Alexandre Pierre Albert. Studied art history and photography, working mainly in the various republics of the former USSR as a freelance reporter and for agencies Press. Back in Switzerland, he collaborates with the architecture school of the Ecole Polytechnique de Lausanne and the International Tunnelling Association and opens Studio No³ (nocube) in Vevey.
Brice likes photography as a whole, he doesn't like to be boxed in some specific field, he does portraits, fashion, street, still life... his curiosity transpires through his pictures, he likes to mix styles, techniques, ans he works both in digital and analog. His work has been published in numerous media such as, Konbini, Musée Magazine, Fubiz, Wad Magazine,Yet Magazine, Eclectic Magazine, Humble arts foundation, juxtapoz.
A French family expatriated to Los Angeles for professional reasons. The luxurious house, the pool, the Mexican gardener, the American dream. The mid-life crisis. Suddenly not loving each other anymore. Blaming your wife, dreaming of Freedom with a capital letter, hating your life, wanting to go back. Throwing it all away. Doing successes in front of the pool all day, with a glass of white wine in your hand. The only contact with the outside world is the pool-guy. In the evening, with the children in bed and the husband far away, repeating to yourself: 'This can't be happening'.
One day, to take your survival instinct. And your car. Avoid the motorways, end up on dead-end dirt roads. In the middle of the night, not passing anyone. At nine o'clock in the evening, curtain up. Everything is over. Only the neon lights of the diners remain: OPEN. And deserted. Cowboys, Indians. Stares into the void. Sketched stories.
Crossing them. Photographing them. Only passing through. To leave. They stay there. Will not move. Printed in my pictures. Embodied in our pictures, by dint of having inspired over the years those who passed by. Whole lives passing within a few miles. Somewhere in Utah, New Mexico or Arizona. At the entrance to a no-man's land. These tiny wanderings in the vastness of the American territory. These solitudes. These immobile traces. Our own.
And suddenly, to realize that somewhere else is waiting for you. And that this elsewhere is finally the promise, tenuous certainly, but the promise all the same, that makes you feel alive again: that of all possibilities.
Luna Park series: The photographs were taken in Slovenia in a small fishing village on the Adriatic Sea.
In this series I focused primarily on the opposition between Luna Park's sad and austere side, and the magic it exudes at night. I wanted to represent the strange harmony emanating from its rides, which are set on a deserted wasteland surrounded by worn down buildings and an old factory chimney.
Throughout the series I show two completely different sides of Luna Park and bring them to a state of equilibrium. Seemingly abandoned, some of its attractions are worn out and dismantled. Then, as the night falls, Luna Park comes alive and reveals its magic.
Mikhail Krasinets former pilote of the AZLK mechanic factory race team. Since the late 80s began to gather in his backyard a collection of cars. The neighbors have vandalized cars and in 1996, Mikhail sells an apartment in Moscow and moves with his wife Marina to the village Chernousovo. Where he founds a museum of old Soviet cars. In spite of its distance from the big cities, despite the bad roads here there are plenty of visitors, here they have the right to touch, to seat, and in summer, even to sleep in the cars if they do not have took the tent. However, some tourists allow themselves to tear or break certain details, to rip the seats. As a result, they help to destroy what slowly dies itself.
It should be pointed out that Mikhail has not sold a single car for profit and has increased its collection until today. All the cars bought and acquired were not in good condition, some of them were beaten, saved what they could from the non-ferrous metal waste. Nevertheless, the collection is in a sad state, and it is because Mikhail does not know what a museum is and how to organize it, and alcohol aggravates the situation.
After several conversations with him, I came to the conclusion that at first he had an idea of assembling vehicles by year of release, according to the "catalog" of the author-creator, but in the end everything is transformed into a manic hoarding. It appears in the collection the objects of Soviet heritage, miniatures, bicycles, TV, magazines. Which are stored in both houses, and sometimes to the trunks of cars exposed. And here we must pay tribute to Marina - Mikhail's wife, she tries to keep this collection of things. She protects him from the fire, weeds the cars, collects the garbage left by the visitors. She does not let it collapse completely.
Metaphorically speaking, Mikhail and Marina - are “shards of the Soviet Union”. Mikhail plays the role of the sovereign, who leads the state to a better future. He is the true leader of all sons and repeats the same things from year to year. All this reminds us of the unfulfilled promises. The Soviet Union has collapsed without reaching a better future, and Mikhail's idea collapses and is corroded in an open field. Love for the Soviet automobile industry in general carries the character of endless nostalgia for the past. A melancholy of loss, sentimental memories, the predictability of the future causes a deep sense of belonging to the "empire".
Mikhail knows the history of every Soviet car, he recalls the days of a bygone era, but the present is confused to him, either because he looks too much at television or because he can not live in this very present. He, like his collection, is cut off from his time. The collection, which has been in the village for over twenty years. Opponents says - a cemetery, friends - a museum, and more and more visitors are going to Chernousovo.
Serie: Yaroslava Nikolayeva
Yaroslava Nikolayeva practices bodyfitness, a sport that is rarely associated with femininity. Nevertheless, the beauty of her body, created by hard work, resembles the plastic of an ancient sculpture, with its symmetry and harmony. The main parameters of the spiritual culture of antiquity were esteem and self-confidence, the understanding of freedom as the highest moral category. The ancient ideal combines the beauty of a perfect body, great intelligence and inner moral perfection.
This sketch is an admiration of a beautiful figure of a woman, endowed with a healthy body and a strong mind.
Hiro Tanaka started his career in photography after he won the 1st prize at a lottery machine in Tokyo and a free trip to USA. It was the first time he visited North America and he befriended members and fans of different hardcore and punk bands. He ended up accompanying them on the tours across the country, starting in the 1990s. In 2012, 3 years after settling in California, he published 108 color photographs that he took during the tours across the USA under the title DEW DEW DEW Its. In this series, Tanaka captures energy driven moments by using the flash frequently to avoid blur, intensify the action and visual perception. In every situation, he manages to communicate efficiently the immediate experience.
All these art photographs were made in three monasteries in the south of France: Senanque, Aiguebelle, Notre Dame des Neiges in Ardeche.
Hubert Barre, Photographer, shows the lives of monks in prayer, solitude, peace, life in God. The echo of a turbulent society, in response to a cloistered and isolated life. A reserved and secret place that is the monastic fence, where the monks live their retired life to carry the world in a living and orderly faith. Signs of prayer and the presence of God.
A life punctuated by daily prayers, six times a day, the first being fixed at 3:30 and the last at 20h. This gives the monks time to rest for a few hours. By these acts, the monks carry the world, which is the fruit of the monasteries. They live by their work in the neighborhood, in the shop, and maintain the monastery.
They also have deep reading times in a large library. Hubert Barre wanted to show, through these images, the signs of their consecrated life, but also signs of the presence of God in their lives. In their life together, but also in their secret life.
Four years of analogical work and digital finalization were needed by Hubert Barre to make these images.
Return to Carnaval: Rituals, Roots, Rebels
Carnaval is more than just a party and parade in the streets. Democratic and folkloric, it reveals a complex diversity of local customs intersecting with universal themes.
From the Austrian Alps to Spanish Basque Country to the Cajun prairie in Louisiana, and from the shores of Northern France to the remote islands off of Guinea-Bissau: in each of these Carnavals, the masks and costumes contribute to centuries-old traditions, connecting the people deeply to their roots while enabling them to transcend and even rebel against their daily life and surroundings.
Through this ritualistic performance, embodying animals and spirits, mythical beasts, and a wide cast of perennial characters with local significance, the participants retrace their ancestors’ enactment of rites of the season, evoking cyclical transitions and opposing faces of the human condition: winter and spring, barren and fertile, life and death, light and dark, chaos and order.
No matter the country, traditions echo across continents, with similar themes emerging:
Rituals of song and dance, parading through villages, the ringing of bells, noisemaking to stave off the winter and bring on good luck and bountiful harvest; going from house to house to partake in neighbors’ food and drink; lighting fires to ward off evil spirits;
Harkening back to cultural and religious roots, blending symbols of both paganism—monsters, beasts of burden, wild animals, and various mythical creatures—and Catholicism—crosses, priests, the Three Kings, the enactment of the ceremony of marriage, resurrection, and redemption;
The rebellion manifested through the personification of devils and destruction; transvestism and other subversive disguises; tricksterism and improvised chaos; and by the clash between modern and ancient, between ritual and reality, where the current world peeks out, interacting with the roots of the past.
Having published A Flower in the Mouth (Visual Anthropology Press), showing the culture, music and rituals of the folkloric Carnaval in Pernambuco, Brazil, Jason has continued the project by photographing versions of the festival in 12 countries over four continents. In 2018, Jason’s presented selections from this series in his exhibit “Portraits de Carnaval” at BY-Chatel Gallery in Paris. His work has also been exhibited in New York, Vienna, Toronto, São Paulo, New Orleans, Los Angeles, and San Francisco.
This series questions the limits defined by society on the identification of a body and its classification. Here, the different images represent multiple bodies, without sexual attribution; they are nobody, and are everybody at the same time.
Through this approach, I seek to highlight the carnal details of these bodies as they transform, and to confront these different individualities forced to cohabit. My interest through photography is to focus on this body that changes and takes on new contours. The body becomes motifs and colours that are repeated in new compositions. Autonomous, it suggests the search for a marker of femininity or masculinity, although the photographic intention was to give it a certain neutrality.
I would like to propose a new look at this same body which is continually metamorphosing and splitting. A formal and non-identity-based look, which does not aim at recognition but at the experience of a new representation. The photographed body plays with the balance between gender and between the human and the inhuman. The multiple personalities that are suggested are both frozen by the shot and in perpetual metamorphosis. This shift, this rupture, is the major point of this series.
Minsk explores opposing female forces – purity and impurity, life-giving and emasculating, angelic and demonic – in an effort to find a precarious of balance. Like the rays of light passing through a lens, the resulting focal point is powerful but unstable, ready to collapse, disappear or be revived at the slightest attempt at interpretation.
Gorgons, Lilith, celestial and underworldly goddesses… his symbolic language is nourished by the study of esotericism, world religions and mythologies as well as scientific findings.
Kaleidoscopic images break down into myriad patterns, cells, pixels and networks. The emerging figures are adorned in motifs which reveal their divine and mysterious essence, sometimes hiding or else holding the key to the deeper meaning of the image as a whole.
Minsk first approached artistic creation through drawing. His earliest images, raw phantasmagoric expressions, were done in pencil on cardstock.
Today, he uses a variety of techniques, materials and media in line with his ever-developing research and according to whatever means best express his current leanings: painting, sculpture, sewing, photography, digital imagery, video, live performance…
Being a twin, it is what influenced me the most in my life. Originally, we were only one egg which then divided into two parts. No doubt, we are physically two people, with a life of our own, but the fact of having shared and grown together in our mother’s womb before birth creates a bond that is unimaginable. Since the beginning, we form a unit and live a “double life”, sometimes shared and sometimes separate, for eternity.
Grown up in the nature of the austrian „Mühlviertel“, Simon Gruber discovered in early years his love and deep connection to the nature, which he tried to picture with his camera later.
Far away from home, through trekking trips to lonely places all over the world, Simon intensified this passion for nature in all of its facets.
The continuous engagement with the personal perception and what one is able to express in his pictures, caused him to experience with the camera to find his own creative identity.