Untitled by Gaston Paris
Mannequin by Sonia Mossé for the Exposition Internationale du Surréalisme, Paris, 1938
Leavings / Threat / Phantoms / Landscapes / Threat from the series The World of Feelings and Imaginations by Zofia Rydet, 1970s
Denise Bellon - Mannequin de Wolfgang Paalen, 1938
Jenny Kapitän, Pension Dorian, Berlin by Helmut Newton for ZOOM n°62, May 1979
Jolande des Bouvrie
Nakaji Yasui 安井 仲治 (1903-1942)
From the Photobook ‘Hikari’ (Light) Maruzen, Osaka, 1940
Caça ao Búzio by Fernando Lemos, 1949
Circeo Blu I and II by Camille Vivier
From Veronesi Rose, 2012
These girls? Their curves sketch infinity; their hollows end in, wisps of flesh, dark at times; their eyes pierce the image when they reach you. Waxy bodies drawing the image towards a less synthetic century. Artificial?
Bodies are framed, embedded and enclosed in a photograph. Caught in between limited spaces: in the depths of a boulder, on a rocky edge, on the top of a shelf. Impossible to escape. Bodies and curios end their way here: still lives aiming at anthropomorphic shapes. In a haze of orange, green, yellow or blue—everything surfaces and evokes the colors of ancient masters.
Another fact: these images are noisy. Noise, a misguiding word that silences light, and nourishes black and white for a richer silver print. These selfish pictures, pose, freeze out of a storyline. But they take everything they can from the present: urban oddities, the wanderings of a contempary eye, and fragments of a no longer ostentatious luxury. These images, they steal everything: remnants of forgotten French films, some Garrel, some Rivette—but there is no Amour Fou, only an imposed distance. Are they found images?
They don’t care about their times, because they curl up—in the city, in wilderness, in a studio or in a forsaken interior. They become a new kind of daguerreotype. It takes us the past to progress.
Light as feathers, round as breasts, these images are voluptuous, straightforward, they swallow everything. A sentence by Henry Michaux fits them well: “In the warm mist of a young girl’s breath I found a place…”.
— Fabrice Paineau on Vivier’s work
Untitled (Mannequin in the Studio of the Painter Andrei Bělocvětov), 1953-1957
Tragic Anatomies by Jake and Dinos Chapman, 1996
The Chapmans’ aim is to unearth the contradictions and hypocrisies present in contemporary culture, posing questions but providing no answers.
“There’s nothing we’ve done here that can rival the darkness of the imaginations of children. They aren’t the innocents that adults want them to be.” -J.C.
2. Mirror, Mirror On The Floor Your Dad’s A Prick Your Mom’s A Whore
3. Catherine Milner
Fibreglass, resin and paint