ANAÏS BOUDOT . PABLO PICASSO . BRASSAÏ 

based on an original idea of the Eyes

Anaïs Boudot has created a series of works on a set of anonymous glass plates from her collection, all of which represent female figures. A modernity in the materials, in the light as well as in the tone that both challenges and imposes itself in this vis-à-vis with Picasso and Brassaï.

MARINA GADONNEIX 

This book is published within the framework of the Niépce Prize, with which The Eyes Publishing is associated since 2019. The publishing house offers the winner the publication of an artist’s edition limited to 400 copies.

In 2020, the Niépce Prize was awarded to Marina Gadonneix.

Faire Face. Histoires de violences conjugales is a photographic project carried out between 2017 and 2022, on the issue of violence against women and domestic violence.
This first monograph by Camille Gharbi brings together three series of photographs that take stock of domestic violence, “Proofs of Love”, and question the path of reconstruction of former victims, “A Room of One’s Own”, as well as the possibilities of deconstructing the relationship to violence in their perpetrators, “Monsters Do Not Exist”.

ANTOINE D’AGATA X CHARLES BAUDELAIRE

For Charles Baudelaire, the photographic medium (then from the beginning) was not an art but a technical means of representing reality. Yet it is a contemporary photographer, Antoine d’Agata, who today revisits Baudelaire’s texts and universe. As a counterpoint to Baudelaire, d’Agata reworks his own photographs through digital intervention to return to engraving, as if to move from the pixel to the line of the time. He pushes photography to its limits, mistreats it, does violence to it, discards the medium to return to the raw, to the essential, to the material, to a purified line.

artistic parallel

An artist’s book bringing together 27 photographs by Antoine d’Agata and 25 graphic works by Francis Bacon.

ANTOINE D’AGATA X CHARLES BAUDELAIRE

For Charles Baudelaire, the photographic medium (then from the beginning) was not an art but a technical means of representing reality. Yet it is a contemporary photographer, Antoine d’Agata, who today revisits Baudelaire’s texts and universe. As a counterpoint to Baudelaire, d’Agata reworks his own photographs through digital intervention to return to engraving, as if to move from the pixel to the line of the time. He pushes photography to its limits, mistreats it, does violence to it, discards the medium to return to the raw, to the essential, to the material, to a purified line.

ANTOINE D’AGATA X CHARLES BAUDELAIRE

For Charles Baudelaire, the photographic medium (then from the beginning) was not an art but a technical means of representing reality. Yet it is a contemporary photographer, Antoine d’Agata, who today revisits Baudelaire’s texts and universe. As a counterpoint to Baudelaire, d’Agata reworks his own photographs through digital intervention to return to engraving, as if to move from the pixel to the line of the time. He pushes photography to its limits, mistreats it, does violence to it, discards the medium to return to the raw, to the essential, to the material, to a purified line.

ANTOINE D’AGATA X CHARLES BAUDELAIRE

For Charles Baudelaire, the photographic medium (then from the beginning) was not an art but a technical means of representing reality. Yet it is a contemporary photographer, Antoine d’Agata, who today revisits Baudelaire’s texts and universe. As a counterpoint to Baudelaire, d’Agata reworks his own photographs through digital intervention to return to engraving, as if to move from the pixel to the line of the time. He pushes photography to its limits, mistreats it, does violence to it, discards the medium to return to the raw, to the essential, to the material, to a purified line.