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Noovo Editions


Noovo Editions is an independent editorial project with online and paper editions. First of its kind in Spain from an unique and contemporary perspective on the international panorama,
Noovo seeks not only to be an aesthetic arbiter but also a cultural mediator at the juncture between Fashion, Photography & Jewellery.
A platform to show the highest level of creativity from around the world

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PORTRAIT(S)
This year, Portrait(s) brings together eleven photographers:

Jeanloup Sieff, who passed away in 2000, leaving behind a substantial gallery of portraits of celebrities he had photographed throughout his career; Bruce Gilden, bumping into people on the streets of New York, produces visceral images that embody the frenzy of the city; Michael Wolf, captures commuters through the windows of Tokyo metro trains, their faces trapped in the cars like fish in a tank; Jim Naughten - for this first exhibition in France - offers his his images of Namibian native Hereros in their display costumes, long dresses and military uniforms taken from former German colonials, in memory of their bloody past; Martina Bacigalupo, recycling the strange, faceless portraits she discovered in nothern Uganda, in the Gulu Real Art Studio, images of people dispossessed of their own prime matter and that now, suddenly, force the viewer to imagine the faces that were cut out of them; Claudia Huidobro, falls into a rough and tumble with herself and space, making out of her statuesque body a sculptural form that pushes back at the walls. Vee Speers recreates fairy tales that are simultaneously innocent and disconcerting, in which the heroes are children dressed and made up to look like nurses, soldiers, old folks and samurais. Yusuf Sevincli assumes the role of the wandering photographer, pacing the towns and the whole world in search of faces, passing silhouettes, lost looks, nocturnal sighs and improbable encounters. The publishing house Editions Filigranes goes back over the years to bring together a selection of portraits that reveal the close relationship between themselves and the many photographers whose work they have published since they opened in 1988. Ludovic Combe from Puy-de-Dôme takes a dive into the abandoned swimming pool at Vic-le-Comte, bringing the swimming instructor, the crawl-swimmer, the naiad, the paddler and the baby in the inflatable swimsuit back to life once again in the empty pool.

This year, the City of Vichy underlines its commitment to contemporary photography also by offering, for the first time, a period of residence to a photographer. Last April, Cedric Delsaux set up a mini-stage on streets and open spaces in the city, inviting passers-by to step up on it. In the time it took him to shoot a frame, he reconceived the ties that link the people and the places where they go about their everyday lives.

These eleven exhibitions are being held simultaneously in the city centre. The works by : Vee Speers, Yusuf Sevinçli Bruce Gilden, Michael Wolf, Jim Naughten, Martina Bacigalupo, Claudia Huidobro, and Editions Filigranes will be exhibited in the galleries of the Centre Culturel Valery-Larbaud, which was built at the beginning of the last century. On the Esplanade de l’Allier, passers-by will be able to admire some sixty portraits of celebrities and fashion models made by Jeanloup Sieff over five decades, while on show on the Place Saint-Louis will be Cedric Delsaux’s pedestal portraits of citizens of Vichy, the fruit of his invitations to the people seen here.

UNTIL 31 AUGUST 2014

--------------- JEAN-LOUP SIEFF / PORTRAIT
Jean-Loup Sieff, who passed away in September 2000, had many solo shows during his lifetime, but this is the first to be dedicated to his portraits. This selection brings together some sixty images from the over fifty years of his career, in a personal pantheon where can be found Rudolf Nureyev’s mocking smile beneath his fur toque, freckles on the model Twiggy’s face, and François Truffaut’s questioning eyebrow shaded by his umbrella. Sieff worked for the top magazines (Jardin des Modes, Nova, Harper's Bazaar, Vogue...) and knew better than anybody how to use black and white to capture his models’ nature and bring out their inner light. These portraits are so gentle and so playful as to convey the feeling that he never actually worked, only ever photographed people who were his friends.
--------------- JIM NAUGTEN / CONFLICT AND COSTUME
Veterans like their medals and uniforms. Out in the depths of the Namibian desert, the Hereros have their own way of commemorating their ancestors’ uprising against German colonial oppression in 1904 : they wear the clothes of the occupying foreigners and thus use them to exorcise their violent rites. Against an empty background of heat haze and incandescent silence, British photographer Jim Naughten has taken shots of members of the Herero tribe dressed in striking costumes: women in long dresses with puffed sleeves, men in Prussian uniforms com- plete with frogs and loops, and sword belts... Surrealistic clothing that has escaped from a bloody history.
--------------- BRUCE GILDEN / A BEAUTIFUL CATASTROPHE
New York City, the unique metropolis that Le Corbusier has called “a beautiful catastrophe,” is a natural home to Bruce Gilden. Since 1981, Gilden has been roaming the streets of the city, capturing its characters and eccentricities with his confrontational, highly energetic style and exuberant vision.
In A Beautiful Catastrophe, Magnum photographer Bruce Gilden celebrates a trademark style with abandon, firmly ensconcing him in the pantheon of New York City street poets.

Bruce Gilden is a member of Magnum Photos agency.
--------------- VEE SPEARS / THE BIRTHDAY PARTY
The Birthday Party is a series of short stories linked by the thread of an imaginary birthday party. This is an anarchistic world which belongs only to children. There are no adults to give orders, and the children rule.
I photographed my youngest daughter and her friends in different outfits inspired by an imaginary party, using the washed out colour pallet and strange costumes to create a timeless quality. The children stare openly at the camera, but very little is re- vealed of themselves. In contradiction to ‘the happiest days of our lives’, I reveal a side of childhood that is not care-free or clichéd, projecting a range of emotions and definitions which are part of an imperfect world.
I used the imaginary birthday party backdrop to address both our collective human experience of war and our need to retreat from it into fantasy. The Birthday Party is punctuated with symbols of war and sees the characters responding on different levels, striking a chord within us to trigger our own concerns in relation to today's pa- ranoid society.

Vee Speers is represented by School Gallery in Paris.
--------------- MARTINA BACIGALUPO / GULU REAL ART STUDIO
No-one would remember anything about Gulu Real Art Studio in northern Uganda had Italian photographer Martina Bacigalupo not pushed the door open there one day to find a curious practice in operation : the photographer would make large portraits of his customers, people then cut a rectangle out of each one measuring 1 3/8” x 1 3/4”, the exact size required for official ID photos, and then throw the rest away. Utterly intrigued with all this waste paper, its headless bodies, its radically disincarnate images, Martina Bacigapulo set about recycling it and thus reconstituting, without them even being aware of it, the huge family of the absent, the phantom community of the people of Gulu whose unity can only be recovered today through their poses and their clothes.

Martina Bacigalupo is a member of Agence VU'. She is represented by Camilla Grimaldi Gallery, London.
--------------- CLAUDIA HUIDOBRO / TOUT CONTRE
A play set in a castle in the south of France, some bits and pieces found on site and a camera with a built-in self timer, that’s all it takes for Chilean photographer Claudia Huidobro to put together a series of images in which her tall sihouette serves as pivot, squeezing her body into cramped spaces. Expert dancer and contortionist as she is, she makes her face disappear so that all that remains of her is a quasi-abstract form lying for better or worse beneath the rafters, a giantess confronting the void, pushing back the walls, grazing the ceiling, upsetting the décor, and in some way or another she ends up taming and becoming one with it.
--------------- MICHAEL WOLF / TOKYO COMPRESSION
In his series Tokyo Compression, German photographer Michael Wolf focuses on the passengers in the crammed Tokyo Metro Subway, catching their bodies and faces crushed by their sheer number, and creating images of oppression that cannot fail to evoke Arman’s “accumulations”. Capturing as a humans being the blues of the megalopolis, he may also have recalled the photos that Walker Evans took in the New York Subway back in the 1930s, with the absent gaze of the passengers showing the stress that already afflicted the city-dweller. In these images, more closed-in than a prison gate, the urban working classes, their eyes closed, cheeks jammed against windows dripping with condensation, seem condemned to relive the experience of utter solitude each day, in the very heart of the crowd.

Michael Wolf is represented by La Galerie Particulière / Galerie Foucher-Biousse, Paris.
--------------- YUSUF SEVINCLY / "GÖZBEBEGI" (CLAIREVOYANCE)

Using intense black and white images and a poetically charged gaze, Yusuf Sevinçli photographs everyday scenes in the city that fascinates him, Istanbul, the city he is tied to with flesh and blood. Each photograph he takes is an intimate fragment, often next to nothing, yet it is already everything, an intimate visual journal. At every corner of the nth blind alley in Beyoglu, the district Sevinçli walks about day and night, nostalgia is to be found but the photographic liveliness of his shots also reminds us that they are very much of today as well.
Sevinçli talks to us of love, stops at the charm of a body, fixing his gaze at a piece of skin that gives off a sensual fragrance. From the faces of children the light of innocence glows, recalling work by Chaplin or the Lumière brothers. Tiny tots wearing masks play in lanes or undefined open areas, while little girls leap out of the images like wonders or eternal angels, emblems of childish desire. Their naughty faces stare straight at the onlooker, like those of the little girls, whose sweet little faces rub each other so closely one might think imagine they are Siamese twins.
Yusuf Sevinçli captures the night people, the drifters who bring colour, complexity and fantasy to the cultural crossroads that is Istanbul, drawing from their bodies contrasting flat tints and volumes, such as the man with whitish liquid trickling over his back like a drip painting. Often, too, he captures a single detail, like the pretty legs in punk-style tights or the open eyelid, just a fragment to which he then gives a different visual fate. Forms surge from the shadows, criss-crossing the scratches on the negative with rays of light, thereby creating prisms and illumination.

Yusuf Sevinçli is represented by Galerie Les filles du calvaire, Paris.

--------------- FILIGRANES / 25 YEARS OF PUBLICATION
Since being founded in 1988, Filigranes Editions have published nearly 500 titles, something of a landmark in the history of photography books in France, and to celebrate their achievement they have selected a gallery of faces from their publications, faces that speak of the diversity and richness of their creators. Here side by side are the loving images of Bernard Plossu, who loves women and photographs them much as one would give a caress, Dorothée Smith’s ambiguous portraits that shake the borders between male and female, Gilbert Garcin’s surrealistic self-portraits, and on the way, between baring all and masking all, between laughter and gravity, planet Filigranes will be holding up part of its success story for all to see.
--------------- CÉDRIC DELSAUX / SCALE 1:1
When you set a round wooden base up right in the middle of a public space and ask passers-by to step up on it, what happens? It seems that what Cédric Delsaux is saying is that the base is the first step to a genuine pedestal ; several years ago he embarked on a series he calls Step One, in which he re-examines the ties between people and the places they frequent on a daily basis. Here in Vichy, where last spring he ran a residence programme, Cédric Delsaux has re-embarked on the adventure, persuading the local people that each of them has the right to become the emblem of the city, the hero of the neighbourhood, for as long as it takes them to pose for the photographer like a statue.

He is represented in France by acte2galerie, in New-York by Bonni Benrubi Gallery and in dubaï by East Wing Gallery.
--------------- LUDOVIC COMBE / A THOUSAND LESS ONE
In the old days, with its campsite and swimming pool, the Croix-du-Vent district of Vic-le-Comte used to be a holiday paradise for the young, a place where you could go and chat to holiday-makers or cool off in summer afternoons. That was in 1971, in the days of Pompidou, when France was trying hard to catch up in the sports equipment field. There was a government construction programme then called “A Thousand Pools”: that was how Vic-le-Comte got its swimming pool.
Forty years later, on 30 June 2009, despite the fact that it was still being used regularly by some thirty schools in local towns and villages, the pool was closed down. Like many other old pools in France, it is now dried out, its tiled walls awaiting demolition. Soon nothing will remain of this emblematic site, where generations of Vicomtois learned to swim, but ashes and memories. A Vicomtois himself, full of nostalgia for the glory days of his childhood, Ludovic Combe wanted to capture in material form the increasingly tenuous ties between the swimming pool and the people who used to go there.
The swimming pool is now part of the collective memory of Vicomte.

This project was completed thanks to the generous support of the Office of the Mayor of Vic-le-Comte and the Allier Comté Community.
More Info:http://www.ville-vichy.fr
 

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