Featuring five Paris-based emerging photographers exhibiting for the first time in New York.
Vivien Ayroles , Stefano Marchionini
Nelly Sabbagh , Tristan Van Spece
The exhibition was on view 11 April – 1 May, 2011 in New York (USA).
L’exposition s’est déroulée du 11 Avril au 1ier Mai 2011 à New York (USA).
Arts & Sciences PROJECTS is pleased to present Paris Photo (in New York), a selection of work by Paris-based emerging photographers exhibiting for the first time in New York.
Paris Photo (in New York) features the work of Vivien Ayroles, Stefano Marchionini, Laurent Champoussin, Tristan Van Spece, and Nelly Sabbagh.
Each of these photographers calls Paris home. Indeed, these photographers share not only a common home city, but a shared sensibility that invites the viewer to explore the inner and outer landscapes of their worlds. Working as collaborative partners in photography and in life, Vivien Ayroles and Stefano Marchionini capture scenes of domesticity, quotidian habits, and moody moments that document the couple’s relationship with their friends, family, and one another. They share their world through photo streams and albums posted on social networking sites such as Flickr and Facebook. Some of their images look like spontaneous snapshots, while others are deeply contemplated and composed; however, grouped together, in their online exhibition spaces, these images collectively embody a sensitive, narrative portrait of their lives. Laurent Champoussin’s work is often rendered with a deftly cinematic touch, speaking to his prior career as a film producer. For Paris Photo (in New York), Champoussin presents a series of images of expansive mountain ranges, evoking the quiet yet, powerful forces of nature manifested in fog, snow, ice, and seasonal changes. These landscapes, rendered in neutral tones, are juxtaposed with the single image of a man’s shirtless back, whose contours of skin and musculature are reciprocally referenced in the shapes and angles of the gently sloped terrains. Tristan Van Spece and Nelly Sabbagh’s oneiric images possess a filmic quality. Specters and shadows sampled from Gus Van Sant’s film Gerry are superimposed onto bodies, contrasting the material with the ephemeral, and the mortal with the immortal. Like the work of their co-exhibitors, these images also invite the spectator into an intimate and contemplative space.