Set in the village of Prabert in France, Rousset’s images play on the eccentricities of the village and its people, transforming them lovingly into caricatures and tableaus
Suzuki’s latest book is titled Sokohi: a Japanese word used to describe visual impairment that translates as ‘shadow at the bottom’
Born and raised in Paris by immigrant parents, French-Algerian photographer Maya-Inès Touam describes her work as being “between the two shores of the Mediterranean”
In the first of a series of articles looking back at some of the most exciting shows at Les Rencontres de la Photographie, Holly Roussell recalls her curatorial experience at La Croisière
Institut pour la photographie
“I consider myself a son of the European project,” says Tommaso Rada. “I am part of a generation that lived through the opening of the borders between many different countries, the introduction of the euro, and all the new cultural and linguistic mixing that the European project meant. The feeling of being Italian as well as European is the reason why I am interested in the European Union.”
Rada is now based in São Paulo, but was born in Biella in northern Italy and lived in his home country until he was 25. He watched as the policies of the EU evolved, and as the meaning of the Union began to change. His ongoing series Domestic Borders frames a number of different projects he has made, evoking the varying perspectives of those living along the borders of the member countries.
Back to South, the most recent chapter, focuses particularly on the countries that would be affected if a ‘two-speed’ Europe was implemented – a proposal in which certain members, perhaps those in better economic positions and political situations, would integrate at a faster pace, leaving the others on the periphery. Visiting the areas that would be ‘left behind’, Rada hopes to show the “challenges of living in a unique space with a different passage of time”.
Born in 1981, French photographer Benjamin Deroche studied literature before becoming a photographer – and its mark can perhaps still be seen in his images’ ability to “dereal reality” as critic Françoise Paviot puts it. In his recent series Surnature and Baltica, for example, he creates installations within the landscape, contrasting the natural world with his constructed interventions.
Evoking the land art of Andy Goldsworthy or Nils Udo but resulting in appealing, richly-colour images, this work aims to help viewers question their vision of the world. “There are often very beautiful things in the exteriors of my image but I decide not to return them,” he says, “to leave them out of the field as if there existed a kind of magic to guess them.”
What happens when you put a white flower in a vase of coloured water? It’s an experiment some of us might fondly remember from our childhood, magically transforming a bunch of flowers with a dash of food colouring.
But the results are a little more frightening in a similar experiment by French artist Cornelius de Bill Baboul, as his flowers suck the colour out of sugary energy drinks. “I think they look a little bit like dancers,” he says. “Like kids on ecstasy in a techno club celebrating the end of the world”.