Böcker utgivna av Aman iman

This book, produced in collaboration with the Tara Océan Foundation, is a retrospective of the artists who have been on board the Tara schooner over the past 20 years. It's a unique opportunity to shed light on the Ocean, its little-known biodiversity, its role in the climate machine and the pollution that impacts it today, through the prism of art.

The Eyes invites Lebanese-born writer Sabyl Ghoussoub to explore the link betweenp hotography and exile. This issue invites us to reflect on how art can help to reconstruct a fragmented identity. This new issue of The Eyes takes a multi-dimensional approach to exile. Exile as a common noun, as a state, as a condition, but also, and above all, as a verb. Exiles are actors in their own destiny, with the capacity to transform their lives and influence their own paths. Far from external representations of exiles, this issue focuses on first-person accounts. This is true not only of Sabyl Ghoussoub, the guest artist in this issue, but also of the other artists.

Red Bloom is the second part of a photographic and artistic project devoted to global warmingand, in particular, the proliferation of green algae in the Côtes d'Armor region of France. Through hundreds of images, Alice Pallot returns to the very essence of the photographic process:making visible what the human eye alone cannot perceive. In this series, she proposes to materialisethe sun's red rays, which contribute to the development of toxic algae. Each work bears witness toan ecosystem threatened by the putrefaction of plants. The creation process takes several weeks:cultures grow on the prints and it is the toxicity itself that is embodied in the photograph andbecomes the substrate for the algae. The artist's aim, through works of great plastic beauty, is to alert the viewer to the non-visible butnonetheless active and deleterious anthropogenic toxicity of our environment. Through the visualexperience, the viewer gains a deeper understanding of this major issue of our time.

Veri, Orangina & Aperol Spritz is the result of a collaboration between two young Spanish artists,Sofía París and Andreu de Pedro. The book grew out of a summer spent on the coasts of Spain, Italyand France. The book was shaped, forged and written in the moments of photography,contemplation and inactivity. Through the story of a voyage around the Meditarranean Sea, this book tells a love story thattouches on the universal. The images gathered here embody the love between a man and a woman,but also, and above all, the love of men for this 'sea in the middle of the earth', Veri, Orangina &Aperol Spritz its waters, its culture, its history. Inspired by the heroes of antiquity and the Homerictexts, the artist duo propose a visual, sensitive and intimate exploration of a geographical space thatnever ceases to fascinate us. Produced on film, this original work offers a sensual plunge into the world of the Mare Nostrum. Imbued with a Nouvelle Vague aesthetic, as well as the work of Claude Nori, this book is as much anexploration of the plastic - close-ups, fragmented images, landscapes, still lifes - as it is aphilosophical one: what is the nature of the bond that unites us to one another? What links us to theMediterranean Sea? The book is set in time, that of a summer, while at the same time breaking awayfrom it. It carries the eternal voices of the men and gods who have lived in this land for thousands ofyears.

The book PATRIA is a moving account of the mourning of the father, of the questions of identity that it raises, and more generally of the history of Venezuela and its exiles since 2015, the date of the artist's last trip to his native country. "On June 9, 2020, I received a call. On this side of the Atlantic, it must have been ten o'clock, yes, it must have been ten o'clock. He's dead, she shouted at me. I found him dead. ' On June 9, 2020, artist Oleñka Carrasco learned through a video call that her father had died. The book Patria is the moving story of this mourning, of the identity questions it raises, and more generally of the history of Venezuela and its exiles since 2015, the date of the artist's last trip. in his native country. A human experience par excellence, the confrontation with death is told here through the artistic re-appropriation of family archives; photographs, videos, audios... thousands of documents sent by WhatsApp on which the artist intervenes and creates works in themselves. In addition, Oleñka Carrasco takes shots of her place of life in France, the "loaned house", clichés that she transforms, manipulates, alters by using a typewriter. The typewritten text dialogues with the images and seems, as the story unfolds, to reveal the mystery of these human lives while intensifying it.

The book Un Abecedaire de la Psychiatrie is the fruit of a collaboration between the artists of the duo NO SOVEREIGN AUTHOR and the patients of the psychiatric day center "La Fabrique du Pre", located in Nivelles, Belgium. Presented in the form of a dictionary, the book invites us to rethink the world of psychiatry through the eyes of patients. Original, visually powerful works of art created by patients in collaboration with artists illustrate each entry in the dictionary, offering a radically new, uninhibited approach to psychiatry. Each word, freed from historical interpretations, opens up to a new, more sensitive reality, closer to us and to those who live it. In their hands and before our eyes, the scientific lexicon of psychiatry becomes the language of the heart and soul.

Almost a century later, at a time when young artists are coming back to ancient processes for contemporary expression, how can we reinterpret and extend this face-to-face encounter between the artist and the glass plate, its light and its material? In the same way, in an era that claims the place of women in the history of art, how can we question or shake up this so ordinary phenomenon of domination, whether it is the relationship to women of the artists themselves, or a certain form of resistance still today to place women artists at the heart of the creation. We have chosen to ask Anaïs Boudot to take up this challenge, that of an artistic confrontation around the cliché under glass, as well as that of a response to the veil that has long been imposed on women artists. 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. It was following a glass plate forgotten by Brassaï in Picasso's studio that the latter began to develop a particular work on this medium. "And indeed, it is no longer virgin," exclaimed Brassaï when he discovered the plate reworked by Picasso, as Héloïse Conésa recalls in her introduction. Taking up the words of Anne Baldassari, she continues: "The artist-toro bends over the mortal wound that he inflicts on reality so that the figure so beautiful on the silver plate may emerge. A few years later, Brassaï began his Transmutations series in which he engraved not on blank plates but on original negatives. Faced with these two sacred monsters of modern art, Anaïs Boudot responds to an invitation from The Eyes, by taking her own collection of anonymous faces on glass, to rework them with gelatin. Among these portraits of anonymous people from the 20s, 30s and 40s, women's faces stand out. Where Picasso and Brassaï's scratching of the gelatin is similar to a "surgical act much more intrusive to bring out the plasticity of the work", Anaïs Boudot chooses gilding to restore these images of unknowns, to sublimate the image of these women, these muses so little considered by these masters and forgotten by the history of art. Anaïs Boudot's work is part of this instinctive and experimental approach, that of making the invisible visible. "Spending time with these women's faces, while rubbing shoulders with two historical (male) artists with a singular relationship to women, I felt the need to react. In the end, they are the "forgotten" ones, because they have been sidelined for years in the history of art, relegated to the rank of muses, models and companions. Their absence is glaring and it is undoubtedly this absence that these images attempt to highlight". Anaïs Boudot ABOUT ANAÏS BOUDOTBorn in Metz in 1984, Anaïs Boudot graduated from the École nationale supérieure de la photographie in 2010 and from Le Fresnoy - studio national d'art contemporain - in 2013. Anaïs Boudot pursues a work around the processes of appearance of the image and the exploration of photographic techniques. The artist is represented by the Binome gallery.