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Selfies allow us to see how others look at themselves in a mirror making their modeling face when nobody’s around ...except these days, everybody’s around everywhere all the time.”\u003cbr\u003e\u003cbr\u003e#artselfie emerged in 2012, right as the recent photographic phenomenon known as the selfie reached it’s tipping point. It was subsequently activated by New York based collective DIS, as an aggregated mode of art-tourism and documentation. \u003cbr\u003e\u003cbr\u003eThese selfies and their dialogue with art are an opportunity to revisit fundamental questions such as: if art is a mirror, what happens when we place ourselves between it and the camera? The traditional trajectory from photographer to subject via the camera has been subverted, and with it, the nature of images and our perception of them. The #artselfie makes every participant both protagonist and collaborator, consumer and producer. \u003cbr\u003e\u003cbr\u003eIncluding an introduction by Douglas Coupland (author of Generation X: Tales for an Accelerated Culture and ruthless observer of contemporary society) and a discussion between Simon Castets (director of the Swiss Institute in New York and co-founder of the 89+ project) and DIS, #artselfie allows us to experience how significant — and seductive — this viral phenomenon is.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eNotes on Selfies\u003c\/i\u003e de Douglas Coupland\u003cbr\u003eConversation entre DIS et Simon Castets\u003cbr\u003e\u003cbr\u003eOuvrage issu de la collection\u003cbr\u003e\u003ci\u003eFOLLOW ME, Collecting Images Today\u003c\/i\u003e\u003cbr\u003eJean Boîte Éditions, Paris, 2014\u003cbr\u003e\u003cbr\u003eBilingue Français \/ English\u003cbr\u003e128 pages\u003cbr\u003e167 mm x 240 mm\u003cbr\u003e260 illustrations couleur\u003cbr\u003eCouverture cartonnée \/ Hardcover\u003cbr\u003eConception graphique : Groupe CCC - Valentin Bigel \u0026amp; Alice Gavin\u003cbr\u003eISBN : 978-2-365-680-073\u003c\/p\u003e\n\u003cp\u003eAvailable from october 27th.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":14991375106114,"sku":"","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/products\/25548-fb54cf1e23f34f41beedb1ac1d7cad34.jpg?v=1553687604"},{"product_id":"double-trouble-editions-et-exposition","title":"Double Trouble - Editions et Exposition","description":"\u003cp\u003e\u003ci\u003eDouble Trouble\u003c\/i\u003e est un projet éditorial et d'exposition, faisant suite au \"Coup de coeur\" décerné par Yvon Lambert lors de l'exposition Jeune Création 2013 au 104 à Paris. \u003c\/p\u003e\n\u003cp\u003eTrois éditions, réalisées par Guillaume Durrieu, Elizaveta Konovalova et Julie Sas font écho à trois propositions plastiques présentées dans l'espace de la librairie Yvon Lambert.\u003c\/p\u003e\n\u003cp\u003e- Guillaume Durrieu\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eROUGE, 2014, édition de 100 exemplaires numérotés et signés\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSans titre, 2014, huile sur toile, 185 x 270 cm\u003c\/p\u003e\n\u003cp\u003ePrélude à une conversation entre peinture et cinéma\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eROUGE - 3'18\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003ePrélude à une conversation entre peinture et cinéma.\u003c\/p\u003e\n\u003cp\u003ePièce sonore et musicale, disque vinyle 45 tr RPM, 18 cm.\u003c\/p\u003e\n\u003cp\u003eEnregistré et édité en 2014.\u003c\/p\u003e\n\u003cp\u003eMastering : Ameise, Hambourg - Allemagne\u003c\/p\u003e\n\u003cp\u003eGuillaume Durrieu, né à Toulouse en 1980, vit et travaille à Paris.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e- Elizaveta Konovalova\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCamera Obscura, 2014, édition de 100 exemplaires numérotés et signés\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eGhost, 2014, impression jet d’encre, reliure cousue, couverture toilée\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eCamera Obscura\u003c\/i\u003e re-interprète le texte original du roman de Vladimir Nabokov, publié pour la première fois en 1932. Un trait épais de feutre noir recouvre le texte, ne laissant lisibles que quelques mots qui composent une phrase, révélée au cours des pages.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLa pièce éditée fait écho à la pièce exposée. Le second livre, \u003ci\u003eGhost\u003c\/i\u003e , donne à voir une découverte survenue lors d'une recherche aléatoire à la Bibliothèque Publique d'Information au Centre Pompidou. Un ensemble de 25 reproductions de planches photographiques issues de la collection \"Les Vieux Hôtels de Paris\" édités entre 1910 et 1939 révèle un phénomène qui affirme et contredit à la fois la logique du document. \u003c\/p\u003e\n\u003cp\u003eLe titre de la pièce est issu du vocabulaire bibliothécaire : \"fantôme\" est le nom de la planchette qui remplace un volume emprunté. Il est à la fois un indice du sujet des images. \u003c\/p\u003e\n\u003cp\u003eElizaveta Konovalova, née en 1986 à Moscou, vit et travaille entre Paris et Moscou.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e- Julie Sas\u003c\/p\u003e\u003cp\u003eEmboîtement - petite économie de l'immobile, 2014, édition de 100 exemplaires numérotés et signés\u003c\/p\u003e\u003cp\u003eLa souplesse, ensemble sculptural, 2013\u003c\/p\u003e\u003cp\u003ePartant d'un intérêt porté à la question des corps immobiles, et plus spécifiquement des «hommes-statues» ou «statues vivantes» (homme simulant une statue dans le cadre d'un spectacle de rue), ce projet d'édition envisage une dialectique particulière du vivant et de l’inanimé, du statique et du mobile. La statue vivante, en ce qu'elle présente un potentiel tragi-comique et une dimension atemporelle notable (son esthétique ambivalente se compose à la fois de formes ou de figures empruntées à l’histoire de l’art et de traits culturels actuels), une activité se trouvant être à rebours du système capitaliste contemporain (son économie repose sur les principes d’immobilité, de silence et de contemplation), ainsi qu'un lien étroit avec le domaine de l'image (mise-en-scène statique d’un corps, elle «fait image» du vivant, réfléchit et induit la prise photographique), s'envisage comme une forme paradoxale d’automate, une machine célibataire, une faiblesse ontologique, ou encore comme antithèse, comme utopie ou projet politico-économique absurde.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eÀ ce projet d'édition fait écho, par opposition, un ensemble sculptural, recréation frankenstatienne et actualisée d'une machine datant de la fin du XIXe siècle et servant à faire se tenir debout des corps morts, en vue d'une prise photographique, dans des contextes domestiques, de sorte à rendre, par l'image, l'illusion du vivant. \u003c\/p\u003e\u003cp\u003eJulie Sas, née en 1990 à Paris, vit et travaille à Paris et Genève \u003cbr\u003e\u003c\/p\u003e","brand":"Yvon Lambert Bookshop","offers":[{"title":"Default Title","offer_id":14991375335490,"sku":"","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0085\/4913\/8498\/products\/25548-e2ab3b1e24534dd984b1b1f66a5fea09.png?v=1553687605"},{"product_id":"adel-abdessemed-solo-print","title":"Adel Abdessemed - 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