COLLECTION SFP

L'expo "CONCRETE, Photography and Architecture - Anniversary Exhibition) commence ce 2 mars 2013 au Fotomuseum de Winterthur pour durer jusqu'au 20 mai 2013. La Société française de photographie prête deux autochromes de Gimpel représentant Paris la nuit.
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Ces pièces ont été superbement montées, de nuit, par le restaurateur Bertrand Sainte-Marthe.
Rappelons que Bertrand Sainte-Marthe était intervenu dans l'équipe des constateurs des Rencontres d'Arles. Il avait minutieusement constaté les états de retour des pièces exposées cet été au musée de l'Arles Antique.


CONCRETE, Photography and Architecture
Un commissariat de Thomas Seelig

Architectures and cities are both volumes and images alike. We experience them directly, physically and sensually, as well as through pictures. Pictures speak a language of their own. They offer a discourse that is quite unlike the physical experience of architecture. They transform volume into surface; distil matter into forms and signs – rarely, if ever, leaving it as it is. That is probably why so many architects try to get involved in determining the image of their buildings. The classic architectural photographer is their instrument, following their instructions, photographing the building at the zero hour as soon as it has been completed, cleaned and prepared – before any signs of use emerge, and before the building is occupied and transformed through use.
Concrete – Photography and Architecture seeks to approach the singular and complex relationship between architecture and photography in light-hearted, narrative and dialectical ways. The exhibition explores issues of history and ideology, as well as the specifics of form and material, in the photographic image. The visual appeal of destroyed or dilapidated buildings is also addressed, as are their powerful demonstrations of power and exclusivity, fragility and beauty. To what extent does photography influence not only the way architecture is perceived, but also the way it is designed? How does an image bring architecture to life, and at what point does it become uncanny? How do settlements develop into cities? Or, in sociological terms: how do work and life interconnect differently in, say, Zurich and Winterthur, as opposed to, say, Calcutta? And how do skyscrapers and living spaces translate into the flat, two-dimensional world of photography?