1km without limits / photography and urban planning in an urban re-modelage. 2012-2013, Villeneuve-la-Garenne, Île-de-France.
This sequence it’s part of a bigger project that works around photography’s and urban investigation’s territory.
In Ilê-de-France, in a historical period in which the debat on opening city’s limits toward the suburbs, concerning to the ideals of the Grand Pari(s), i’ve decided to focus my attention on a primary importance project: the re-modelage of the grand ensemble Caravelle in Villeneuve-la-Garenne (banlieue north of Paris). The Caravelle, a buildings’ complex long a linear kilometer, built during the trente glorieuses as a refuge, at the beginning of the XXI century has become an enclave réfractaire au reste de la ville.
A kilometer without limits focuses on the remodelage of the Caravelle made by Atelier Castro, the reorganization of urban structures and, in a more general way, the des-enclavement. Everything grows up with a great respect for people and their conditions, without pity’s attitudes, but looking for an empathy’s degree able to return their dignity to the subjects.
All images © Marina Caneve
This series explores the notions of home, roots and belonging, entwined with the confusion of growing up between two countries and multifaceted cultures. The images reflect upon facets of what could be representative of home, observing its affiliation to places, people and memory.
All images © Tanya Traboulsi
This body of work was made over a period of three years in and around Tacoma, Washington. It is the documentation of an ambiguous romantic relationship between myself and my partner. Using the mysterious and gloomy landscape of the Pacific Northwest I explore the unspoken tensions and desires that exist between two people as they try to maintain a stable existence in an unstable world.
All images © Monique Atherton
The photographic materials and systems I’ve used throughout my career are disappearing at an alarming rate. Over the last five years, companies such as Kodak, Agfa, and Polaroid have been pushed into an economic free-fall as the demand for their long-established products has evaporated. The end of the analogue era is evident in the recent closings and demolition of large-scale manufacturing facilities dedicated to the production of conventional photographic products.
During the past five years I have photographed numerous facilities in Canada, the United States, and Europe where blocks of silver were dissolved in nitric acid, mixed with the tissue of animals, and coated onto film and paper so the world could make pictures. The goal of my work is to explore the places where the alchemy of the photographic process was practised on a massive scale over the last century. The essential feature of these factories was, ironically, darkness: manufacturing took place in the absence of light—a characteristic that has defined the photographic process since it was first invented in 1839. The act of photographing is often associated with a desire to record something on the verge of change or disappearance. In this case, my subject is the medium itself.
All images © Robert Burley