Böcker utgivna av ED XAVIER BARRAL

Piquant à souhait, mordant et cynique, "Cherche-love.com" est une critique sociale forte et une remise en question sur les rapports humains et les comportements que chacun à face à l'amour ! L'amour d'ailleurs, il est en question au fil des pages. Qu'est ce que l'amour ? Juste un sentiment ou bien plus ? Peut-on le trouver sur Internet comme de nombreuses générations le croient ? Au travers des treize scènes, l'auteur nous présente un personnage désoeuvré, à la recherche de ce sentiment si simple, qui est devenu pourtant si dur à trouver !Vous voilà donc attablé un soir de pluie ou pas d'ailleurs, devant votre PC, votre tablette ou votre mobile, tranquillement lové dans le canapé ou planqué dans les toilettes, pour ceux qui sont en couple et à la recherche d'un brunch. Le téléphone inévitablement ne sonne pas et pourtant vous avez vérifié il n'est pas en silencieux ! Ni en vibreur ! De toute manière, ce n'est pas avec le flot d'appel que vous recevez qu'il vous déclenchera un orgasme... Alors que faire ? Attendre qu'un éclair de génie vous percute ! Qu'un ou une de vos ex se réveille et retrouve la mémoire et par la même occasion votre numéro ? En même temps, vu la manière dont vous vous y êtes pris pour vous en débarrasser ! Avouez que la probabilité d'une telle éventualité, est plus proche du fantasme que de la réalité !

A glorious romp through the international art world of the 1960s and '70sA New York Times Book Review 2019 holiday gift guide pick The photographic duo Shunk and Kender created the defining images of the international avant-garde of the 1960s and '70s. In late 1950s/early 1960s Paris, Shunk and Kender were close to the New Realist artists, and as a result produced what remains probably their most famous photograph: Leap into the Void, the portrait of Yves Klein jumping from a wall. They also photographed Niki de Saint Phalle's famous gun performances and the performance dinners of Daniel Spoerri. Established in New York from 1967, Shunk and Kender photographed Andy Warhol and his Factory entourage, recorded the performances of Yayoi Kusama, Trisha Brown and many others, and participated in the avant-garde exhibitions of their time, such as Pier 18 at the Museum of Modern Art (1971). Much more than mere documentation, Shunk and Kender's photographs were truly collaborative and participatory in spirit, and in many cases now provide the sole evidence of the performances, happenings and other unique events of that time. This gorgeously produced, nearly 500-page volume from Xavier Barral accompanies the first Shunk-Kender retrospective, held at the Centre Pompidou, and is based on a selection of more than 10,000 vintage prints from the Kandinsky Library, which entered into the Pompidou's collection in 2008 through a donation from the Roy Lichtenstein Foundation. Shunk-Kender: Art through the Eye of the Camera is the ultimate account of the heady days of American and European postwar art, and a defining example of that fascinating but rarely acknowledged photographic genre: photography-of-art as art. The German photographer Harry Shunk (1924-2006) and his Hungarian partner János Kender (1938-2009) produced some of the most iconic images of postwar European and American art. In 2013, the Museum of Modern Art acquired over 600 works from the Shunk-Kender Photography Collection as a gift of the Roy Lichtenstein Foundation. This donation established a consortium across five institutions--the Getty Research Institute, the National Gallery of Art, Centre Pompidou, Tate and MoMA--that together received the full Shunk-Kender archive.

Throughout his career, Rodin maintained a special relationship with the photographic medium. He was probably one of the first artists to understand the importance of photography in order to better promote his sculptures, thus leaving in his wake a vast array of documentary images and reproductions relating to his oeuvre. Writing to Edward Steichen about Steichen's famous images of his "Monument to Balzac," Rodin said, "You will make my Balzac understood by the world through these photographs." In this handsome slipcased volume, French photographer Emmanuel Berry interprets the expressive power of Rodin's artworks with his gorgeous black-and-white photographic studies, scrutinizing his techniques and redeploying photography as a "cutting" tool to reveal Rodin's work in a new light.

Since 1982, Paris Audiovisual and the Maison Européenne de la Photographie (MEP) have commissioned great photographers to capture their views of Paris. Taking up the task after Henri Cartier-Bresson, Edouard Boubat, Ralph Gibson, Mimmo Jodice, Bruce Davidson and others, Martin Parr (born 1952) hones in on the city, and on Parisians and the tourists who inundate the French capital. He visits the Notre Dame cathedral, sightseer-laden riverboats, the Champs-Élysées on Bastille Day, the Paris Air Show, the Agricultural Show, along with fashion shows, museums and art fairs. Martin Parr: Grand Paris collects more than 40 of Parr's photographs, most of which are previously unpublished, that range from newly conceived images to the iconic and the oldest of Parisian clichés. This volume, an astonishing and uncompromising portrayal of the French capital, is presented as an accurate Paris map in layout--even including the street index--with Parr's photographs taking the place of the traditional maps.

William Kentridge's recent work is situated on the border between art and science: by examining our perception and understanding of time, he reconsiders the creative process. A work in progress in the truest sense, The Refusal of Time continues and deepens the polymorphic, dreamlike, political and humanist body of work developed by Kentridge from his very earliest days as an artist. An installation with performance elements, The Refusal of Time was conceived by Kentridge and science historian Peter Galison for Documenta 13, and realized in collaboration with video filmmaker Catherine Meyburgh and composer Philip Miller, both of whom worked with Kentridge and Galison for a year. Time in its various manifestations--narrative, fragmented, slowed down and speeded up; distortions of space-time; simultaneity--is explored through various media, including dance, film, music and spoken word. The book itself is a work of art; it includes sketches and notebooks, all the texts read during the performance, pictures from the rehearsals and workshop as well as highlights of the show, interviews and drawings created specially for it by Kentridge.

Photographer Philippe Chancel (born 1959) has mined the terrain between art, documentary and journalism for over 20 years. Between 2007 and 2009, Chancel made several visits to the United Arab Emirates, and found a country overwhelming in its architectural giganticism and astounding in its determination to domesticate a hostile environment. The resultant feeling of artifice is ubiquitous: the desert grows green, seawater is desalinated and new islands rise out of the sea. Moving from one air-conditioned space to another, from apartment to limousine, from limousine to shopping mall, from shopping mall to theme park, Chancel found irresistible pictures to take at every turn. Under his gaze, the United Arab Emirates is laid bare as the realization of the consumer society ideal, in which humans exist in a wholly manmade domain. With his characteristic frontal, distanced framing, devoid of judgment and emotion, Chancel portrays a country that is at once baffling and fascinating.