Cover: Robert Mitchum, Thunder Road, 1958


1 - Antidote aux flous
Presented by Werner Kühler

2 - Claude Closky, Photos d’écran
Presented by Véronique Terrier Hermann

3 - X Marks the Spot
Presented by Joachim Schmid

4 - Red Dots
Presented by Erik Kessels

5 - La Normalité
Presented by Florent Brayard

6 - Anita Cruz-Eberhard, Digital Ikebanas
Presented by Sam Stourdzé

7 - Anouck Durand, Mihal, photographe des frontières
Presented by Véronique Terrier Hermann

8 - Norman Mustill, Twinpak
Presented by Yannick Bouillis

9 - Christian Lutz, La Peur de (se) voir
Presented by Sam Stourdzé

10 - Laia Abril, Thinspiration
Presented by Joan Fontcuberta

11 - Zone d’irréalité
Presented by Sam Stourdzé

12 - Victor Hasselblad, Le Petit oiseau va sortir
Presented by Clément Chéroux

13 - L’Amore nella vita sessuale di Sha Kokken
Presented by Christoph Schifferli

I Want to See

One of the multiple uses of photography brings together practices with contrasting purposes. It is the “I want to see”, claimed by many photographers—whether scientific, amateurs or artists. For the beholder, the claim is more global: “I want to see everything”, as if this everything warranted the freedom to see. The distributor, for his part, opposes his will to control to the beholder’s freedom, from the embellishment of images to their censorship.

This is the struggle of images in a trio with the author, the distributor and the beholder. This is a matter of power and rebellion. The central authorities establish the official photographer of the borders, yet strictly forbidding him any private use of photography, while the power of the press retouches his cinema stills prior publication. A character erased here, some cropping there, selecting what will be made visible. The factory of modern icons is on its way, from propaganda to glamour…

But images rebel, along with their authors. If the game is to be played on the field of the possibility to see, then the whole distribution system is rethought, as with these self-portraits of anorexic young girls posted on line. They are exchanged, commented, away from the usual distribution channels. As with this series about an Evangelical church, the publication of which was recently prohibited by a court decision. Already, the photographer has reacted by crossing out his images with the text of the complaints lodged. The freedom to see operates as a force of opposition. Should the fear of images justify reclaiming their control? As with this animal, which could certainly do without this red dot added over its photograph. It designates the shooting target, the sign of the deadly impact. Without it, it can gambol; with, it dies.

Photography, and much more so the use that we make of it, is the marker of an era, the revealer of our relationship with the other, the world, and ourselves. As reflected in this family album that bears horror in it. Petrified, we think to ourselves that it is not images we should be afraid of.

Sam Stourdzé
Director of the Musée de l'Elysée (2010-2014)


Jean-Christophe Blaser
Curator at the Musée de l'Elysée in Lausanne, co-curator for the exhibition reGeneration : 50 Photographers of Tomorrow, shown in Europe, the United States and China. Independant curator for photography and contemporary art exhibitions, he manages Kunstart, the assocation that runs Neuchâtel Art Center (CAN).

Yannick Bouillis
After studying philosophy, Yannick Bouillis (1972, France) is journalist for Asahi Shimbun (European affairs) before becoming a dealer in rare contemporary books (Artist books / Photography / Graphic Design ). He specializes on issues related to the image (photography and new media), interested in innovative mediations in art (museality, editorial practices…). Based in Arles and Amsterdam, he is the founder and director of Offprint Paris and Amsterdam Art Book Fair. He is presently authoring an essay on the links between poetry and contemporary art.

Florent Brayard
Florent Brayard is a researcher at CNRS (Center for Historical Research). He has authored several books about negationism and the history of the extermination of the Jews. His latest book: Auschwitz, enquête sur un complot nazi (Auschwitz, an Investigation into a Nazi Plot) (Le Seuil, 2012).

Clément Chéroux
Photography Curator at the Centre Pompidou – Musée national d'art moderne. A Photography Historian and Doctor in Art History, he runs the magazine Etudes photographiques. He curated the exhibitions Mémoire des camps: photographies des camps de concentration et d’extermination nazis, 1933-1999 (2001), Le Troisième oeil: la photographie et l’occulte (2004), La Subversion des images: surréalisme, photographie, film (2009), Shoot! La photographie existentielle (2010), Edvard Munch: l’oeil moderne (2011), Derrière le rideau, l’esthétique Photomaton (2012).

Erik Kessels
Creative Director at KesselsKramer, an independent international communication agency located in Amsterdam and London. Kessels (1966) published several books of vernacular photography through KesselsKramer Publishing, including the In almost every picture series. He is one of the editors for the alternative photography magazine Useful Photography, along with Hans Aarsman, Claudie de Cleen, Julian Germain and Hans van der Meer. Kessels was granted the Amsterdam Award for the Arts in 2010.

Werner Kühler
German photographer and collector (1968, Bochum). After studyingat a Dusseldorf Art school, he decides not to become an artist, buth rather to practise, on occasion or to order, the full range of applied photography. He has been collecting vernacular photography for fifteen years.

Joan Fontcuberta
Joan Fontcuberta lives and works in Barcelona. With nearly four decades of prolific dedication to photography, he has developed both an artistic and theoretical work, focused on the conflicts between nature, technology, photography and truth. He’s had solo shows at New York MoMA, Chicago Art Institute or Valencia IVAM among others, and his work has been collected by the Metropolitan Museum of Art, San Francisco MoMA, National Gallery of Art, Folkwang Museum, Musée national d’art contemporain — Centre Georges Pompidou, Stedelijk Museum, MACBA, MNCARS and others.

Christoph Schifferli
Born 1950 in Zurich, he studied Sinology and Economic History in Paris; in 1980, he undertakes research in Asia, and works in various positions in publishing and technology sectors. Since 1983, he’s mostly focused on multimedia and Internet. Christoph Schifferli collects photography and artists’ books since the 1980s.

Joachim Schmid
Joachim Schmid (1955) is a Berlin-based artist who has been working with found photographs since the early 80s. His work has been exhibited internationally and is included in numerous collections. In 2007, Photoworks and Steidl published a comprehensive monograph, Joachim Schmid: Photoworks 1982–2007, on the occasion of his first retrospective exhibition.

Sam Stourdzé
Director of the Musée de l’Elysée and Chief Editor for ELSE from 2011 to 2014. For many years now, he studies the mechanisms at work in the dissemination of images, with a focus on the links between photography, art and cinema. He has published several books and curated many exhibitions, including Le cliché-verre de Corot à Man Ray, the retrospectives Dorothea Lange and Tina Modotti, Chaplin et les images and Fellini, La Grande parade.

Véronique Terrier Hermann
A Doctor in Art History and Professor at the Ecole supérieure des beaux-arts in Nantes, she focuses more specifically on how contemporary art interplays with cinema and documentary.

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