8 Josef Koudelka on Searching for the Maximum
12 Photography or Destiny?
22 The Loneliness of the Long-Distance Photographer
28 The Eye Exists in the Wild State
30 The Maximum, That’s What’s Always Interested Me
Where does the French artistic scene stand in regard to the last fifteen years? What are its eminent character traits? What are its dominant trends? Did nay notable change come about to transform its physiognomy? These are so many questions brought into play by this idea of sketching a “profile” and not a “panorama” of its present status. The semantic differentiation between these two words is quite imposing here. If the notion of panorama supposes a scope and an extent which imply a broadened vision of the situation, that of profile does not make out the same meaning and sooner accentuates the idea of an overview, a digest, following the example of an artist who endeavours to give a thumbnail sketch of his model in an attempt to express its essential traits. The famous art critic Philippe Piguet put it, this exposition “which intended to highlight a present state of art production as it developed in France more or less in the last fifteen years and what is more insomuch as it is sifted though sieves of public collections” blew like a spring breeze wafting a gentle air from France into the halls of Pera Museum, and gave the contemporary artistic panorama of a country that has always been amongst the vanguards of European Art.
Date of Publication: 2006
Number of pages: 91