BLCK

Dolorès Marat - A Place In Time

-If one day I did not photograph anymore, I think I would go mad-

BLACK Trailer | Festival 2015 - YouTube

Bilall Fallah: On the first day of school, which was all only, like, artistic white people, he was the only Moroccan. So I asked him, "Are you Moroccan? And he said, "Yeah." So we formed a gang together, and made movies together. It came naturally: Every time I made a movie, he was on my set, and every time he made a movie, I was on set. It was like our minds were connected, sharing the same vision.

And these were student films?

Adil El Arbi: Yeah, in film school. We didn't even pass first year because everybody thought our films sucked.

Fallah: We both flunked. And they were fucking racist.

http://www.newyorker.com/culture/photo-booth/nothing-but-pictures-alex-majoli-and-paolo-pellegrins-congo

“And what is the use of a book,” thought Alice, “without pictures or conversations?”—Lewis Carroll

There are a lot of great pictures in the colossal new book “Congo” (Aperture, 2015), by the photographers Alex Majoli and Paolo Pellegrin: pictures of immense panoramic scope and texture, pictures of deep, elaborate landscapes and of the human dramas that play out across them, scenes of labor, scenes of commerce, scenes of festivity, and scenes of tranquility, crowd scenes and portraits, interiors and exteriors, urban, rural, and wilderness, day and night, life and death. The best of these compositions are presented on a cinematic scale—printed full bleed across double-page spreads, thirty inches wide—and contain a Brueghel-like vastness and intricacy. You need to stand back from the book a little to see the pictures whole, then let your eyes travel the page to see how much is going on within the larger frame: how many different groups of people there are, how many different pieces of machinery, how much stillness and how much motion, how many layers of foreground and background are staggered beneath the horizon, in a single shot of a riverside pier flocked by traders, or of an oceanfront beach from which fishing boats are being launched, or of a field where bedrock is hammered down into construction stones.

That’s exactly the case. You buy your camera, and you buy your film, and everything is on you. This is the freedom photography gives you, but it is also a big challenge because you have to handle it.

Although the personal nature of this exhibition marks a departure in his work, he says the personal aspect has always been there. “For me it’s always been about putting myself into my work…