Paris Photo returns with a focus on the experimental, objects and vintage

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A ‘photography masterclass’ on board Eurostar with British photographers Mark Neville, Dougie Wallace, George Selley and William Lakin set the tone for this year’s Paris Photo fair. The former presented their new books (Fancy Pictures surveys Neville’s social documentaries from the past 12 years; in Well Heeled, Wallace captures pampered pooches in fashion capitals) while Selley and Larkin appeared in the Carte Blanche platform for emerging talent. Their images were on billboards in the Gare du Nord, as well as in the fair itself at the Grand Palais.
Here, 151 galleries from 29 countries showcased photography from the 19th century to today. ‘This year was strong,’ says German photographer Elger Esser, whose images from his 15-year project to create ‘an atlas of hidden France’ were on show at Paris gallery RX. ‘There’s more focus on the experimental, using objects, and the vintage,’ he adds.
Bever, Skinningrove, North Yorkshire, 1980
To coincide with the launch of a special edition book of his photos, fashion designer and ‘guest of honour’ Karl Lagerfeld selected around 100 of his favourite works. Those wanting to share his passions could follow an unofficial ‘trail’ which ranged from landscapes by young self taught Teheran photographer Ebrahim Norooz at Silk Road Gallery to abstract architectural images by the late Spanish modernist Marcel Giro at RocioSantaCruz Gallery.
Nine film and video works made their debut this year at Paris Photo including a video piece by artist Vanessa Beecroft, while for the third year, the Prisms section was dedicated to large-format works. Among them, British photographer Nadav Kandar presented atmospheric additions to his Thames Estuary project.
Buenos Aires, 1986
Nude portraits of children by Ellen Brooks at Fraenkel Gallery and Sally Mann at Stephen Daiter appeared, in these days of ubiquitous internet porn, both dated and shocking, but not as disturbing as images of Palestinians by Miki Kratsman. The Israeli photographer used a lens from a first generation drone to create grainy, black and white shots that instantly render their (innocent) subjects suspicious. It echoes the surveillance techniques used by the Israel Defense Forces, and is, says Kratsman, ‘a project about perception’.
Sharing Smoke. Saint Paul, Minnesota, 1996
Not Miss New Brighton, 1978
Amanita Fulva, 2017
During ‘To Live and Die in L.A.’ Los Angeles, 1984
Pelican Vulno, 2017
Rue Dr Theze, Dakar, 2017
Untitled #4, 2015, by Weronika Gesicka, from the series Traces.
Le chapeau grenat, 2016
Fatboy Billiards. Minneapolis, Minnesota, 1996 (printed by the artist 2017)
Untitled #109, After Fischli and Weiss, 2016, by Michel Le Belhomme, from the series Les deux labyrinthes
Woman in Living Room, 2013
Transparent City #88, 2007
NY 3, 2016, by Philippe De Gobert
INFORMATION
For more information, visit the Paris Photo website
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Emma O'Kelly is a contributing editor at Wallpaper*. She joined the magazine on issue 4 as news editor and since since then has worked in full and part time roles across many editorial departments. She is a freelance journalist based in London and works for a range of titles from Condé Nast Traveller to The Telegraph. She is currently working on a book about Scandinavian sauna culture and is renovating a mid century house in the Italian Lakes.
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