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wonderingarmy · 6 years ago

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Prince Kim Seokjin Part 5

Guys what did you think about the new album? I love it so much, I am crying. Anyways, I was able to finish Part 5 of Prince Kim Seokjin, while streaming Boy with Luv. Keep streaming!! To anyone that’s new to my series, Jin has more parts because he is the reason why I started writing imagines. But it looks like I write better stories to my six bias wreckers. Let me know what you think on this one. Hobi’s part 2 is coming soon!! Gomawoyo!

Part 1

Part 2

Part 3

Part 4

When Jin told you that he’ll try not to bother you through texts, you shouldn’t have believed him. Because now he sends you a message everyday, whether it be an emoji or just a simple hi. You try to ignore him for fear that Milo is going to find out, but there are days when you just can’t. He would always send you dad jokes, which you know are not funny, but it makes you smile anyway. It helps you get through a long day when he sends you one.

The weeks passed and you realized that you have been replying to his every message. Replying from his good morning messages to goodnight ones at 3am. You even call each other every night when you’re alone in your place and will talk for hours about things that you want to know about each other.

You adore Jin so much and you know you’re starting to fall in love with him. But what can you do? Milo has has locked you up in a relationship you so badly want to get out off, but can’t. Because he always threatens you and it scares you.

Before you agreed to be in a relationship with Milo, you thought he was a great guy, until after two months of dating when he started physically abusing you. He became so obsessive that he gets jealous to every guy you talk to. You tried to give him so many chances. He used to apologize to you, but he doesn’t do it now. You know you should have gotten out of that situation when you can, but it’s too late now.You’re scared that if you leave him, he’s going to do so much damage to not just you but with your family as well.

Milo told you one day that he is leaving for a week to have a photoshoot project in Japan. You didn’t say anything because you know this is a lie. You heard rumors that he’s into one of the models from Japan and that they’ve been hanging out a lot.

“Why can’t you just break up with me and be with her?” you yelled at him

“So you can be with your fake fiance Jin? And those are just rumors. I know your parents doesn’t like me, that’s why our relationship is still not out in the public. I am just making something up, so the media doesn’t focus on us. You know, saving you from your parents. If they find out that we’re dating, they’re going to be devastated and disappointed in you.”, he replied, his breath smelling like cigarettes and alcohol

“I don’t even wanna be with you anymore Mi----”

He grabbed your neck and started choking you.

“You are not leaving me Y/N. Because I will f*cking ruin you.” he said threatening you. “You better not be hanging out with that stupid Idol of yours, or I will find out”

He let go of your neck and you started rubbing it. You know you’re going to end up having a bruise again. Milo grabbed his jacket and left you crying on the floor. How you wish and pray that this would be over.

The next day, the first day Milo is out of the country, you aren’t planning on doing anything. You just stayed in your house and trying to see what kind of foundation you’ll use to cover the bruise on your neck.

“How’s my future wife doing?” it was a text from Jin

It was 9 am. You didn’t reply because you were thinking about the threats from Milo. After 30 minutes, he messaged you again with a sad emoji. Although you wanted so much to reply, you ended up choosing not to. The rest of the day went by and you never replied to any of his messages.

At 10pm, you accidentally answered a phone call from him.

“Hey!” he said as soon as you answered the phone

“Hey” you replied

Jin: Are you okay?

Y/N: Yes.

Jin: Ah… I am outside your house.

You were surprised when you heard this and went to look outside your window. Jin is standing outside his truck holding his phone. He noticed you and he waved and smiled.

“If you’re not busy, do you wanna go for a walk?” he asked when you didn’t say anything through the phone

“It’s 10pm.”

“Exactly, that means not much people.”

“Jin…”

“Hey, if you can’t, I’ll just leave. It’s okay, I understand.”

You thought for a moment and you realize how you want to be with him as well. “I’ll just grab my coat and I’ll be there.” you told him and hung up the phone.

When you were outside he asked if you’re about to sleep or if he disturbed you.

“No Jin. I was bored. Just trying to finish you guys’ photobook”

“How can you be so bored finishing BTS’ photobook? I mean, did you see those guys? Especially the worldwide handsome? You must be kidding me.” he said smiling

You smiled back at him and suddenly you forget all your problems.

“Thank you Y/N” he said

“For what?”

“For coming outside to go for a walk with me at 10pm.” he said and he held your hand

“Jin..” you said, surprised but what he just did

“I know Y/N. I am sorry.” he said and let go of your hands

You started walking, you both didn’t know where you’re going but you’re both glad you have each other. You walked without saying anything. Often times you would just look at each other and smile.

“Do you get bruised easily?” he asked all of a sudden. You realized you forgot to wear your scarf so it’s showing a part of your neck.

“Ah. yeah.” you replied rubbing your neck.

“Getting a bruise from your neck is kind of weird though. Unless somebody tried to choke you.”

“It’s a bleeding disorder” you replied without looking at him

He just nod his head and you both continued with your walk.

After awhile, he started telling you his dad jokes and your walk was more fun.

“That wasn’t even funny Jin”

“Y/N that was funny! What are you talking about?”

“It’s not funny. But you’re funny. I like the funny Jin”

“See? Can you imagine if we really got married? You’ll live a happy life hearing my jokes everyday”

“Oh my God. I would probably try to ignore you as much as I can”

You talk more about each other. It was only a 30 minute walk, but you both enjoyed each other's company. When you reach your home, you kinda want for the walk to not end.

“Y/N thank you for dealing with me tonight” he said as soon as you reached the door to your house. You just smiled at him and didn’t say anything.

“I had a talk with your dad today. He asked me to go to lunch with him” he said. Is this the reason why he texted that morning?

“I told him I can’t marry you if you don’t want to be married to me.”, he continued “And that he should choose your happiness before anything else because you are his daughter. His only child.”

“You told him that?” you asked

“Yes. I told him I don’t want to force you into something you don’t want to do. He told he understands and he’ll talk to my dad about it. But he said I am giving him a reason to make him want me more as a son-in-law.”

“You’re making that up right?”

“The son-in-law part? No. He really said that. So I told him like someone else anyway. And I told him that you don’t know how to cook, and I want a wife that can feed me and cook any kind of dish I want to eat”

“You like someone else?” you asked, ignoring the his last sentence

“Yes. But I don’t think she likes me too. So, I guess I am just going to marry myself. But yeah, don’t worry about marrying me anymore.”

“Jin…”

“I know. I’d wanna marry the worldwide handsome too.” he said smiling at you

You didn’t say anything. When he noticed this, he grabbed your hand again.

“I’ll still be your friend though. I’d like a beautiful friend. I am so tired of being the only beautiful person among my friends.”

Still you didn’t say anything. Heartbroken that the marriage is not going to happen anymore. Even if you know long before that it will never happen anyway even if he didn’t talk to your dad.

“Well, it’s getting late. I should be going. Again, thank you for keeping me company. Annyeong.” he said letting go of your hands. Just as he was about to walk out..

“Jin, I am not doing anything tomorrow night. If you want to go for a walk again or something else.” you said shyly

He smiled the most gorgeous smile and said, “I’d like that.”

You both smiled at each other then he continued to walk to his car. You wait outside your door until he’s gone. He opened his car window, gave you one last wave and drove away.

When you get inside your house, you can’t stop thinking about how the marriage is not going to happen anymore. How you are really starting to fall in love with Jin but you can’t do anything about it. Especially now that he confessed that he like someone else. And that he doesn’t want to marry you because you don’t know how to cook.

You thought about this more while you got ready for bed. Just then, Jin sent you a message.

“Looking forward to tomorrow night :)”

The one night of hanging out with Jin turned in to two and then three nights and for the whole week. You hung out at night, after his rehearsals and recordings. After you’re done with work. You didn’t realize you’ve been waiting for him to text you that he is on his way to your house. You both didn’t care what time it is, whether it be 12 midnight or 2 am. You just want to see him and spend time with Jin. That’s when you know you are really in love with him.

You kept asking him about the girl that he likes but he just says that she’s beautiful. That she’s one of a kind, amazing, and everything that he wants in life.

It’s when you realize you really need to do something to let Jin know about your feelings for him. To break up with Milo. To stop him from abusing you. To finally be happy with your life. It doesn’t matter if Jin likes someone else or wants somebody else for a wife. You just need to let him know that you love him.

One night when he was dropping you off to your house, he told you that he won’t be seeing you for awhile as they’re going to get ready for their Hongkong tour. But he promised to text you new dad jokes when he can.

You had a feeling that you need to tell him about your feelings that night or it will be too late the next time. But you’re scared of the outcome and you’re not ready for it.

Jin gave you a quick hug and you both stared at each other after. For a moment, you wanted to f*ck everything and kiss him, but of course, you chickened out.

“‘I’ll see you when I get back? It will probably be hard for us to see each other because your boyfriend should be coming back soon right?” he asked

You just nod your head.

“I am going to miss you a lot then.”

Again, you just nod your head.

“You take care of yourself okay? Until the next time I see you? Try not to get any bruise. Ah, I am going to miss you fake laughing at all my jokes.”

“I’ll miss your jokes too, Jin”

He shook his head laughing and said, “My jokes are lucky, they’ll be missed by you.”

He hugged you one last time and you both said your goodbye. When he drove off, you went inside your house, regretting that you didn’t tell him your feelings. You wish that’s not the last time you’ll see him.

You were trying to hang your coat on the coat rack when you heard a knock on your door.

“Ah, what did he forget this time?” you told yourself

Your heart started beating so fast and you told yourself that this is it. You have to tell Jin your feelings or you won’t have any chance at all. As soon as you opened the door, you felt a heavy hand slapped your face.

Milo

Your eyes started to get blurry and you felt dizzy from the pain. Milo is yelling but you can’t seem to hear what he is saying. He grabbed your left hand and started choking you.

You tried to say something, but you can’t. His hands are getting tighter and tighter around your neck. After a few seconds, your face started to turn white, and then he let go.

“Is that what you’ve been doing while I was gone?” he yelled. “F*cking an Idol? You’re mine Y/N. Nobody is going to have you except me. Do you understand?”

“I don’t want to be with you anymore Milo” you tried to say clearly while still choking. You still feel his heavy hands around your neck.

“You know what’s going to happen to you right? If you leave me? I will kill myself and blame you for it. I will leak that video we have and see if they’ll still respect you after that! You are not getting away from me Y/N” he yelled in front of your face

“I don’t care Milo. Do what you need to do. Ruin me as much as you want. I don’t care anymore.” you replied, trying to stand up. You reached for your phone in your pocket. “Get the f*ck out of my house Milo or I am calling the police”

“We are not done yet Y/N. I am coming b----”

“Get the f*ck out of here Milo!” you screamed so hard despite your voice shaking and tears running down your cheeks.

He gave you one last look and left, slamming the door behind him.

You are left laying on the floor, crying. You wanted to call Jin but you don’t want him to worry about you. You called you mom and she answered. When she got to your house, you explained her everything.

“Y/N…” she hugged you tighter and started crying as well. She didn’t ask anything. You kept telling her how sorry you are for lying. She just told you not to worry about it and they’re going to do everything to protect you.

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hemanchong · 3 years ago

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This #photobook by #吉行耕平 #KoheiYoshiyuki remains one of my cherished #books in my life. Thank you for documenting something that most people don’t want to document. Rest In Peace. The following text is from a statement realised by his gallery: “Yoshiyuki was born in the Hiroshima Prefecture in 1946 and passed away on January 21, 2022. Now beloved as one of Japan’s most important photographers, Yoshiyuki broke ground with his photographs taken in the early 1970s of couples engaged in sex acts in Tokyo’s public parks, often accompanied by voyeuristic onlookers. His daring documentation of forbidden acts forced viewers to reckon with their own private lives and desires as well as the psychic unease felt collectively by the Japanese people following decades of loss and defeat for the country. It was not until 2007 that these photographs resurfaced in The Park, the artist’s first U.S. show at Yossi Milo Gallery. Photographs from the exhibition have been exhibited around the world, including at the Tate Modern, London’s exhibition Exposed: Voyeurism, Surveillance and the Camera; the 5th Berlin Biennial and 7th Gwangju Biennale; the 2012 Liverpool Biennial and 9th Moscow Photo Biennale; and in the 55th Venice Biennale exhibition curated by Massimiliano Gioni.” In correspondence with Philip Gefter, who wrote a shining review of The Park for The New York Times in 2007, Yossi Milo wrote “The photographs are specifically of their time and place and reflect the social and economic spirit of the 1970s in Japan. Yet the work is also very contemporary. With new technologies providing the means to spy on each other, a political atmosphere that raises issues about the right to privacy and a cultural climate obsessed with the personal lives of everyday people, themes of voyeurism and surveillance are extremely topical and important in the U.S. right now.” (at Tokyo, Japan) https://www.instagram.com/p/CZapNp6v0JQ/?utm_medium=tumblr

#photobook #吉行耕平 #koheiyoshiyuki #books

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graphicbooks · 7 years ago

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General View by Thomas Albdorf / Design by Milo Montelli / Published by Skinnerboox * * * * * #general #view #generalview #thomas #albdorf #thomasalbdorf #milomontelli #skinnerboox #photography #photo #photobook #photographicbook #photoglitch #glitch #design #graphicdesign #graphicdesigner #designer #book #books #booksondesign #type #typography #typeface #typographic #publishing #publication #graphicbooks

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milos-photobook · 7 months ago

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09/05/2019 A chance meeting with a pigeon friend

#milo's photobook #photography #photographers on tumblr #original photographers #birds #bird photography #pigeon #photo archive #archive #photography blog #urban photography

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miloway · 7 months ago

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I've now realised that since my personality, style, decor and everything about me is so maximalist, the opposite shows in my photography.

It's interesting how as artists somehow you always tend to show parts of yourself through you're art that aren't as self evident when you look at the artist.

Though I'm confused as to why my self expression through photography is somewhat simple and minimalistic? Well i like it and that's all that matters really 😅

My photography archive: @milos-photobook

#original photographers #photographers on tumblr #self expression #Art #photography #artists on tumblr #milo mango time :>#milo's photobook

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caveartfair · 6 years ago

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How Photographer Kohei Yoshiyuki’s “The Park” Became a Cult Phenomenon

Untitled (Plate 31), 1971. Kohei Yoshiyuki Yossi Milo Gallery

Photographer Kohei Yoshiyuki wasn’t expecting to find the subjects of his most provocative series while on a nighttime stroll through Tokyo’s Chuo park. But there they were: a throng of Peeping Toms, stalking through the bushes to watch young couples canoodle (and more). The scene was mesmerizing—and unnerving—so he came back with his camera to capture it.

Over the course of the 1970s, Yoshiyuki spent many evenings alongside the nocturnal voyeurs. He became friendly with them, joining their ranks. But when he took pictures, his focus wasn’t the lovers who came to fool around, but the Peeping Toms themselves. Yoshiyuki was stalking the stalkers.

“My intention was to capture what happened in the parks, so I was not a real ‘voyeur’ like them,” he toldthe New York Times in 2007. “But I think, in a way, the act of taking photographs itself is voyeuristic somehow. So I may be a voyeur, because I am a photographer.”

The Park (Plate #049), 1973. Kohei Yoshiyuki Blindspot Gallery

Yoshiyuki’s series “The Park” certainly exposes the visceral, naughty thrill of voyeurism. It also addresses sexual freedom and fetish; privacy and surveillance; and the dark, uncomfortable spaces where they all mingle. In some images, groups of fully dressed men stare at clutching couples—both hetero- and homosexual—who are blissfully unaware of their audience. In others, the peepers more actively participate, unbuttoning their pants or inching so close to the lovers that they can (and occasionally do) touch them.

The issues that radiate from Yoshiyuki’s cult body of work are as potent now as they were in the ’70s. Next month, the series will come together in a much-anticipated monograph published by Radius Books and Yossi Milo Gallery.

Untitled (Plate 24), 1973. Kohei Yoshiyuki Yossi Milo Gallery

Yoshiyuki first unveiled the series in a 1972 issue of Shukan Shincho, a popular Japanese magazine that freely dug into themes considered taboo in the country. At the time, premarital sex and homosexuality were widely criticized in Japan, and young couples often lived with their parents until marriage. Parks offered a clandestine venue for couples to act on their desires. The publication of Yoshiyuki’s images exposed both practices, affronting traditional Japanese propriety and quickly attracting a cult following in Tokyo.

Images like these were rare, exciting—even unlawful. As legal scholar Katherine Biber pointed out in her 2015 essay “Peeping: Open Justice and Law’s Voyeurs,” it was “illegal in [1970s] Japan to engage in public indecency.…It was illegal to have sex in the park, it was illegal to watch couples having sex in the park, it was illegal to photograph them, and it was also illegal to display or distribute those photographs.”

Untitled (from "The Park"), 1973. Kohei Yoshiyuki ClampArt

The series’s illicit nature only added to the mystique and power of “The Park.” By 1979, Yoshiyuki presented the series in Tokyo’s Komai Gallery under his pseudonym (we still don’t know the artist’s real name). The gallery was darkened so that viewers had to explore the images—which were printed so large that the subjects appeared life-size—with flashlights. “I wanted people to look at the bodies in the photographs an inch at a time,” he told fellow photographer Nobuyoshi Araki in a 1980 interview. Yoshiyuki turned the public themselves into Peeping Toms.

Tokyo’s artistic circles went crazy for Yoshiyuki’s images, but the international photo community barely recognized them until more than two decades later, when famed British photographer Martin Parr included “The Park” in his watershed photo compendium The Photobook: A History, Volume III in 2006.Parr described it effusively as a “brilliant piece of social documentation, capturing perfectly the loneliness, sadness, and desperation that so often accompany sexual or human relationships in a big, hard metropolis like Tokyo.”

Untitled (Plate 36), 1971. Kohei Yoshiyuki Yossi Milo Gallery

By 2007, Yossi Milo had brought the works to his New York gallery for their international unveiling, and a flood of press and museum shows followed. The series was included in “Exposed: Voyeurism, Surveillance and the Camera”at Tate Modern in 2010; “Night Vision: Photography After Dark” at the Metropolitan Museum of Art in 2011; and had a prominent position in the Venice Biennale’s main exhibition, “The Encyclopedic Palace,”in 2013.

Curators and critics situated “The Park” within a gamut of art-historical lineages. Peeping has long been a human practice (especially in highly regulated, proprietous societies), and therefore longtime fodder for artists, too. In Japan, voyeurism features in countless 18th-century ukiyo-e prints, like Suzuki Harunobu’s Young Lovers with a Clock (1767–68), where couples caress as a third party peeks in from behind a screen. Yoshiyuki’s images also hint at Japan’s wider fetish culture, a facet of which was captured in another controversial 1970s photo series: Araki’s “Kinbaku” (1979), showing the BDSM practice of rope bondage.

Bondage, 1979. Nobuyoshi Araki "Araki" at Musée national des arts asiatiques - Guimet, Paris

Couple embracing in movie theater (infra-red), ca. 1950. Weegee Elizabeth Houston Gallery

Fille De Joie Du Quartier Italien Dans Une Robe Printanière, 1931. Brassaï Holden Luntz Gallery

Comparisons have also been drawn to pioneering photographers like Weegee and Brassai, who also documented surreptitious sexual behavior at night (in Weegee’s case, couples making out in movie theaters; in Brassai’s, prostitution across 1930s Paris). He also joins artists like Sophie Calle, who have spun surveillance into performance and artistic medium.

More recently, in an era marked by our #MeToo reckoning, Yoshiyuki’s images also highlight the unease of unwanted touch, as the embracing lovers are patted and grabbed in the dark by the men who watch them. The triple surveillance captured by the images—peepers watching lovers, Yoshiyuki observing peepers, and viewers gazing at it all—also cuts deep in an era when the internet has made personal privacy a hot-button topic.

Untitled (Plate 23), 1971. Kohei Yoshiyuki Yossi Milo Gallery

What’s certain is that Yoshiyuki’s photos harness timeless human urges, vulnerabilities, and perversions. They ask uncomfortable but necessary questions: What constitutes freedom, and what crosses the line? In the photographer’s 1980 interview with Araki, Araki stated that “Only lechers take good photos.” Then he asked Yoshiyuki: “So are you one, too?”

Yoshiyuki’s answer toes the perennially blurry line between normalcy and indecency captured in his images: “I think I’m completely ordinary, but I think there’s a little lecher in everyone.”

from Artsy News

#Artsy News

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technato · 7 years ago

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Marissa Mayer’s New Startup Gets Lucky (a Lucky Building, That Is)

The tech incubator Lumi Labs starts out with a bit of Silicon Valley magic on its side

Photo: Tekla Perry

Just about everyone in Silicon Valley acknowledges that running a successful startup takes more than a great technology and the right people—it takes a little bit of luck.

And Marissa Mayer, former Yahoo CEO and Google employee number 20, doesn’t deny the power a little luck has had on her career. She once told me that she wouldn’t have landed the Google gig that sent her career trajectory shooting skyward without “a long-distance relationship and a really bad bowl of pasta” that kept her up late in her Stanford dorm room, randomly opening the recruiter emails she had previously decided to ignore.

When Mayer started that job at Google in 1999, the company had just moved into offices on the second floor of 165 University Avenue in Palo Alto, recently vacated by an outpost of Logitech. Google didn’t stay in that space for even a year, quickly outgrowing it. But Google’s tenancy at 165 University kicked off what became a string of successful renters, including PayPal, Danger, Milo (sold to eBay), and photobook startup Picaboo (still private) have since inhabited that space, a track record that has turned into the legend of the lucky office. “There’s a lot of good juju” in that space, Mayer told the New York Times in an article published this week.

So Mayer rented it for her new tech incubator, Lumi Labs. Given that the company’s product will be startups, being able to offer entrepreneurs a little magic dust along with more concrete forms of help couldn’t hurt. With cofounder, Enrique Munoz Torres, former senior vice president of search and advertising at Yahoo, Mayer, according to the Lumi Labs website, will be focused on consumer media and AI. It doesn’t appear to have any employees beyond its founders to date, but is recruiting people to develop “some projects and prototypes.” And it’s so fresh it doesn’t yet have a nameplate on the door.

The name Lumi, by the way, is Finnish for snow, according to Mayer’s New York Times interview. And Mayer loves snow, so much so that she had a winter-wonderland themed wedding and in recent years has been trucking in snow to cover her Palo Alto, Calif., front yard around Christmas time.

No word on what Mayer is paying for the space—or if owner Saeed Amidi, who has been known to take equity in lieu of rent and to invest in companies he houses, will be getting a stake. Amidi’s family has a rug store nearby, and the businesses feed each other; reportedly, Amidi met Andy Rubin, Danger’s founder who is now running an incubator of his own, when he was buying a rug. Amidi likes startups so much, he too got into the incubator business, starting the Plug and Play Tech Centers, a concept he calls “Silicon Valley in a box.”

One thing Mayer’s new office doesn’t have is parking. And in downtown Palo Alto, parking is a challenge. Mayer once told me that during her initial series of interviews for her Google job, she thought the parking restrictions that divide the city into color zones had sunk her chances.

“Because the office was in downtown Palo Alto,” she said, “everyone had to move their cars every two hours—because there was the rose zone, the lime zone, the violet zone—and you can’t re-park in the same zone on the same day. So [all the people at Google] were all moving their cars around to not get tickets.”

When she sat down for an interview with a key executive, she recalled, “He said, ‘It’s 3:30 now. At 4:00 p.m. I need to end the interview and move my car so I don’t get a ticket. So in addition to testing your coding skills, I’m also going to test how responsible you are. At exactly 4:00 p.m. you need to stop the interview and tell me to go move my car.’” Mayer, immersed in a coding problem half an hour later, failed that test. “I looked at my watch and it was like 4:08 or like 4:10. I missed by 25 or 30 percent in terms of overshooting on a 30-minute interview,” she said.

The experience clearly didn’t put her off moving her new company to downtown Palo Alto even though, nearly 20 years later, the colored parking zone scramble can still make people run a tight meeting.

Marissa Mayer’s New Startup Gets Lucky (a Lucky Building, That Is) syndicated from https://jiohowweb.blogspot.com

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marigabicb · 7 years ago

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De vuelta de la locura de Paris Photo, os cuento aquí mi experiencia de una semana larga y tan corta a la vez, pasada corriendo cerca del Sena… Esto es solo un relato, cada cual que ha estado en París tendrá el suyo.

Un año mas, y se repiten las palabras del año pasado por las mismas fechas: las ganas de encontrarse con caras conocidas, la intención de comprar menos libros, de evitar la ansiedad, de disfrutar de Paris y sus exposiciones. Pasa el tiempo y la ciudad sigue siendo tan atractiva, un nudo emocional, gigantesco “hub” para los amantes de la fotografía y los fotolibros. Para mi, lejos de Hondarribia, es una vez más la oportunidad de ver a los amigos, de echar de menos a otros que no han podido venir, de conocer caras nuevas, de hablar de la colección en San Telmo y los nuevos proyectos.

París es mucho París, y la oferta cultural es inabarcable, además de la propia feria. La lista de exposiciones imprescindibles ya daba vértigo antes de llegar. Sophie Calle, Penn, Sibidé, Dragana Jurisic, Albert Renger-Patzsch, El MoMa en la Fundación Vuitton, Dada Africa, Clément Cogitore en Le Bal, el Palais de Tokyo, Paysages Français en la Bibliothèque Nationale etc, etc…sabía que iba a sufrir por no poder ver todo. Y así fue.

Sin contar los innumerables eventos organizados alrededor de la feria, como Photo Saint-Germain, o los pop-up de galerías o editores… En cuanto a la feria, este año ( un año mas…) iba con el firme propósito de no caer en la tentación pletórica de Offprint, y casi casi lo consigo…

Polycopies no se puede evitar, para que ir a París si no ?… Desde hace 3 ( o son 4 ya? ) años, el barco Concorde-Atlantique es el mejor sitio de la ciudad para ver y hablar de fotolibros, y encontrarse con conocidos y amigos, muchos, con o sin libro nuevo.

Empecé el maratón parisino en el siempre interesante Palais de Tokyo, muy cerca de donde estaba hospedada, viendo una exposición de la francesa Camille Henrot, videos o instalaciones, a punto de caer en su río de oro. La visita ha resultado menos intensa que la del año pasado, pero este otro Palais siempre vale la pena ( y su librería ! )

Visité el día de la inauguración los pasillos alfombrados del Grand Palais, como visitas un museo, entre admiración, deseo y frustración, pero también con estoicismo, entre tesoros vintage y simpáticos VIPs ( Patti Smith comisariaba un espacio, con buenas fotografías ). Obras de Jungjin Lee ( fabulosa ), Hosoe, Masao Yamamoto, Miho Kajioka ( con el enorme placer de saludarle a los pocos días! ), un precioso Adam Fuss en la galería Fraenkel, la estupenda presentación de Astres Noirs en la East Gallery, impecable Dieter Appelt en Galerie Françoise Paviot, Nathalie Boutté en Yossi Milo y Magnin, el Trump l’oeil de Mishka Henner… Espectadora afortunada, aunque no lo suficiente para adquirir las obras, pero saber que están ahí me basta. Y añado que hacer la visita con mi amigo Patrick Maille, saludar a Kazuma Obara o a Vita y Boris Mikhailov es una gran alegría.

Pasé mas tiempo esta vez viendo galerías que editores, por no caer en la tentación, (que me pareció algo menor este año), aunque ver la lista de nominados al premio Aperture es obligado, y agotador por la presencia masiva de gente. Tres filas para acceder a Steidl, o la cola días más tarde para la firma de Alec Soth en Mack es señal de buena salud para esas editoriales o la afición al fotolibro, menos para mi, ya mareada a esa hora…

Luego la primera de muchas visitas al barco de Polycopies, para saludar, y vuelta a casa.

Jueves. La exposición de Albert Renger-Patzsch en Jeu de Paume ya estuvo en Madrid, pero no tuve ocasión de verla allí. Magnificas y sobrecogedoras sus fotografías de bosques o paisajes. Renger-Patzsch ya había inventado muchas cosas que se han visto mucho más tarde.

Y de ahí otra vez al barco, donde vi a más amigos, entre ellos Christer Ek, o Juan Cires, y como ya es habitual, mucha presencia española. En la mesa de Dalpine, Sonia había recibido ya A Google Life, de Olga Bushkova, libro ganador del premio a mejor maqueta en Fiebre Photobooks. Montse Puig e Israel Ariño, (el con una bella exposición en el Grand Palais de la mano de Galerie Vu ), los Anómalas, ya tenían desplegados sus libros, los japoneses de Zen Photo atraían a cualquiera con sus joyas exóticas… El Tipi de Andrea Copetti ya rebosaba de ediciones independientes, y en el piso de abajo, mas exotismo con libros rusos, turcos o rumanos, entre otros, de lo mas apetecibles. Caes en la tentación…

Esa tarde se abría Offprint, pero yo me fui a la inauguración de la exposición My own unknown, de Dragana Jurisic, en el Institut Culturel Irlandais, con presentación de la gran artista con Natasha Christia. Una bella exposición de la fotógrafa “ex Yugoslava” afincada en Irlanda, todo un lujo que te permite París esos días.

Y otro visita también a la exposición “Jeune”, en el Crous de la rue des Beaux Arts, dentro del marco de Photo Saint-Germain, otro evento en el famoso barrio “Rive Gauche”, con muchas exposiciones programadas. Allí exponían Bérangère Fromont y Joseph Charroy, entre otros. Como también lo hacía Léa Habourdin en el espacio mágico de Deyrolle, en rue du Bac, con Everything becomes nothing again. Correr y correr para no perderse nada, así es la vida del “foto drug addict” en París.

Dormir, y recuperar fuerzas…

Viernes. Visita a la fabulosa exposición de Sophie Calle, y su invitada Serena Carone en el no menos fabuloso Musée de la Chasse et la nature, en rue des Archives. Beau doublé, Monsieur le Marquis , comisariada por Sonia Voss, es un recorrido entre bestiario y autobiografía, y mucho más.

Me gusta mucho el trabajo de Sophie Calle, su vida ofrecida con humor y poco pudor, pero con una gran delicadeza y sensibilidad. Maravilla de equilibrio entre el drama y la ligereza, entre lo absurdo, lo crudo, lo tierno y lo tan real. Sus obras instaladas en los salones del “Hotel Guénégaud” del siglo XVIII, construido por Mansart, entre marcos dorados, muebles antiguos y sala de armería, es una experiencia irrepetible que solo os puedo recomendar si pasáis por París antes de que acabe la exposición, el 18 de febrero 2018. He tenido además la suerte de visitar la exposición con mi amiga Annakarin Quinto, y de encontrarme allí con Magali Avezou, de archipelago projects ( que luego no vería en Offprint, desgraciadamente ) y Amak Mahmoodian. Un muy gran recuerdo.

Por la tarde por fin llegué a Offprint, en la rue Bonaparte. Fue una visita demasiado corta, en parte para evitar tentaciones, y porque quería seguir más tarde el maratón. Allí unos cuantas paradas para ver a Tiane Doan na Champassak y sus ultimos libros, a Maya Rochat ahora en Self Publish Be Happy, a Kominek con la muy esperada publicación de Bryan Schutmaat, al adorado Stephen Gill. Sergej Vutuc, Patrick Frey, vistazo a Spector books, y ponerse los antifaces para no ver mas.

Desde ahí vuelta al Marais, donde Steve Bisson presentaba las novedades de Urbanautica, con el libro de Andrés Medina entre ellos. Bisson es un hombre de mucho gusto, y sus ediciones nuevas son libros sencillos de aspecto pero interesantes y con un acabado de mucha calidad y delicadeza. Andrés no ha podido estar en París, pero Río estaba en buen sitio.

Cerca de allí se encontraba el Paris Vintage Photobook, donde se habían juntado varios libreros que este año no estaban ni en el barco ni en el Palais, como Claude Lemaire, de L’Ascenseur Végétal de Burdeos, o Clément Kauter, del imprescindible Plac’Art, Dirk K. Bakker, Zarbie Books, Ofr, y alguno más. Llegué solo a tiempo de saludar a Claude, con frustración o alivio… Un lugar lleno de deseo y peligro.

No habia acabado el día, y la galeria Temple, de Anna Planas y Pierre Hourquet presentaba The Hobbyist, con Lotte Reimann haciendo lecturas de su libro Bis morgen im Nassen con experiencia virtual de la exposición de Winthertur.

Y ya acabé el día en la galería -libreria In Between, de Luigi Clavareau, otro templo de la fotografía japonesa en París, donde había una fiesta con firmas de los nuevos libros de Koji Onaka, de Morten Andersen y de la gran Emi Anrakuji, con presencia del librero de Lisboa, estrenándose como editor, Rui Ribeiral. Precioso libro el de Emi, del que espero volver a hablar aquí.

Conocí por fin a Colin Pantall, que llegó a Paris con cajas de su nuevo libro All quiet in the home front, para firmarlos en Polycopies, desde el stand del Tipi. Colin es un gran tipo, y es emocionante ver como habla de su relación padre-hija y lo que ha supuesto para el.

Ya no quiero aburrir a nadie y solamente diré que el sábado volví al Grand Palais donde Kazuma Obara firmaba Exposure en su version editada por RM. Ya he hablado en el blog de este trabajo de Kazuma, siempre exquisito de sensibilidad y honradez, sobre el accidente de Chernobil. La nueva edición sigue teniendo la misma exigencia, tanto por parte del autor como por la de la editora.

Todavia no he hablado de los premios de Aperture a mejor libro del año, que ha ganado la gran fotógrafa Indú Dayanita Singh, con Museum Bahvan, editado por Steidl. Caja ( hecha a mano ) de libros- leporello, museo portátil, precioso objeto de una artista que siempre ha valorado el libro en su trabajo. El premio a mejor primer libro fue, sin sorpresas, a Monsanto, de Mathieu Asselin, editado por Actes Sud y Verlag Kettler, un enorme e impresionante trabajo de investigación sobre las consecuencias del uso de los productos químicos del gigante agroalimentario Norteamericano, que se ha podido ver este verano en Arlés. Hay que resaltar la mención especial a La Grieta, de Carlos Spottorno, ( con guión de Guillermo Abril ) editado en España por Astiberri, mezcla de fotolibro y novela grafica, un híbrido dentro del mundo de la fotografía. New realities: Photography in the 19th Century ganó el premio al mejor catálogo, publicado por el Rijiskmuseum/Nai, Amsterdam, una gran retrospectiva de los inventores de la fotografía, con una bonita cubierta homenaje a Anna Atkins. Todos premios merecidos y esperados…

Ese sábado acabé el día con una cena organizada por los editores de la Gould Collection, Russet Lederman, Laurence Vecten y Yoko Sawada, honrando la memoria de Christophe Crison, gran coleccionista y amante de la fotografía, el cine y la literatura. La Gould Collection reune a un gran fotógrafo con un autor literario, el segundo libro, It don’t mean a thing juntando a Saul Leiter con Paul Auster. Una gran reunión de photobooks freaks de muchos horizontes, hablar con el grande Brian Griffin y Delphine Bedel y conocer a Miho Kajioka, arigato !

El domingo llovía. ¿Que mejor que ir a la BNF, biblioteca nacional de Francia? Llegar hasta su puerta fue largo y frío, aún bien acompañada, (verdad, Antonio Pérez Río ? ) pero la espera valía la pena, para ver la exposición Paysages Français, Una aventure photographique, enorme retrato de Francia en mas de mil fotografías y 160 fotógrafos, tanto franceses como internacionales, Koudelka, Basilico, Brotherus, Anne Immelé…. Ya no hubo tiempo para volver a Offprint antes del cierre…

Si fui el lunes a la Fondation Vuitton a ver la exposición Being Modern: MoMa in Paris. La modernidad llegó a Nueva York venida de Europa, con las maletas llenas de obras maestras, si bien luego los Norteamericanos nos devolvieron su carga bien digerida. Muy buena exposición la de Vuitton, con bastante fotografía también ( bonita serie de fotos anónimas, Atget, Walker Evans, Arbus, Cindy Sherman, Jeff Wall… ).

Con la suerte de poder quedarme un poco más, pude escuchar también el lunes la conferencia que dieron Debi Cornwall y Lewis Bush en el Centro de la Universidad Columbia de Paris, con el titulo Photography in the age of Global Surveillance and Perpetual Wars Dos trabajos muy interesantes en los tiempos que corremos, el libro de Debi, Welcome to Camp America: Inside Guantanamo Bay, estaba en la lista Aperture a mejor primer libro. Lewis Bush está a punto de publicar su nuevo trabajo, The shadows of the state: Mapping, spying, democracy.

No pude ir a Le Bal, ni ver la exposición de Irving Penn, ni muchas cosas mas… Acabo este maratón con la exposición de Malick Sibidé, Mali Twist , en la Fondation Cartier. De Sibidé ya se ha escrito y visto mucho, yo he disfrutado de los vintage y de la banda sonora.

Fin del twist à Paris… Vuelvo a casa con más libros de lo que debería, menos de lo que quisiera, y muchos buenos momentos. Más, si se puede, en noviembre del año que viene. Gracias por leer hasta aquí !

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20 de noviembre 2017. De vuelta de París. De vuelta de la locura de Paris Photo, os cuento aquí mi experiencia de una semana larga y tan corta a la vez, pasada corriendo cerca del Sena...

#ParisPhoto #Vuelta de París

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