Paul Ben-Itzak’s new 40-page Memoir, including art by Ansel Adams, Robert L. Berry, Lou Chapman, James Daugherty, Gustave Caillebotte, Jacob Lawrence, Sylvie Lesgourgues, David Levinthal, Roy Lichtenstein, Sam Peckinpah, Charles M. Russell, Saul Steinberg, and Frank Lloyd Wright from both current exhibitions and the AV Archives, is now available. To receive your own copy as a PDF or Word document, including 35 illustrations, please send $19.95 to the AV by designating your PayPal payment to firstname.lastname@example.org, or write us at that address to learn about payment by check. Your purchase includes a complimentary one-year subscription to the Arts Voyager and Dance Insider ($29.95 value). Above: Saul Steinberg, “Train,” From the exhibition Along the Lines: Selected Drawings by Saul Steinberg, on view through October 29 at the Art Institute of Chicago.
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Journaliste et traducteur americain experimenté, basé en Dordogne,
cherche echange travail – logement Parisien mi-mai – mi-juin ou juillet pour pouvoir ecrire sur la scene parisienne (y compris les Portes Ouvertes de Belleville) et assister a une festival de traduction. C’est possible qu’un co-location ou un sous-location pas chere pourrait aussi marcher. Avec moi j’ai une petite chatte blanche, très propre et pas du tout bavard. Voici quelques infos sur moi (et
mes multiples talents et atouts). Et voici mes autres journaux, Maison de Traduction et Dance Insider . Merci et a bientôt! — Paul Ben-Itzak. Contacter email@example.com. Art par Edward Winer.
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Christophe Martinez, Untitled #1, 2017. 146 x 115 cm unframed and without margins. Pigment print on paper. Oeuvre unique. Copyright Christophe Martinez.
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NOTE DE PRESENTATION (English Translation Follows)
Textures et lumières: Sans affection particulière, ni volonté documentaire, les photographies produites sont issues de technologies hybrides…. Pour Christophe Martinez, la chambre photographique produit plutôt qu’elle n’enregistre. Penser, essayer, opérer, transformer, sous la seule réserve d’une recherche d’équilibre où n’interviennent que des phénomènes travaillés. C’est ainsi qu’une somme d’actions et d’expérimentations aboutissent à un d’accompagnement des techniques et des matériaux photographiques. Une forme de capillarité lumineuse par les lois fondamentales de l’optique, de la nature de la lumière, de la photochimie ainsi que des pratiques numériques. Ces différents protocoles échangent leurs répliques dans une danse à la fois élémentaire et sensible.
Christophe Martinez est né en 1978. Il vit et travaille à Paris. Pour l’artiste se sont les conditions de la photographie et les dispositions de la matière photographique s’imposent en premier. C’est dans ce cadre qu’il va développer des variantes de recherche et d’approfondissement autour des questions qu’il se pose.
Christophe Martinez, Untitled #2, 2014 115 x 146 cm unframed and without margins. Pigment print on paper. Oeuvre unique. Copyright Christophe Martinez.
(For the complete portfolio of 22 images, visit our sister site the Maison de Traduction.)
Textures and light: Without any particular pre-meditated inclination, nor any specific documentary intent, the photographs produced result from hybrid technologies…. For Christophe Martinez, the darkroom produces rather than simply records. Reflect, attempt, operate, transform, with the sole condition being the search for an equilibrium where only methodically developed phenomena intervene. Thus a sum of actions and experiments leads to a marriage of techniques and photographic matter. A form of luminous capillarity arrived at by applying fundamental laws of optics, nature, and light, and with the use of both photo-chemical and digital processes. These different protocols dialogue in a dance at the same time elemental and sensitive.
Christophe Martinez was born in 1978. He lives and works in Paris. For the artist, it is above all photographic conditions and the disposition of photographic material that prime. It is in this framework that he has developed the variants of his research and the depth surrounding the questions that he poses.
(For the complete portfolio of 22 images, visit our sister site the Maison de Traduction .)
Curated by Paul Ben-Itzak.
Text by Christophe Martinez, translated by Paul Ben-Itzak.
Pour tout renseignment / For information contact :
Français: Christophe Martinez, email@example.com
English or Français: Paul Ben-Itzak, firstname.lastname@example.org
By Paul Ben-Itzak
Copyright 2010, 2017 Paul Ben-Itzak
PARIS — Up until two weeks ago, I spent my evenings regarding a Marseille-based soap opera, “Plus belle la vie,” romantic comedies, and ‘policiers’ or crime shows. When you’re living in an isolated 300-year-old stone house in the land of pre-history in the southwest of France, there isn’t much else to do at night but plant yourself in front of the television. (Living alone, I found it hard to read at night; television at least provided the illusion of company.) But since I have returned to Paris, I have found myself embroiled in my own French soap opera, romantic comedy, and even a police drama, with me cast in the role of the kindly neighbor who the police ask to stay with ‘the little lady’ in case the schizophren who knocked down her door returns. (This was the same young man who previously had lavished my neighbor-friend Sophie and I with fromage, charcuterie, and even multi-colored marshmellows, as well as taken us dancing to a reggae bar on the rue Bagnolet in the netherworlds of the 20eme arrondissement. In the big city, heroes and villains often inter-mingle, sometimes in the same person.) It all ended — until the next chapter, anyway, still unfolding — with Sophie hailing me as the man from providence after I wrested a handful of sleeping pills from her fist on their way to her mouth and before she took off on another two-bottle rouge trip and insisted we watch “Sophie’s Choice” for the umpteenth time.
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