PARAD

Dans cette vidéo nous présentons le travail de 5 photographes liés à la ville de Los Angeles, Californie. Issue de leurs archives et documentations personnelles, notre sélection projette différentes perspectives autour de sujets communs et intemporel.

“Fragments of Los Angeles” rend hommage au livre éponyme de Gusmano CESARETTI couvrant la période 1969-1989; dont le travail a marqué toute une génération de photographes et d’artistes de cette ville.

Motivés par la volonté d’archiver des réalités sociales proches des minorités et des scènes de fragmentation documentées, nous avons invité les artistes suivants aux côtés de Gusmano: .bower, .banda.s, , .

Ce montage de 7 minutes présente, dans l’ordre, un extrait de notre interview de Gusmano CESARETTI, les lowriders de LA, les cholos “CACOS”, les travailleuses du s*xe de Figueroa et les habitants de Skidrow à Downtown LA.
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In this video we present the work of 5 photographers tied to the city of Los Angeles, California. Drawn from their personal archives and documentation, our curation emphasizes contrasting perspectives around timeless subjects. “Fragments of Los Angeles” is a tribute to the eponymous book by Gusmano CESARETTI that covered the period between 1969-1989, influencing a whole generation of LA photographers and artists.

Motivated by a commitment to archive social realities close to the minorities and scenes of fragmentation documented, we invited the following artists alongside Gusmano: .bower, .banda.s, , .

This 7-minute edit presents, in succession, an extract from our interviews with Gusmano CESARETTI, the lowriders of LA, the “CACOS” cholos, the s*x workers of Figueroa and the residents of Skidrow in Downtown LA.

"IZI"
par

32 pages
Impression quadri en risographie par Quintal Atelier
200X250 mm
Reliure cousue par .publishing
Mise en page et dessins
Édition limitée de 115ex. numérotés, signés et accompagnés d’un ex-libris réalisé par Thami Nabil.

Co-publié par .publishing et à l’occasion de l’exposition « SANS DÉLAI » de Thami et à la galerie Miyu.

Disponible sur www.paradpublishing.com

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RDV au vernissage le 16-11-2023
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18H00
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01-07-2023/ présente .publishing

Exhibition works:davidsanchez


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“IT TAKES A WHOLE VILLAGE TO RAISE A CHILD”
Contributor:

“In your work we see an evolution with each generation you photograph, but also the existence of some enduring social facts. History repeats itself from generation to generation. What do you think about this

When you live in the block, you have kids from the 2000s, kids from '93 and older. I'm from '93, I'm 29 years old. We're all sort of together – black, white, Chinese, young or old – it's the future I'm trying to show. It's my life that I try to document. Photography is above all a passion but it is also a therapy for someone who grew up without his family, in a way as an orphan. Taking pictures of the people I grew up with brings a very personal dimension to my work. I already know where I come from and it's a strength for me to showcase my community.
It's not something new, but we are systematically reminded of these clichés – "guys from the block are violent, drug dealers" etc... I take pictures of guys who go to “Science Po” [A selective university in Paris], guys who sell drugs, others who make music... I try to put forward these people to show the diversity and the richness that is often forgotten or undermined.

What do they think of your work?

Like I said, things change over time. When I released my book with Pablo, it opened up things. The people around me respected what I was doing because it recontextualised the environment in a positive way. It is important that they see something like that. It's a way of elevating oneself.
The goal is not to end up rich, but not to live in “hess” [total hardship]. We acknowledge one another, we stand together and support each other – If it can serve a positive purpose, then that's great. “

Full interview with Patrick Bona in PARAD Volume II.

"FRAGMENTS OF LOS ANGELES"
Contributor:

“Well, I saw a guy on the street with a beautiful car, it was like a 1938-39 car. Beautiful, you know. I was in my car, too, a little Volkswagen. I pulled up next to him and I said: “I want to shoot you.”
They stopped and said “You're going to shoot me !?”
I said, “Yeah, I want to take a photograph of you because I love your car, it's a beautiful car.”
He said ok. He had a gun in his waist, and so he took out his gun and he posed for me. There was another guy in the back of the car so I photographed them together, and then we all got in the car.

I was always taking photos with them after that, the Klique car club. I spent a lot of time with them years after years. Some of them ended up in jail, one for murder. Some of the gangs, they were good friends with me, I treated them the same as anyone else, you know. They never killed me, they didn’t do anything bad to me and I didn’t do anything bad to them. They invited me to parties and their families. “

Full interview with Gusmano Cesaretti in PARAD VOLUME II.

"Santos Malandros"
Contributor:

"Violence has always been present in my own life and society. The most important events in society that I grew up with, were marked by violent acts. We cannot deny it, to deny it would mean to negate our own history. Over the years, violence in its various forms adapted in our society. Consequently, we have created and designed social structures to include this violence in forms of expression, communication and socialization.

More than 5 years ago I began to document my city, the city of Caracas, Venezuela. I started this process by letting myself be guided by instincts and experiences gathered in the streets of Caracas. More and more, I’ve felt the desire to portray the images and realities that formed part of my everyday environment. The story of my life and of the lives of many young individuals who grew up in Caracas were composed of contrasting, conflicting realities. More concretely, I’ve witnessed huge social differences within the society, between people of the middle and lower classes. There is not one single reality in Caracas, but hundreds of different stories you could tell. Through photography and ethnography, I started to channel all the reflections that Caracas generated within me."

Full series from Ronald Pizzoferrato in PARAD Volume II.

"THE DEAD RULE THE LIVING"
Contributor:

"Russia has a general sacral attitude towards death. At the same time, death as a topic is quite taboo. Our funeral ceremonies are very tragic. Death plays an important role in Orthodoxy. Mourning and grief influence our everyday lives a lot and find interpretations in art forms like sculpture and memorials.

Tombstones in Russia need to be very informative. It has to have a full name, date of birth, date of death. The tomb has to have an epitaph, sometimes written with the cause of death and photos of the deceased. There is a strong tradition to order and design your tomb while you are still alive. Older people save money for a long time to do that. Instead of spending money on, for example, traveling and exploring the world, they are worried about how to die with dignity. They are less concerned if there is dignity around them while they are still alive. I explore the phenomenon of death and people's approach to it. I want to tell people to live their life and stop thinking about the money for a tomb after they die."

Full interview in PARAD II.

“FALVO”
Contributor : JACK IRV

"Across the street I see a man somewhere between a Limo driver and the Genovese underboss ripping a seneca menthol cigarette. His baldhead catches all of the afternoon’s glare."

Jack Irv’s series of intrusive flash portraits crosses multiple countries, provoking an endless wander through cities and their tormented inhabitants.

Full series in PARAD Volume II.

FADING MEMORIES


"There are symbols from my life, from growing up in LA that lead a voice in what I want to be seen. Everyday people, working class lives that have created so much culture and subculture for my city.
It feels like the city is being erased, displaced, because capitalism and business don't believe in culture. Just the culture of money which is soulless."

JAR OF TEETH
*x

"I have been photographing Britain for over ten years and I’m still figuring out which cultural aspects of the country I can relate to and what it means to me that I was born and raised here. There is a lot about this island and its inhabitants that I do not respect or understand but also elements I am proud of. I do sometimes wonder how profoundly this island, its people and its past are embedded in my psyche. "

Full speech from Tommy Suss*x in PARAD Volume II.

"U RISPETTU HÈ DI STÀ ZITTU


This project gathers photographs of family archives (1950-2000) and personal taken during the last 3 years. By putting these photographs on the same level, I chose to confuse space and time as a way of inscribing a continuity and thus, by the object, to pay tribute to those who preceded me.

When I was little I heard the elders speak of the relationship to the sacred and the cult of the dead, more broadly of the values and traditions of the Corsican people. Through silence, we are taught to serve the interests of our family.

In 1963, the nocturnal Easter procession of the Catenacciu, symbolizing the ascent of Christ to Golgotha, took place in my village in Sartène (South Corsica).
My grandfather, anonymous and hooded, participated that year without any member of my family ever knowing about it.
His wife, Annonciade, will keep all her life the newspaper cuttings of this day where her husband went to expiate his sins. (cf. the Catenacciu is known to wash away serious sins of blood)

Through this photographic project, I tried to give substance to memories.
There are things that our elders told us and that we will never forget."
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21-07-2022
FANZINE LAUNCH