[Fall 2022]

Walking in the city, travelling down country roads, discovering the country, exploring foreign capitals – in short, getting moving – we confront different perspectives, contextualize or a rm our values, and take the measure of the world we live in. Such mobility, such constant travels, are the basis for the works brought together here, which are rooted in the desire to show the underside of America, to invert the icons of planetary tourism, or to take stock of the hypertrophy of major urban centres.

JUSTINE KURLAND [AND MOYRA DAVEY]
Highway Kind (A Love Story)

Justine Kurland presents excerpts from Highway Kind focusing on her son – who she raised on the road, taking him with her on all her photographic wanderings – showing his evolution from childhood to adulthood. It o ers an opportunity to reflect on her anxieties about the future of her son in a country torn apart by antagonistic values. These are expressed through an exchange with Moyra Davey, who comments on Kurland’s images from the viewpoint of her own experience as a mother of a young adult grappling with the same reality.
with an essay by Moyra Davey and an addendum by Justine Kurland

CHUN HUA CATHERINE DONG
I Have Been There – New York

Since 2015, Chun Hua Catherine Dong has been creating performances at different iconic places in global cities. She lies on the ground, each time covered with a di erent silk blanket embroidered with traditional Chinese motifs, and is photographed in front of these places emblematic of the triumph of urban life. I Have Been There also distorts the common tourist snapshot and the ubiquitous sel e by displaying an unusual bodily presence that exposes attributes of an original culture. The New York photographic performance is part of a series produced in fifteen countries, thirty-six cities, and more than three hundred sites.
with an essay by Didier Morelli

PIERRE BLACHE
L’insolence des villes

There is little human presence in Pierre Blache’s images of cities, except at a microscopic scale or in his evoking of cubicles for living or lit windows. Instead, he depicts the city itself as a living organism formed of networks (electricity, transportation, ventilation, and so on) and living modules clumped together. The points of view are distant or from dizzyingly high or low angles, as if to signal how humans are overwhelmed by the cities that they have created to live in, and in which they search for a bit of humanity.
with an essay by Michel Hardy-Vallée

[ Complete issue, in print and digital version, available here: Ciel variable 121 – WANDERINGS ]