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Ballodromes identifies and lists nearly 400 pelota courts and as many villages in Flanders and Wallonia. Long considered one of the most popular sports in Belgium, ball pelota has the particularity of having fields delimited by white lines painted on the ground on the village squares. Through the observant and methodical gaze of Andy Simon, the book Ballodromes testifies to the evolution of a territory and its uses, to the transformation of these squares where the social life of a village was previously embodied.

Shivers is a series of landscape fragments, of objects, captured in a ghostly zone. During his drifts through various tourist sites, various nature reserves around the Mediterranean Sea, Sébastien Arrighi is sensitive above all to the margins of these stereotyped spaces. Traces, shocks, sounds. An energy charged the landscape, with a dull intensity, like a shiver going through the body in the dark.

Six years after the birth of his first child, Gilles Pourtier delivers an intimate journey through the months that preceded him. Full-page black and white photographs function as clues to a transformation. They carry trivial memories and symbols, revealing, in filigree, the existential vertigo that prevails when one prepares to transmit life and therefore, the inevitability of death. They read like so many ultrasounds of this before, in which we meet children, adolescents and friends who are already parents. Gilles Pourtier frees himself from a painful story, that of a trying pregnancy. It is literally an introspective "echoing writing" that responds, in retrospect, to helpless empathy. This incommunicability is shared. t is expressed in the message he receives from the mother, as they are separated by a thousand kilometers: "If my tears flowed in your eyes" (si mes larmes coulaient dans tes yeux ) which he makes the starting point of the book.

In Concrete Mirages, Tom de Peyret freezes a seemingly abandoned setting, from the flashiest towers to empty dams, only a scattering of onlookers walk in the stifling heat. These towers emerge like golden totems from a landscape of which there is almost nothing left, as if we've been propelled into a dystopian world following some kind of catastrophe. Yet these elements recount a true and shared history, that of the energy spent in an absurd and vain quest, the quasi-impossible construction of a city in the middle of the desert. It is the very story of the birth of Las Vegas and its urban unrest. The photographer's minimalist work runs counter to the almost hysterical profusion that emanates from the cit The photographer's minimalist work runs counter to the almost hysterical profusion that emanates from the city. Between vertical madness and horizontal vertigo, Tom de Peyret paints a unique and stellar portrait of Sin City.

Depressed by the confinement Eric Tabuchi and Nelly Monnier devised an escape plan, photograph themselves on green screen and appeal to internet users: "Download our silhouettes, let us travel in the settings of your choice then send us back these souvenir photos". During the following two weeks, they received nearly a thousand proposals, poetic, political, funny, serious, beautiful and sometimes less beautiful, from more than 400 contributors. Astonishing catalog of images each referring to this unique period, Décor-Export brings together people of very different origins and notoriety and brings together people from architecture as well as drawing, photography or painting but also simple amateurs finding in this experience - that is what many have told us - a window through which to travel. Décor-Export, in addition to the profusion of proposals, the energy it restores, the questions it asks about the concept of author, production or distribution, constitutes an exciting collective testimony to what these weeks were so special.

Under the guise of a classic journey from east to west across the American continent, Fall and Fire is at the same time a photographic proposal and a conceptual work. Fall brings together images taken on the East Coast of the United States in the months leading up to Barack Obama's first election. The book is a subjective perspective on the invasiveness of nature in New England. Fire can be interpreted as a remake of Fall eight years later, this time on the West Coast, in the months before the election of Donald Trump. California asphalt and desert replace the forests of the first book. These are two independent volumes, but the spaces that separate them are tangible: an eight-year gap in the country's history, in the life and practice of Nicolas Giraud; and the gaps between the two coasts of the continent, between digital images and analog images. The connections and correspondences from one book to another can also be observed, with the photographs and gestures echoing, often by chance, from one book to another. The two volumes are part of the same circular structure. Fall opens in late summer and runs until winter; Fire opens in winter and runs until summer. With Fall as with Fire, the images make no precise statements, but rather provide hints at what is being played out beneath the surface.

Gilles Pourtier was welcomed for a year at 3 bis, a contemporary art center located in the heart of the Montperrin psychiatric hospital in Aix-en-Provence. The large repair area is interested in this place of care and its serial architecture, examining the typological variations of the pavilions where the patients are accommodated. The photographs emphasize the repetitive nature and mass production of these buildings, bringing this industrial aesthetic closer to the issues of minimal art. Gilles Pourtier also develops a series of drawings titled Wunderblocks who questions the relationship between buildings and individuals. Multidisciplinarity, defended in this work crossing drawings, photographs, architecture, allows to bring a new look on the subject of psychiatry by focusing on the close relationship between pathologies and environments. The texts of Jean-Christophe Arcos (curator) and Philippe Prost (architect) support and enlighten this approach throughout the book. Gilles Pourtier took part in a one-year artist's residency at 3 bis, a contemporary art center located in Montperrin psychiatric hospital in Aix-en-Provence. The Great Observation Box focuses on this mental health institute and its serial architecture, examining the typological variations of the pavilions where patients are admitted. The photographs underline the repetitive nature and the mass production of these buildings, establishing a parallel between this industrial aesthetic and the issues of minimal art. Gilles Pourtier also developed a series of drawings entitled Wunderblocksthat matters the relationship between built environments and individuals. The multidisciplinary approach in this publication mixes drawings, photographs and architecture. It is a new perspective on the subject of psychiatry by observing the relationship between pathologies and environments. Throughout the book, the texts by Jean-Christophe Arcos (exhibition curator) and Philippe Prost (architect) complete and shed light on this process.

In 1960, shortly after the publication of Bonjour TristesseFrançoise Sagan takes a holiday on the Normandy coast with two friends. She rents an old and well known house, the Manoir du Breuil, has few kilometers from Deauville, from July 8 to August 8. The night before leaving she goes to the casino and spends the night there. She comes out with 80,000 francs in cash. In her bag. Once back to the house it is 8 am. The landlord is there for inventory and paperwork. She's exhausted. By any chance he would be selling the house, she asks. He says yes, 80,000 francs would do. It did not. Françoise Sagan remained there for the rest of her life. Marguerite Bornhauser's series "8" echoes this story. A free interpretation, a visual revisitation of that story combining luck, the Casino and games, Deauville and its luxury hotels, the people going in and out, nightlife and the number 8.

Autonomous Objects is a set of photographs made at ZAD of Notre-Dame-des-Landes. The objects, sculptures and installations produced in-situ share the space with the dwellers and signal their territory. Produced and used to live autonomously on the ground and reply to police and military forces' repeated assaults, they act as testimonies of singular hand-crafted know-how: creativity and protest intertwined. Like some scout movement, the photographic set focuses on various concrete ways to retake hold of material and territorial living, and by revealing the plasticity of that mode of expression, it aims at mapping out the area.

A name that clears your throat, catches your eyes and ends up infiltrating your thoughts. If you have not heard of Raoul Reynolds, that comes as no surprise. In the shadows he remained, in silence. Raoul Reynolds was one of many dark paths in life - despite burning investigation - leave us with countless unanswered questions. Raoul Reynolds was a pedlar, a confidence trickster, a camelot of art, a storybook character thumbing his nose to a history of a capital. Here we are offered another experience: change the angle and look at the margin. Artist, his default role, he used as a cover for his life of secrets while creating works of art as if they were gateways that would enable him to cross through time. It would be a very good thing if it was going to be so, but it was going to be a little bit more than anything. Alternately a surrealist and a minimalist, he would overcome the most unexpected masks. It was more particularly at the end of his life, though, during exile, that he let himself be indulge totally, undistractedly in art. Here is a retrospective path, a set of works attributed to him, a hypothetical stack where we sometimes give way to doubts, and doubts give way to stories fired by our own fantasies. The exhibition Raoul Reynolds: A retrospective was shown in 2016 at the Glasgow International festival in Scotland and at the Friche la Belle de Mai on the occasion of the Rentrée de l'Art Contemporain in Marseille.

Julie Hascoët was the guest in residence in 2017 at the Carré d'Art in Chartres de Bretagne. Taking advantage of an annual programming with cartography as the main axis, and enrolling in a proposed residence in the local area, the project proposed by Julie Hascoët has extended these two themes by adding a nomadic dimension. Driven by the desire to move the boundaries of the city of Chartres of Brittany to give it a new form, it has extended its research area to four of the municipalities that are twinned: Hassmersheim in Germany, Lwowek in Poland, Calarasi in Romania and Saint-Anthème in the Puy-de-Dôme. From season to season, from one vagrancy to another, the photographer has reactivated the twinning principle from a new, visual angle this time.

Only the fires say offers a methodical sequence of images a visual and perceptive narrative. The assonances and dissonances between the impressions (hot and cold, empty and full, slow and fast . ) are orchestrated by subtle transitions, thanks to which each image is "read" in the light of the trace left in memory by the previous. The idea of ??combustion is prologue from the first image. It thus introduces a leitmotiv that will soon deploy throughout the book, the fire announcing the end of a season. Through a methodical sequencing, Only the fires say forms a visual and perceptual story. The assonant and dissonant impressions are subtle transitions, each image being "read" in the light of its predecessor. The idea of ??combustion is suggested in the work's very first image. It therefore introduces a leitmotiv that runs throughout the book, the fires announcing the end of a season.

SKKS is part of the code found on license plates in Slovakia. Borrowed from the European Union's nomenclature of statistical territorial units and the international license plate codes, these four letters indicate the origin of a vehicle: SK for Slovakia and KS for the Kosice-okolie District.  All the photos in this book were taken during the summer of 2013 during a travels on foot along the roads of Slovakia by Gilles Pourtier.

"Capturing a few small moments, Not All is a series of photographs that constructs a singular picture of Southeastern United States and evokes the passage from Winter to Spring, and the upcoming birth of a son. Pascal Amoyel develops his own subjective approach to photographing this territory, which exists both as a concrete stretch of land and as a fictional space onto which we project our imagination. These evocative lyric associations with the country counterbalance the documentary underpinning of the series. Not All is a poetic journey where people and places emerge as a muted representations of daily life, which thread through the book, reminding us that the everyday is unfathomable. "- Anne Immelé