Continental Europe - Color Photography

Photographie disponible en deux formats : 45x90cm et 65x120cm Veuillez nous contacter si intéressé. Ce tirage fait partie de la série "Sacré Profane" C’est le cas de sa première émo...

Photograph, 2016. Ultra HD, printed on Fuji Crystal DP I II. 1 of 30 prints behind acrylic glass. Framed. Signed, titled, dated and numbered on the back. It comes directly from the s...

Okurimono 66 cm. x 200 cm. Edition 6 (+2 ap) 100 cm. x 200 cm. Edition 3 (+1ap) Euro 8,000 Pigment Print Okurimono (meaning both “gift” and “that which is in-between” in Japanese) - is a word that binds together this comprehensive project developed over five trips to Japan between 2007 and 2018. The series explores the personal pursuit of identity, at times with an underlying darkness as Houge had the chance to be introduced to Tokyo’s subculture. In exploring this theme, Houge has ventured into delicate matters such as sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The artist wishes to question the viewer and provoke a reflection on topics that are often seen as taboos in our contemporary societies. The viewer’s own associations are important in appreciating this work where ambiguity plays an important role. The project started in the Harajuku district of Tokyo which is known as a center of Japanese youth culture and where Houge found some of his first motifs: teenage girls dressing up in post-Victorian dresses or ‘cosplay’ costumes to identify with a character of their favorite comics. Here, the desire to express one’s uniqueness is central and the photographer explores the tension between personal identity and aesthetics shared by all (or at least by the same youth group). In many of his carefully staged photographs, Houge’s models are masked, so as to echo the many social masks we wear in our day-to-day lives. In our post-modern information society, drained of wonder, these enigmatic masked characters also evoke the world of shamans and pagan rituals, therefore injecting a sense of mystery and spirituality that many people are longing for. Symbolism and the many references to ritual and identity in an otherwise suppressed society, may at times create a sense of unease among viewers. The Okurimono project also explores the topic of identity and sexuality in gender dysphoria with Japan’s nyūhāfu (the transsexual ‘new halfs’). Here, the quest for identity coincides with a search of femininity and body image which results in complex physical transformations. Viewers may look at these portraits not having any clue that models are nyūhāfu. Yet, the photographs are staged so that viewers are placed in a disconcerting voyeuristic role while looking at otherwise closed world. Shibari (the art of tying), which originates from the Edo period (1600s), is another territory explored by Houge in his Okurimono series. His striking photographs of female models tied with red rope on a white background take us into this powerful journey into vulnerability and surrender, power and freedom. Through tradition, symbolism and technology, Okurimono also explores the hugely potent symbols that help define parts of Japanese culture and national identity, between old and new. As Art historian Erling Bugge put it: “Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar.” The images of the Okurimono series share a ghostly, otherworldly quality. In reality and dream, ritual and play merge while the boundaries between the known and the unknown dissolve. Christian Houge – Now – Okurimono Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar. This is pushed to the limit in the technological and virtual wonderland of Akihabara in Tokyo, where shop after shop trade in electronic products and computer games, while a weird costume play...

Rinko KAWAUCHI (*1972, Japan) Untitled, from the series 'Cui Cui', 2005 C–type print 101.6 x 101.6 cm (40 x 40 in.) Edition of 3; Ed. no. 2/6 Print only Signed by the artist This ph...

Photograph, 2016. Ultra HD, printed on Fuji Crystal DP I II. 1 of 30 prints behind acrylic glass. Framed. Signed, titled, dated and numbered on the back. It comes directly from the s...

Le grand musicien russe Alexandre Scriabine disait que la musique possède ses propres couleurs. Il cherchait à créer des mélodies qui évoquent des associations de couleurs. Dans ...

Stéphane COUTURIER (*1957, France) E1027/123 – Villa Eileen Gray – Photo #26, 2021-2022 C-Print 100 x 100 cm (39 3/8 x 39 3/8 in.) Edition of 5 Signed In 1994, Stéphane Couturier sh...

Stéphane COUTURIER (*1957, France) Angers – Chant de l'Apocalypse #01, 2020 C-Print Sheet 120 x 166 cm (47 1/4 x 65 3/8 in.) Edition of 5 (#2/5) Framed print Born in 1957 in Neuil...

Photographie disponible en deux formats : 45x90cm et 65x120cm Veuillez nous contacter si intéressé. Ce tirage fait partie de la série "Sacré Profane" C’est le cas de sa première émo...

Ce tirage fait partie de la série "Regards Croisés". « Nous allions passer l’un à coté de l’autre rapidement, sans que nos vies se croisent, quand ton regard a accroché mon objectif...

Photographie disponible en deux formats : 45x90cm et 65x120cm Veuillez nous contacter si intéressé. Ce tirage fait partie de la série "Sacré Profane" C’est le cas de sa première émo...

Le grand musicien russe Alexandre Scriabine disait que la musique possède ses propres couleurs. Il cherchait à créer des mélodies qui évoquent des associations de couleurs. Dans ...

Temptation pop, 2018 Color print on paper Photo Baryté 315 gr Image Format 400 x 500 mm Paper size 500 x 600 mm Limited edition of 30 copies Signed and numbered print on both sides b...

Le grand musicien russe Alexandre Scriabine disait que la musique possède ses propres couleurs. Il cherchait à créer des mélodies qui évoquent des associations de couleurs. Dans ...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

This fotograph belongs to the collection CACTI & SUCCULENTS. This series is dedicated to the idea of abstract portraits that focus on the special characteristics (shape, structure, c...

Eyes Fresnel, 2018 Color print on paper Photo Baryté 315 gr Image Format 400 x 400 mm Paper size 500 x 500 mm Limited edition of 30 copies Signed and number...

Tirage tiré de l'ouvrage « AMERICAN PUZZLE », 2011, éditions Trans Photographic Press (248p.). « La mémoire croit avant que la connaissance ne se rappelle. Croit plus longtemps qu’elle ne se souvient, plus longtemps que la connaissance ne s’interroge. » William Faulkner...

Ce tirage fait partie de la série "Regards Croisés". Photographie disponible en deux formats : 30x20cm et 60x40cm Veuillez nous contacter si intéressé. « Nous allions passer l’un à...

Syoin KAJII (*1976, Japan) KAWA_097-098, 2010 Lambda Print with Diasec Face, Diptych 56 x 168 cm (22 x 66 1/8 in.) Edition of 6; Ed. no. 1/6 About KAWA: Buddhist monk Kajii made h...

"El Gouna", Bellec, 20x30 cm tirage seul, 30x40 cm tirage encadré. Tirage pigmentaire sur papier baryté, édition 1/20. "Soudain dans le désert, surgit une quinzaine d’adolescents à ...

Syoin KAJII (*1976, Japan) NAMI_060-061, 2004 Lambda Print with Diasec Face Diptych (two works) 100 x 300 cm (39 3/8 x 118 1/8 in.) Edition of 6; Ed. no. 2/6 About NAMI: NAMI is a...

In the series ‘digital noise through analog eyes’ I elevate noise to the position of an aesthetic artifact, enhancing the processes that lead to it and allowing the noise to beco...

Photographie disponible en deux formats : 45x90cm et 65x120cm Veuillez nous contacter si intéressé. Ce tirage fait partie de la série "Sacré Profane" C’est le cas de sa première émo...

RISAKU SUZUKI (*1963, Japan) Water Mirror 21, WM-50 2021 Chromogenic print Sheet 120 x 150 cm (47 1/4 x 59 1/8 in.) Edition of 5 (#2/5) Framed A Label signed by the artist is provid...

Archival photo print under acrylic glass. Artist and photographer Paul-Émile Rioux lives in Montréal, Canada. His lifelong interest in cutting-edge media technology as well as his ...

Ce tirage fait partie de la série " American Decorum " American Decorum Le grand rêve de l'Americana, cette culture américaine peuplée de symboles, de fétiches, de clichés auxquels ...

Superposition de deux photos prises à Paris « Du haut de Montmartre, un vitrail de la Gare de l’Est dessine un éventail »

MILES ALDRIDGE (*1964, Great Britain) Cabaret #1 2006 Chromogenic print Image 101 x 152,4 cm (39 3/4 x 60 in.) Sheet 113 x 164,4 cm (44 3/4 x 64 3/4 in.) Frame 118 x 169,4 x 5 cm (5...

Syoin KAJII (*1976, Japan) NAMI_015-016, 2004 Lambda Print with Diasec Face 100 x 300 cm (39 3/8 x 118 1/8 in.) Edition of 6; Ed. no. 3/6 About NAMI: NAMI is a series of photos of ...

Karla HIRALDO VOLEAU (*1992, French-Dominican) Novembre, 2022 Inkjet prints on Awagami thick white paper, face-mounted to Diasec 126 x 98 cm (49 5/8 x 38 5/8 in.) Edition of 3 plus 1...

Karla HIRALDO VOLEAU (*1992, French-Dominican) Octobre, 2022 Inkjet prints on Awagami thick white paper, face-mounted to Diasec 126 x 98 cm (49 5/8 x 38 5/8 in.) Edition of 3 plus 1 ...

Stéphane COUTURIER (*1957, France) E1027/123 – Villa Eileen Gray – Photo #22, 2021-2022 C-Print 110 x 82.5 cm (43 1/4 x 32 1/2 in.) Edition of 5 Signed In 1994, Stéphane Couturier s...

Hailing from the picturesque city of Zaragoza, nestled near the Pyrenees, Carlos Blanchard's journey into the realm of photography was influenced by the rich tapestry of his upbringi...

Hailing from the picturesque city of Zaragoza, nestled near the Pyrenees, Carlos Blanchard's journey into the realm of photography was influenced by the rich tapestry of his upbringi...

Edward BURTYNSKY (*1955, Canada) Chuquicamata Copper Mine Overburden #1, Calama, Chile, 2017 Pigment inkjet print on Kodak Professional Photo Paper Sheet: 148,5 x 198.1 cm (58 1/2 x ...

Okurimono 66 cm. x 200 cm. Edition 6 (+2 ap) 100 cm. x 200 cm. Edition 3 (+1ap) Euro 8,000 Pigment Print Okurimono (meaning both “gift” and “that which is in-between” in Japanese) - is a word that binds together this comprehensive project developed over five trips to Japan between 2007 and 2018. The series explores the personal pursuit of identity, at times with an underlying darkness as Houge had the chance to be introduced to Tokyo’s subculture. In exploring this theme, Houge has ventured into delicate matters such as sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The artist wishes to question the viewer and provoke a reflection on topics that are often seen as taboos in our contemporary societies. The viewer’s own associations are important in appreciating this work where ambiguity plays an important role. The project started in the Harajuku district of Tokyo which is known as a center of Japanese youth culture and where Houge found some of his first motifs: teenage girls dressing up in post-Victorian dresses or ‘cosplay’ costumes to identify with a character of their favorite comics. Here, the desire to express one’s uniqueness is central and the photographer explores the tension between personal identity and aesthetics shared by all (or at least by the same youth group). In many of his carefully staged photographs, Houge’s models are masked, so as to echo the many social masks we wear in our day-to-day lives. In our post-modern information society, drained of wonder, these enigmatic masked characters also evoke the world of shamans and pagan rituals, therefore injecting a sense of mystery and spirituality that many people are longing for. Symbolism and the many references to ritual and identity in an otherwise suppressed society, may at times create a sense of unease among viewers. The Okurimono project also explores the topic of identity and sexuality in gender dysphoria with Japan’s nyūhāfu (the transsexual ‘new halfs’). Here, the quest for identity coincides with a search of femininity and body image which results in complex physical transformations. Viewers may look at these portraits not having any clue that models are nyūhāfu. Yet, the photographs are staged so that viewers are placed in a disconcerting voyeuristic role while looking at otherwise closed world. Shibari (the art of tying), which originates from the Edo period (1600s), is another territory explored by Houge in his Okurimono series. His striking photographs of female models tied with red rope on a white background take us into this powerful journey into vulnerability and surrender, power and freedom. Through tradition, symbolism and technology, Okurimono also explores the hugely potent symbols that help define parts of Japanese culture and national identity, between old and new. As Art historian Erling Bugge put it: “Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar.” The images of the Okurimono series share a ghostly, otherworldly quality. In reality and dream, ritual and play merge while the boundaries between the known and the unknown dissolve. Christian Houge – Now – Okurimono Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar. This is pushed to the limit in the technological and virtual wonderland of Akihabara in Tokyo, where shop after shop trade in electronic products and computer games, while a weird costume play, “cosplay”, is being performed in streets. A similar kind of simulation is being acted out in the district of Harajuku, where Houge found some of his motifs. There is no authenticity here, no western “essence” or “reality”; instead, the virtual conquers the carnal body in a purified play of surface, image and the hyperreal. This is exotic. All the while as we are conscious of these notions as pinnacle points in a western idea of the post-modern. But in this sense Japan has always been “post-modern”. It has always integrated the most refined culture and technology from the outside while somehow retained an identity for itself. So, what would this identity be? Houge takes the view of ritual and play. Indeed, Japanese culture seems to be grounded solely on ritual, in business and in sex, in its relation to nature and in religion. This play transcends the notion of authenticity altogether, unlike the West which is haunted by the “ghost” of origin and beginnings. In Japan, “now” would mean just that; it is a “no looking back”, but rather a flow of intensities integrated in the play and ritual of the ever-present, okurimono. There is no threat of being eaten up by western culture and technology here, for, like in Zen practice, the ritual oversees everything and has no historical drag. Japan becomes weightless, shot into orbit outside the material of earth itself. Is acting out the role as Lewis Caroll’s Victorian girl driven by a sense of nostalgia? I think not. It is a striving for a moment of perfected presence, in dialogue with Houge’s optical machine. It is the moment of Now. The girl, the Zen garden and the image shares in a perfection modified by small uncertainties, coincidental imperfections that become somewhat oblique points of entry for us - a discarded handkerchief or seemingly unremarkable shapes and reflections in the prismatic play of surfaces. There is a ghostly, otherworldly quality in these images, even in the fleeting blossoming cherrytree and the play of shadows across a concrete minimalism. The doubly exposed or reflected light on the lens reminds us of the uncertain beginnings in photography’s history, with its widespread belief that the camera was able to perceive more than the naked eye, like spirits and ghosts. In Houge’s images there are different specters, skeletal, natural shapes on the one hand, the machine and the virtual on the other. Here, like some scene from the film Blade Runner, there is an uncanny confusion and mix between the human and non human. Maybe the search for a perfect moment in the perpetual flow of things is a romantic or melancholic longing for transcendent wholeness, a drive that is harnessed in a rigorous attention to visual detail. This compulsive discipline might seem absurd to any western observer, while longing itself form a common ground and will ultimately be the basis in our meeting. Erling Bugge Bio: Christian Houge (born in Oslo 1972) Based in Oslo, Norway, I have been making photographs for over twenty years and new insights continue to open. By exploring the relation, and conflict, between Nature and culture, I get a better understanding about Mans` condition. I am interested in the consequences of Humankinds progression and how science often is the result of our conquering of Nature, both on Earth and beyond. Mans` ego, consumer society, the last remnants of pure Nature and identity are recurring elements in my work. I often juxtapose the visually aesthetic with an underlying uneasiness. This often emanates a cognitive dissonance in the viewer to invite deeper truths and personal references. Looking at our actions and place in environment, which we are so dependent on, is a recurring theme in all my exploration and can use everything from digital cameras to large format and panoramic analog cameras for specific projects. I have exhibited extensively in galleries and museums in my native country Norway, as well as the US, England, France and China. The series `Death of a Mountain`(2016-2021) is nominated for the 2021 Leica Oskar Barnack Award, as well as receiving an arts grant from Norwegian Arts Council. Most recently, my series `Residence of Impermanence` 2017-2019 has been exhibited at five museums and several galleries already (including a solo show at Fotografiska, Stockholm (2019), and Les Recontres d`Arles, Haugar Artmuseum, Preus Muaeum of Photography and 2019 (Galerie Omnius, Arles). In 2021, this series received ten nominations for the Prix Pictet Award with the theme FIRE. `Residence of Impermanence` is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.` This exhibition explores the ever-worsening forest fires due to climate change. In 2005, my series `Arctic Technology`, was shortlisted for the BMW Prize at Paris Photo (Scout Gallery, London). In 2015, my series `Paradise Lost`(containing three of my main environmental series) toured between three large museums in China. My other environmental work has been nominated for the annual Prix Pictet Award twice, with my series, `Barentsburg` and `Shadow Within`, for both Earth and Power themes. In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London). My work has been shown in numerous museums, including a symposium at Johnson Museum, N.Y., was included in traveling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice`, as well as a two-year museum tour in China environmental issues with Three Shadows Photography Art Centre in Beijing and the Norwegian Embassy. Publications/books include `Vanishing Ice`and `Altered Landscape` (Nevada Museum of Art), including purchased work for their collection at Center for Art and Environment. Selected exhibitions CV: Christian Houge (born in Oslo 1972) - Curriculum Vitae 2021 `As far as my Eye can Sea – The Expedition Exhibition` Rev Ocean, Bomuldsfabrikken Kunsthall, Arendal `Facing Fire`, Collaborative, UCR ARTS:California Museum of Photography Continuation `Death of a Mountain`/ In;Human Nature`, Buer Gallery, Oslo 2020 `Facing Fire`, Collaborative, UCR ARTS:California Museum of Photography 2019 `Metafysica`, `Residence of Impermanence`,collaborative, Haugar Kunstmuseum, Vestfold `Residence of Impermanence`, Fotografiska Museum, Stockholm. Solo `Helt Dyrisk` Residence of Impermanence`, collaborative, Preus Museum, Horten `Residence of Impermanence`, Galleri Fineart, Oslo. Solo 2017 `Shadow Within/Rituals` Gulden Kunstverk, Drammen. Solo Commission, MAAEMO restaurant. `In;Human Nature` `Mirror,Mirror` Hosfelt Gallery, San.Fran. Collaborative w/Ed Ruscha, Adam Fuss, Liliana Porter 2016 `In;Human Nature`, TM51 Gallery, Oslo. Solo Fotofever/ParisPhoto, Louvre, Paris Cornette de Saint Cyr, Auction, Paris 2015 Three Shadows Photography Art Center, Beijing, China. `Paradise Lost` . `Arctic Technology/Barentsburg`/ Shadow Within. Solo Fotofever (ParisPhoto), Artistics Art Gallery, Paris. Collaborative How Art Museum, Wenzhou, China. `Paradise Lost` Arctic Technology/Barentsburg/Shadow Within. Solo Redtory, Guangzhou, China. `Paradise Lost` Arctic Technology/Barentsburg/Shadow Within. Solo 2014 Fineart Gallery, Oslo `Shadow Within` 2010-2013 / `Darkness Burns Bright` 2013/2014. Solo Beyond Earth Art • (contemporary artists and the environment) Johnson Museum of Art, New York. Shadow Within. Collaborative (incl. Olafur Eliasson, Edward Burtynsky, Mathew Brandt, Yun-Fei Ji amongst others) The El Paso Museum of Art, Texas. `Arctic Technology`. Collaborative Glenbow Museum, Alberta. `Arctic Technology`. Collaborative LIFF (Lofoten International Photofestival) `Shadow Within` w/speaking. Solo 2013 Nominated for the Prix Pictet Award/ `Shadow Within`. Hosfelt Gallery, San.Fran. USA. `Shadow Within`. Solo Accompanied by Call of the Wild`( Joseph Beuys, Ed Ruscha, Patricia Piccinini and Alan Rath...

Stephen GILL (*1971, Great Britain) Untitled, from the series 'Talking to Ants', 2009/2013 Archival pigment print 111.76 x 111.76 cm (44 x 44 in.) Edition of 5, plus 2 AP; Ed. no. 5/...

Karla HIRALDO VOLEAU (*1992, French-Dominican) Juin, 2022 Inkjet print face-mounted to Diasec 126 x 98 cm (49 5/8 x 38 5/8 in.) Edition of 3 plus 1 artist's proof Print only Signed b...

Jung LEE (*1972, South Korea) LOVE #1, 2019 C-Type Print, Diasec Sheet 160 x 200 cm (63 x 78 3/4 in.) Frame 166,8 x 206,9 x 3,5 cm (65 5/8 x 81 1/2 x 1 3/8 in.) Edition of 5, plus 2 ...

Rinko KAWAUCHI (*1972, Japan) Untitled, from the series 'The river embraced me', 2016 C–type print 56 x 56 cm (22 x 22 in.) Edition of 3; Ed. no. 1/3 Print only Signed by the artist ...

"NYC Brooklyn Bridge 10", photography of the Brooklyn bridge by Didier Fournet. Didier Fournet is a contemporary "painter" thanks to photography: he chose pixels instead of brushes ...

Photography "High Line 13" by Didier Fournet. Didier Fournet is a contemporary "painter" thanks to photography: he chose pixels instead of brushes and reveals the beauty of the worl...

Stephen GILL (*1971, Great Britain) Untitled, from the series 'Hackney Flowers', 2005/2007 Hand print on C-type paper Image 60.7 x 50.8 cm (23 7/8 x 20 in.) Sheet 60.7 x 50.8 cm (23 ...

"Iceland 270" colour photography of a dock in Iceland by Mikael Lafontan. Mikael Lafontan is a French-Swedish artist, born in 1968. He has been living and working in Paris for 20 ye...