Cover: Anthony Hernandez, LA1971


1 - Anthony Hernandez, LA1971
Presented by Sam Stourdzé

2 - Cortis & Sonderegger, Icons
Presented by Pauline Martin

3 - Renaud Auguste-Dormeuil, Uncovers, il Borghese
Presented by Véronique Terrier Hermann

4 - Numbers
Presented by Erik Kessels

5 - Roger Eberhard, Shanty Town Deluxe
Presented by Sam Stourdzé

6 - Reinaldo Loureiro, Farhana
Presented by Joan Fontcuberta

7 - Elizabeth Heyert, The Travelers
Presented by Véronique Terrier Hermann

8 - Des nuages, des visages
Presented by Clément Chéroux

9 - Hal Fischer’s Gay Semiotics
Presented by Philip Martin

10 - Bon pied, bon œil
Presented by Werner Kühler

11 - Léopold Szondi, Le test des pulsions
Presented by Clément Chéroux

12 - Bikini Man On The Rooftop — Robert E. Jackson Collection
Presented by Sam Stourdzé

13 - No More Teenage Lust
Presented by Erik Kessels

14 - Toon Michiels, American Neon Signs by Day & Night
Presented by Olivier Cablat

The Revival of Images

ELSE is completing its fourth year. Four years of telling visual stories, asserting the supremacy of images over text, four years encouraging indiscriminate dialogues between vernacular and artistic, contemporary and historical. Not out  of a will to bring extremes together, but because the actors involved are blurring the lines, and swapping roles. 

Artists, collectors, historians, or curators all seem to be collecting images and composing sets, using others’ images to produce their own work. In this vast movement of reappropriation and displacement, artifacts of popular culture have turned into an amazing fertile ground for the  manufacture of new representations. The great collectors bring back to life sleeping photographs that  had drifted to the  depths of the  useless because they  had done their  time. Yesterday confined to their  usage, they are rekindled. Tossed in cross-disciplinary effervescence, they watch or tell the world again.

ELSE ceaselessly questioned images. The adventure is now coming to an end, at least in its initial form. I would like to take this opportunity to thank the  Editorial Committee whose pugnacious dedication and suggestions gave life to the  magazine. Thank you to the  many contributors and artists we have published.

Thank you to the team at the Musée de l’Elysée, to IDPURE, and to everyone that  knew how  to produce it. And finally, I would like to thank you, our readers, for your constant and loyal support, so crucial to the  existence of this original editorial experience !

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


Jean-Christophe Blaser
As an art critic, Jean-Christophe Blaser have regularly essays published in the written media as well as in catalogues of museums and art centres. President of Kunstart, the association in charge of the CAN (Neuchatel Art Centre), he is also a freelance curator of contemporary art and photography exhibitions. Previously a curator at the Musée de l'Elysée, he participated in several projects of national and international interest (The Century of the Body; New York après New York: Mémoire d'une ville blessée; About Face: Photography and Death of the Portrait; reGeneration 1; We Are All Photographers Now!; Hans Steiner: Chronique de la vie moderne; Gilles Caron: Le conflit intérieur; Bernd & Hilla Becher: Imprimés 1964-2013; Le Corbusier and the Power of Photography...).

Olivier Cablat
A multiform manufacturer of images, his main interest lies in commercial areas like Las Vegas, and the leftovers and rubbish directly or indirectly resulting from them: cheap old record collections, old packaging, Panini figurines, portraits of Gaddafi… Through a documentary approach that stresses the ambiguity of the relation between photography and the real, Olivier Cablat seems to construct a monumental body of work that ceaselessly questions the descriptive nature of images. A body of work that could be destined to future ethnologists, whose task he thrives to complicate by rewriting endlessly the interpretive rules.

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).

Joan Fontcuberta
Joan Fontcuberta lives and works in Barcelona. With nearly four decades of dedication to photography, this prolific artist has developed a both artistic and theoretical work, which focuses on the conflicts between nature, technology, photography and truth. He has done 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 Museum of Modern Art, National Gallery of Art, Folkwang Museum, Centre Pompidou-Musée national d’art moderne, Stedelijk Museum, MACBA, MNCARS and others.

Elsa Frémont
A Historian specialized in the Middle-East, Elsa Frémont is editorial coordinator at the Musée de l’Elysée. She is currently pursuing her studies in Art History, focusing her research on the artistic practices engaged in exhibition curating.

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 (Bochum, 1968). After studying at a Dusseldorf Art school, he decides not to become an artist, but rather to practice, on occasion or to order, the full range offered by applied photography. He has been collecting vernacular photography for fifteen years.

Philip Martin
Philip Martin is co-owner of Cherry and Martin gallery in Los Angeles (est. in 2006). Cherry and Martin represents such artists as Ericka Beckman, Jennifer Boysen, Matt Connors, Hal Fischer, Robert Heinecken, Robert Overby, Pat O'Neill, Bernard Piffaretti, Michael Rey, Alan Shields and Lew Thomas. Recent shows include, “Supports/Surfaces is Alive and Well” and “Photography into Sculpture/The Expanded Photographic Object”, an exhibition exploring curator Peter Bunnell's landmark 1970 show, “Photography into Sculpture”. Cherry and Martin's presentation of selected works from “Photography into Sculpture” won the International Art Critics Association Award for Best Show in a Commercial Gallery Nationally in 2011.

Pauline Martin
Art Historian, Pauline Martin is curator for the Night of the images at Musée de l’Elysée. She has authored L’œil photographique de Daniel Arasse—Théories et pratiques d’un regard (Fage éditions, 2012) and was curator for the exhibition “Do you speak touriste? Quand les photographes décodent le cliché” (2014).

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.

Other issues

ELSE Magazine previous issues, since June 2011.

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