A few thoughts on Paris Photo 2009 (with some delay)

This Paris Photo Fair was the 10th edition I could attend. It is always a pleasure (when possible, I even take a day off to get a broad and quiet view). Here are a few thoughts or comments on this specific edition :

The scope. In 2010, what is a Photo Fair without images by Wolfgang Tillmans, Philip Lorca Dicorcia or Thomas Ruff (except for the illustrated book shown at Toluca Booth) ? The absence of some of these cutting edge photographers poses a challenge. To a lower extent, one could also regret the fact that conceptual artists using photography among other media (Olafur Eliasson, Roni Horn, Rodney Graham, etc) are not featured here. Of course, the reason lies on the art market structure. These artists are represented by contemporary art galleries. And their images can sometimes be seen at Frieze, Fiac or Basel.

The bargain. A Japanese gallery stand sold Taiji Matsue unique prints, details of black&white landscapes, for 50 euros. For those who own one of the two corresponding Matsue books (including the Hysteric one), it made a wonderful addition.

The worst stand. Pieter Hugo’s Nollywood exhibition at Michael Stevenson gallery. Extra Large printing size and delicate framing seemed totally inadequate to these harsh images. Commercial recipes of the German Photography School can’t be applied to all photographic works.

The repetition. Each year, visitors can have a look at new Massimo Vitali beach landscapes. These Diasec prints are always gorgeous. But it is getting difficult to understand Vitali’s artistic project. As long as clients subscribe each year…

The positive surprise. Before arriving at Toni Tapies Gallery stand, I had never seen large Burtynsky prints. The Australia mines images exhibited there were simply beautiful. Days later, I saw Quarries prints at the Pictet Prize exhibit in Passage de Retz, in Paris. Some may find Burtynsky’s work too “easy” and trendy, but the fact that he built a coherent ensemble since the 80’s, when environmental issues were not a priority, makes it truly significant.

The books. One of my favourite features of Paris photo is the presence of many specialized booksellers. Except for Ken Ohara’s One first edition (a book I had been searching for a long time), no major purchases this year. As a bronze donator for Rob Hornstra’s Sotchi Project, I also took my copy of Sanatorium, his last publication.