am being led through a story that I understand and that is engaging me emotionally.
And this means that I am not a passive viewer anymore, but I am actively responding to the story, what has nothing to do with a superficial aesthetic experience. GK: A photobook reverses the relation text-image. In this case, text is an integral element of the visual narration and adds to photography that has been the starting point for the whole narration.
These are archival materials that matters because of their contents, authenticity and visual form. Still, these are the images because of the book is so powerful. And these were the images that led Hubert to reach to and use the archives. AW: Hubert Humka is one of the artists you cooperate with.
In fact, one can see some common features in the projects you have published. Is there any link between the photographers you work with? AK: Our intention is to tell the stories that are not minor and that reflect the condition of man in the present, the condition of the reality we are living in, the relation between a man and their surroundings.
Which does not necessarily mean that one day we will not publish something that is not grand or dramatic. And even though, people were staying, looking through the books and buying them. This book tells about how fickle melancholy and solitude can be. Bieszczady was a secluded place by then, practically not inhabited. These people have been living there since then, frequently in very rough conditions, in the houses they built by themselves, without access to running water nor electricity.
They do not have families, nothing to come back to. So, what has seemed to be a peaceful resort, became a prison, in a way. Hubert Humka, in his work, is asking a question why people become evil. Is this a particular intersection of time and place? The other question that bothers him is, if we are aware of the past of a place that witnessed an atrocity, do we perceive its landscape differently?
Hubert gathered 13 different histories that happened in different places and in different time: from the World War I, to the terrorist attack on Bataclan Club in Paris in The book itself combines of archival materials and photographs of the places where these dreadful events took place, whereas the pictures were taken by Hubert on the very anniversaries of these events.
When it comes to Ilias Georgiadis, his story is a very personal one. Known as Aneta Staszel. Lived in Plainville, CT. Lived in Milford, CT. Known as Aneta Kowalczyk. Aneta Kowalczyk Deceased. Connecticut 4 Illinois 6. Select state Connecticut Illinois. Mentions about a name: Aneta Kowalczyk.
Lived in:. Restauracja "rest cafe akademia" Sep to Sep Kelner. Francis Hills picked up a camera for the first time five years ago. Now this rising star on the celebrity, beauty and fashion photography scene explains how his artistic style and trademark smile helped launch a new career.
Superb creative advertising photography by Fred Perrot, talented master photo makeover. Fred is France's leading advertising photographer. Sean Izzard has been working as a photographer for the past 20 years.
Initially in editorial, he now shoots predominantly in the advertising and corporate sectors.
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