Après plus d’un siècle passé sous domination britannique, le Ghana, ancienne Côte-de-l’Or, célèbre son indépendance le 6 mars 1957, porté par la détermination des groupes politiques ghanéens, et notamment de Kwame Nkrumah, qui deviendra le premier président en 1960. Artisan du projet panafricaniste, le pays ouvre ainsi au reste de l’Afrique subsaharienne la voie vers l’émancipation politique. À l’aube d’une liberté nouvelle s’annoncent des temps complexes, où le Ghana doit à la fois construire les structures de son État, renforcer son autorité politique dans le contexte de la guerre froide et se forger une identité nationale.

Parmi les multiples défis d’ordres économique, social et politique, la refonte d’une identité propre tant culturelle qu’intellectuelle est au cœur du projet d’émancipation du Ghana. Musique, théâtre, danse, littérature et arts visuels participent de cet élan en prolongeant de manière sensible cette récente expérience de liberté.

La photographie occupe alors une place cruciale dans l’élaboration de l’image de la jeune nation, au sein de son territoire comme à l’étranger. Billets de banque, brochures, magazines illustrés, cartes postales, timbres et même textiles sont les supports de cette nouvelle image nationale. Fier de ses premiers accomplissements et objet d’admiration hors de ses frontières, le Ghana suscite une effervescence éditoriale, au seuil de son indépendance dans les années 1960-1970. Le pays voit ainsi son image analysée, documentée et célébrée sous de multiples facettes dans de nombreux livres de photographies. À l’instar des désormais emblématiques Ghana : An African Portrait (1976) de Paul Strand ou encore The Roadmakers (1961) du photographe américain Willis E. Bell et de la dramaturge ghanéenne Efua Sutherland, ces ouvrages offrent de nouveaux espaces de représentation du pays et de son peuple, aux antipodes de l’iconographie coloniale.

Ghana ! Rêver l’indépendance explore cet imaginaire visuel qui s’épanouit en particulier dans l'édition, et l’imprimé en général, durant les premières décennies de l’indépendance. En dialogue avec ces représentations historiques, les artistes contemporains Rita Mawuena Benissan et Carlos Idun-Tawiah interrogent et éclairent cet héritage visuel qui se vit – entre doutes, espoir et nostalgie – plus que jamais au présent.

","Après plus d’un siècle passé sous domination britannique, le Ghana, ancienne Côte-de-l’Or, célèbre son indépendance le 6 mars 1957, porté par la détermination des groupes politiques ghanéens, et notamment de Kwame Nkrumah, qui deviendra le premier président en 1960. Artisan du projet panafricaniste, le pays ouvre ainsi au reste de l’Afrique subsaharienne la voie vers l’émancipation politique. À l’aube d’une liberté nouvelle s’annoncent des temps complexes, où le Ghana doit à la fois construire les structures de son État, renforcer son autorité politique dans le contexte de la guerre froide et se forger une identité nationale. Parmi les multiples défis d’ordres économique, social et politique, la refonte d’une identité propre tant culturelle qu’intellectuelle est au cœur du projet d’émancipation du Ghana. Musique, théâtre, danse, littérature et arts visuels participent de cet élan en prolongeant de manière sensible cette récente expérience de liberté. La photographie occupe alors une place cruciale dans l’élaboration de l’image de la jeune nation, au sein de son territoire comme à l’étranger. Billets de banque, brochures, magazines illustrés, cartes postales, timbres et même textiles sont les supports de cette nouvelle image nationale. Fier de ses premiers accomplissements et objet d’admiration hors de ses frontières, le Ghana suscite une effervescence éditoriale, au seuil de son indépendance dans les années 1960-1970. Le pays voit ainsi son image analysée, documentée et célébrée sous de multiples facettes dans de nombreux livres de photographies. À l’instar des désormais emblématiques Ghana : An African Portrait (1976) de Paul Strand ou encore The Roadmakers (1961) du photographe américain Willis E. Bell et de la dramaturge ghanéenne Efua Sutherland, ces ouvrages offrent de nouveaux espaces de représentation du pays et de son peuple, aux antipodes de l’iconographie coloniale. Ghana ! Rêver l’indépendance explore cet imaginaire visuel qui s’épanouit en particulier dans l'édition, et l’imprimé en général, durant les premières décennies de l’indépendance. En dialogue avec ces représentations historiques, les artistes contemporains Rita Mawuena Benissan et Carlos Idun-Tawiah interrogent et éclairent cet héritage visuel qui se vit – entre doutes, espoir et nostalgie – plus que jamais au présent.",[209],{"_23":121,"_122":210},[211],{"_23":125,"_126":212,"_156":-5},{"_128":98,"_129":-5,"_21":213,"_35":214,"_141":219,"_103":221,"_148":222,"_152":-5,"_53":125,"_153":-5,"_154":224},"gid://shopify/ProductVariant/58322800902408",{"_132":133,"_21":215,"_29":216,"_136":-5,"_137":217,"_139":218},"gid://shopify/ProductImage/85956956487944","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/15363.png?v=1785321722",1920,904,{"_143":220,"_145":146},"49.0",{"_53":203,"_108":205},[223],{"_23":121,"_151":125},[-5],{"_159":226},[227,229,233],{"_162":228},{"_21":215,"_29":216,"_136":-5,"_139":218,"_137":217},{"_162":230},{"_21":231,"_29":232,"_136":-5,"_139":218,"_137":217},"gid://shopify/ProductImage/85956956553480","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/15367.png?v=1785321722",{"_162":234},{"_21":235,"_29":236,"_136":-5,"_139":218,"_137":217},"gid://shopify/ProductImage/85956956520712","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/15364.png?v=1785321722",{"_21":215,"_136":-5,"_139":218,"_29":216,"_137":217},{"_168":239,"_170":240},{"_143":220,"_145":146},{"_143":220,"_145":146},[242,244,247,250,-5,253,262,265],{"_174":175,"_151":243,"_177":178,"_179":-5},"James Barnor",{"_174":245,"_151":246,"_177":178,"_179":-5},"dimensions","[{\"value\":27.5,\"unit\":\"CENTIMETERS\"},{\"value\":20.0,\"unit\":\"CENTIMETERS\"},{\"value\":1.8,\"unit\":\"CENTIMETERS\"}]",{"_174":248,"_151":249,"_177":178,"_179":-5},"pages","160",{"_174":251,"_151":252,"_177":178,"_179":-5},"weight","{\"value\":0.78,\"unit\":\"KILOGRAMS\"}",{"_174":254,"_151":255,"_177":256,"_179":257},"language-version","[\"gid://shopify/Metaobject/164291117320\"]","shopify",{"_182":258},[259],{"_21":260,"_108":261},"gid://shopify/Metaobject/164291117320","fra-francais",{"_174":263,"_151":264,"_177":178,"_179":-5},"prefacer","Damarice Amao",{"_174":266,"_151":267,"_177":178,"_179":-5},"chaporichtext","{\"type\":\"root\",\"children\":[{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"Photographies\\n\",\"bold\":true},{\"type\":\"text\",\"value\":\"James Barnor\\nRita Mawuena Benissan\\nCarlos Idun-Tawiah\\nPaul Strand\"}]},{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"Textes\\n\",\"bold\":true},{\"type\":\"text\",\"value\":\"Damarice Amao\\nBen Krewinkel\\nMargaux Lavernhe\\nManuela Nebuloni (Postbox Ghana)\"}]},{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"Exposition\\n\",\"bold\":true},{\"type\":\"text\",\"value\":\"Ghana ! Rêver l'indépendance, 1957-1976\\n\",\"italic\":true},{\"type\":\"text\",\"value\":\"Les Rencontres d'Arles\\n6 juillet - 4 octobre 2026\"}]}]}",{"_182":269},[270,272,274],{"_108":271,"_53":243},"james-barnor",{"_108":273,"_53":54},"books",{"_108":185,"_53":186},{"_128":98,"_129":-5,"_21":213,"_35":276,"_141":277,"_103":278,"_148":279,"_152":-5,"_53":125,"_153":-5,"_154":281},{"_132":133,"_21":215,"_29":216,"_136":-5,"_137":217,"_139":218},{"_143":220,"_145":146},{"_53":203,"_108":205},[280],{"_23":121,"_151":125},[-5],[],{"_25":-5,"_53":-5},{"_21":285,"_53":286,"_107":287,"_108":288,"_110":289,"_25":290,"_112":113,"_114":113,"_115":116,"_117":111,"_118":291,"_157":309,"_164":329,"_166":330,"_154":333,"_180":353,"_187":359,"_195":366,"_197":367},"gid://shopify/Product/10361564004616","Last resort","André frère","last-resort","

Almost a quarter of a century after its publication, it is hard to underestimate the importance of The Last Resort, both for British photography and for Martin Parr’s career. Martin Parr made The Last Resort from 1982 to 1985.

Between satire and cruelty – not without a certain tenderness for his fellow Britons – he portrays families of modest means taking their holidays in New Brighton near Liverpool, a small seaside resort in decline. What should have looked like a summer district, put through Parr’s mill, suddenly takes on the air of an industrial zone.

in The Last Resort, Martin Parr evokes his nostalgia for the 1960s with biting irony. He denounces the end of a world (the working class world) and its values, as well as the advent of a new, consumerist conception of life. A key publication in Martin Parr’s oeuvre, with a foreword by Gerry Badger.

Martin Parr (born 1952) is one of the best known documentary photographers of his generation. He is a key figure in the art world both for his photographic work and for his involvement as a curator. In 2017 he opened the Martin Parr Foundation in Bristol, dedicated to promoting British documentary photography. He is member of the Magnum agency since 1994, of which he was also president from 2013 to 2017. He has published more than 100 books. His work is included in several major museum collections and has been the subject of a retrospective at the National Portrait Gallery in London in 2019. Martin Parr is represented by Kamel Mennour, Paris/London.

","Almost a quarter of a century after its publication, it is hard to underestimate the importance of The Last Resort, both for British photography and for Martin Parr’s career. Martin Parr made The Last Resort from 1982 to 1985. Between satire and cruelty – not without a certain tenderness for his fellow Britons – he portrays families of modest means taking their holidays in New Brighton near Liverpool, a small seaside resort in decline. What should have looked like a summer district, put through Parr’s mill, suddenly takes on the air of an industrial zone. in The Last Resort, Martin Parr evokes his nostalgia for the 1960s with biting irony. He denounces the end of a world (the working class world) and its values, as well as the advent of a new, consumerist conception of life. A key publication in Martin Parr’s oeuvre, with a foreword by Gerry Badger.Martin Parr (born 1952) is one of the best known documentary photographers of his generation. He is a key figure in the art world both for his photographic work and for his involvement as a curator. In 2017 he opened the Martin Parr Foundation in Bristol, dedicated to promoting British documentary photography. He is member of the Magnum agency since 1994, of which he was also president from 2013 to 2017. He has published more than 100 books. His work is included in several major museum collections and has been the subject of a retrospective at the National Portrait Gallery in London in 2019. Martin Parr is represented by Kamel Mennour, Paris/London.",[292],{"_23":121,"_122":293},[294],{"_23":125,"_126":295,"_156":-5},{"_128":98,"_129":-5,"_21":296,"_35":297,"_141":302,"_103":304,"_148":305,"_152":307,"_53":125,"_153":-5,"_154":308},"gid://shopify/ProductVariant/51795537133832",{"_132":133,"_21":298,"_29":299,"_136":-5,"_137":300,"_139":301},"gid://shopify/ProductImage/65917545611528","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_martinparr_lastresort_main.png?v=1750523153",2640,3300,{"_143":303,"_145":146},"39.5",{"_53":286,"_108":288},[306],{"_23":121,"_151":125},"SKU-PARR-THELASTRESORT-39,5",[-5],{"_159":310},[311,313,317,321,325],{"_162":312},{"_21":298,"_29":299,"_136":-5,"_139":301,"_137":300},{"_162":314},{"_21":315,"_29":316,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/65917545480456","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_martinparr_lastresort_hover.png?v=1750523153",{"_162":318},{"_21":319,"_29":320,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/66196710752520","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_martinparr_lastresort_additional01.jpg?v=1750859847",{"_162":322},{"_21":323,"_29":324,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/66196711604488","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_martinparr_lastresort_additional02.jpg?v=1750859848",{"_162":326},{"_21":327,"_29":328,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/66196709507336","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_martinparr_lastresort_additional03.jpg?v=1750859847",{"_21":298,"_136":-5,"_139":301,"_29":299,"_137":300},{"_168":331,"_170":332},{"_143":303,"_145":146},{"_143":303,"_145":146},[334,336,338,340,-5,342,349,351],{"_174":175,"_151":335,"_177":178,"_179":-5},"Martin Parr",{"_174":245,"_151":337,"_177":178,"_179":-5},"[{\"value\":24.9,\"unit\":\"CENTIMETERS\"},{\"value\":30.4,\"unit\":\"CENTIMETERS\"},{\"value\":1.5,\"unit\":\"CENTIMETERS\"}]",{"_174":248,"_151":339,"_177":178,"_179":-5},"84",{"_174":251,"_151":341,"_177":178,"_179":-5},"{\"value\":785.0,\"unit\":\"GRAMS\"}",{"_174":254,"_151":343,"_177":256,"_179":344},"[\"gid://shopify/Metaobject/164334076168\"]",{"_182":345},[346],{"_21":347,"_108":348},"gid://shopify/Metaobject/164334076168","eng-anglais",{"_174":263,"_151":350,"_177":178,"_179":-5},"Gerry Badger",{"_174":266,"_151":352,"_177":178,"_179":-5},"{\"type\":\"root\",\"children\":[{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"\\\"This unprecedented tone, of which Parr was a major pioneer, was not limited to the British Isles. It also marked the beginning of a period of vigorous renewal in European photography, and the emergence of a movement later known as the \\\"New European Color Photography.\\\" Gerry Badger\"}]}]}",{"_182":354},[355,357,358],{"_108":356,"_53":335},"martin-parr",{"_108":273,"_53":54},{"_108":185,"_53":186},{"_128":98,"_129":-5,"_21":296,"_35":360,"_141":361,"_103":362,"_148":363,"_152":307,"_53":125,"_153":-5,"_154":365},{"_132":133,"_21":298,"_29":299,"_136":-5,"_137":300,"_139":301},{"_143":303,"_145":146},{"_53":286,"_108":288},[364],{"_23":121,"_151":125},[-5],[],{"_25":-5,"_53":-5},{"_21":369,"_53":370,"_107":24,"_108":371,"_110":372,"_25":373,"_112":113,"_114":113,"_115":116,"_117":111,"_118":374,"_157":390,"_164":406,"_166":407,"_154":410,"_180":425,"_187":431,"_195":438,"_197":439},"gid://shopify/Product/10069863661832","Les rêveries de Lavinia","flore-les-reveries-de-lavinia-signe","

Lavinia: this Italian-sounding name of Latin origin evokes, on its own, a poetic world, filled with the scents of citrus and honey. With this series, FLORE takes us on a journey reminiscent of a Grand Tour through Italy, much like the one undertaken by Romantic artists of the 19th century. The technique she uses—the soft focus, the grain of the images, their coloration reminiscent of autochromes—all contributes to a sense of travel through time.

As always in FLORE’s work, each of her series is rooted in a part of herself, as if it were connected to a greater, older story—as if she had inherited the memories of others and sought to make them come alive for us. Once again, there is something deeply personal here: while clearing out her aunt’s house, she discovered a bundle of letters—traces of a long friendship between her aunt and an Italian woman named Lavinia.

Haunted by this correspondence, FLORE has been journeying through Italy for the past ten years. Les rêveries de Lavinia is both an inner and initiatory voyage, leading us from the Amalfi Coast to Sicily, through Florence, Rome, Naples, Milan, Turin, Venice, and Lake Maggiore. Steeped in melancholy and suspended in time, the photographs awaken the imagination, telling the timeless story of a passionate love, composed of wanderings through Renaissance palaces and their gardens. Classical sculptures embody lovers, while the journey is punctuated by radiant landscapes and delicate still lifes.

These perspectives, conducive to introspection, are heightened by the sensual details of gestures and emotions frozen in marble, awakening all our senses: we feel the smoothness of stone, the coolness of the Aqua Alta, the sweetness of grapes, and the scent of lemon; we hear the birdsong and the rustle of linen; we sense the caress of a hand and the warmth of the sun on a summer morning.

Each photograph sets the aesthetic of the sublime against emotion, in the grand tradition of Romantic art. And as if to broaden the spectrum of sensations, the materials used vary: stone and silk sometimes replace paper, creating a coherent whole where elements follow, echo, and interlock like pieces of a puzzle. Altogether, they form a story made up of fleeting yet eternal moments, which the photographer captures and offers us as one offers their heart.
Emmanuelle de L’Ecotais

A French-Spanish photographic artist, FLORE was born in 1963. She currently lives and works between her two studios, in Paris and in the Hauts-de-France region.

Winner of the 2018 Marc Ladreit de Lacharrière Photography Award in partnership with the Académie des Beaux-Arts, FLORE works over long periods, often while traveling. Her work has been acquired and exhibited by several institutions, including the Petit Palais Museum, the Bibliothèque nationale de France, the MMP+ in Marrakech, and the Rivesaltes Memorial.

Through refined technical interventions in the darkroom—an alchemist in her own right—FLORE both shapes and reveals the world as it unfolds before her eyes, creating unique images that drift away from conventional photographic reality and form a seamless fusion between substance and form.

She thus questions the photographic medium itself, moving effortlessly between the oldest processes—such as platinum-palladium or cyanotype—and the most contemporary techniques, sometimes combining them, or physically altering her prints with wax, gold, or pigments. FLORE is deeply committed to a search for memory, creating images that attempt to restore truth in the place of a reality that is slowly fading.

Far from nostalgia, her work—tinged with melancholy—challenges the status of the image in our contemporary societies, offering instead an alternative to the world's turmoil by inviting the viewer to step into her poetic universe.

","Lavinia: this Italian-sounding name of Latin origin evokes, on its own, a poetic world, filled with the scents of citrus and honey. With this series, FLORE takes us on a journey reminiscent of a Grand Tour through Italy, much like the one undertaken by Romantic artists of the 19th century. The technique she uses—the soft focus, the grain of the images, their coloration reminiscent of autochromes—all contributes to a sense of travel through time.As always in FLORE’s work, each of her series is rooted in a part of herself, as if it were connected to a greater, older story—as if she had inherited the memories of others and sought to make them come alive for us. Once again, there is something deeply personal here: while clearing out her aunt’s house, she discovered a bundle of letters—traces of a long friendship between her aunt and an Italian woman named Lavinia.Haunted by this correspondence, FLORE has been journeying through Italy for the past ten years. Les rêveries de Lavinia is both an inner and initiatory voyage, leading us from the Amalfi Coast to Sicily, through Florence, Rome, Naples, Milan, Turin, Venice, and Lake Maggiore. Steeped in melancholy and suspended in time, the photographs awaken the imagination, telling the timeless story of a passionate love, composed of wanderings through Renaissance palaces and their gardens. Classical sculptures embody lovers, while the journey is punctuated by radiant landscapes and delicate still lifes.These perspectives, conducive to introspection, are heightened by the sensual details of gestures and emotions frozen in marble, awakening all our senses: we feel the smoothness of stone, the coolness of the Aqua Alta, the sweetness of grapes, and the scent of lemon; we hear the birdsong and the rustle of linen; we sense the caress of a hand and the warmth of the sun on a summer morning.Each photograph sets the aesthetic of the sublime against emotion, in the grand tradition of Romantic art. And as if to broaden the spectrum of sensations, the materials used vary: stone and silk sometimes replace paper, creating a coherent whole where elements follow, echo, and interlock like pieces of a puzzle. Altogether, they form a story made up of fleeting yet eternal moments, which the photographer captures and offers us as one offers their heart. Emmanuelle de L’EcotaisA French-Spanish photographic artist, FLORE was born in 1963. She currently lives and works between her two studios, in Paris and in the Hauts-de-France region.Winner of the 2018 Marc Ladreit de Lacharrière Photography Award in partnership with the Académie des Beaux-Arts, FLORE works over long periods, often while traveling. Her work has been acquired and exhibited by several institutions, including the Petit Palais Museum, the Bibliothèque nationale de France, the MMP+ in Marrakech, and the Rivesaltes Memorial.Through refined technical interventions in the darkroom—an alchemist in her own right—FLORE both shapes and reveals the world as it unfolds before her eyes, creating unique images that drift away from conventional photographic reality and form a seamless fusion between substance and form.She thus questions the photographic medium itself, moving effortlessly between the oldest processes—such as platinum-palladium or cyanotype—and the most contemporary techniques, sometimes combining them, or physically altering her prints with wax, gold, or pigments. 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This series, originally exhibited at Impressions Gallery in York in 1979, was the first color photography exhibition shown in the UK. Revisited at the Rencontres d’Arles in 2017 and the Charleroi Photography Museum in 2020, A New Refutation of the Viking 4 Space Mission had never before been published as a book.

Bilingual, the volume reproduces all the images from the series—mainly square-format portraits of Leeds residents, captured in front of their homes or shops during the 1970s. The backdrop unfolds an astonishing Martian investigative tale: at a time when the first Viking probes were being sent into space, here a Martian probe lands in Leeds and comments on the photographs.

This book is co-published by Maison CF and RRB Publishing.

","This series, originally exhibited at Impressions Gallery in York in 1979, was the first color photography exhibition shown in the UK. Revisited at the Rencontres d’Arles in 2017 and the Charleroi Photography Museum in 2020, A New Refutation of the Viking 4 Space Mission had never before been published as a book.Bilingual, the volume reproduces all the images from the series—mainly square-format portraits of Leeds residents, captured in front of their homes or shops during the 1970s. The backdrop unfolds an astonishing Martian investigative tale: at a time when the first Viking probes were being sent into space, here a Martian probe lands in Leeds and comments on the photographs.This book is co-published by Maison CF and RRB Publishing.",[447],{"_23":121,"_122":448},[449],{"_23":125,"_126":450,"_156":-5},{"_128":98,"_129":-5,"_21":451,"_35":452,"_141":455,"_103":457,"_148":458,"_152":460,"_53":125,"_153":-5,"_154":461},"gid://shopify/ProductVariant/50994938970376",{"_132":133,"_21":453,"_29":454,"_136":-5,"_137":300,"_139":301},"gid://shopify/ProductImage/64256258998536","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_petermitchell_nouveaudementidelamissionspacialeviking4_main_1acd3e27-7b00-424f-ad00-1e2546df6c04.png?v=1748101131",{"_143":456,"_145":146},"42.0",{"_53":442,"_108":443},[459],{"_23":121,"_151":125},"SKU-MITCHELL",[-5],{"_159":463},[464,466,470,474,478],{"_162":465},{"_21":453,"_29":454,"_136":-5,"_139":301,"_137":300},{"_162":467},{"_21":468,"_29":469,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/64256258965768","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_petermitchell_nouveaudementidelamissionspacialeviking4_hover_7cf8410a-5e1d-4b17-9071-2578155fddfb.png?v=1748101131",{"_162":471},{"_21":472,"_29":473,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/64256258801928","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_petermitchell_nouveaudementidelamissionspacialeviking4_alternate01_c8a08ed4-8f97-4f3c-ae5d-79dce104aa82.jpg?v=1748101131",{"_162":475},{"_21":476,"_29":477,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/64256258933000","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_petermitchell_nouveaudementidelamissionspacialeviking4_alternate02_62952dff-8a36-4ab9-b94a-b2309b929011.jpg?v=1748101131",{"_162":479},{"_21":480,"_29":481,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/64256258769160","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_petermitchell_nouveaudementidelamissionspacialeviking4_alternate03_fc30a46e-0383-4240-95d1-c35bd5f56a8d.jpg?v=1748101131",{"_21":453,"_136":-5,"_139":301,"_29":454,"_137":300},{"_168":484,"_170":485},{"_143":456,"_145":146},{"_143":456,"_145":146},[487,489,491,493,-5,495,501,503],{"_174":175,"_151":488,"_177":178,"_179":-5},"Peter Mitchell",{"_174":245,"_151":490,"_177":178,"_179":-5},"[{\"value\":26.7,\"unit\":\"CENTIMETERS\"},{\"value\":24.5,\"unit\":\"CENTIMETERS\"},{\"value\":1.5,\"unit\":\"CENTIMETERS\"}]",{"_174":248,"_151":492,"_177":178,"_179":-5},"96",{"_174":251,"_151":494,"_177":178,"_179":-5},"{\"value\":839.0,\"unit\":\"GRAMS\"}",{"_174":254,"_151":496,"_177":256,"_179":497},"[\"gid://shopify/Metaobject/164291117320\",\"gid://shopify/Metaobject/164334076168\"]",{"_182":498},[499,500],{"_21":260,"_108":261},{"_21":347,"_108":348},{"_174":263,"_151":502,"_177":178,"_179":-5},"Val Williams",{"_174":266,"_151":504,"_177":178,"_179":-5},"{\"type\":\"root\",\"children\":[{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"\\\"Peter Mitchell and his groundbreaking project, A New Denial of the Viking 4 Space Mission, shown at the Impressions Gallery in 1979, is finally the subject of a book. And in French! One of the most important works in the history of color photography. Better late than never.\\\" Martin Parr\"}]}]}",{"_182":506},[507,509,510],{"_108":508,"_53":488},"peter-mitchell",{"_108":273,"_53":54},{"_108":185,"_53":186},{"_128":98,"_129":-5,"_21":451,"_35":512,"_141":513,"_103":514,"_148":515,"_152":460,"_53":125,"_153":-5,"_154":517},{"_132":133,"_21":453,"_29":454,"_136":-5,"_137":300,"_139":301},{"_143":456,"_145":146},{"_53":442,"_108":443},[516],{"_23":121,"_151":125},[-5],[],{"_25":-5,"_53":-5},{"_21":521,"_53":522,"_107":24,"_108":523,"_110":524,"_25":525,"_112":113,"_114":113,"_115":116,"_117":111,"_118":526,"_157":542,"_164":566,"_166":567,"_154":570,"_180":586,"_187":591,"_195":598,"_197":599},"gid://shopify/Product/10737576050952","Je suis dans des mondes étranges","je-suis-dans-des-mondes-etranges","

After their separation in 1847, George Sand undertook to erase every material trace of Chopin from her house. This act of erasure, paradoxically, heightens today the sense of absence that permeates the place. FLORE explores this tension between presence and absence. Through processes that play with materiality, layering, blur, and photographic ghosts, she brings back the spirit of the place and the memory of a vanished love. The title of the book, “I am in strange worlds,” a quotation by Frédéric Chopin, resonates as an invitation to enter a universe suspended between dream and reality, at the height of the Romantic era.

The book brings together texts by three authors who shed light on different facets of the project:

Aurélie Razimbaud

Marie Lavandier and Elizabeth Braoun (Centre des Monuments Nationaux)

Seweryn Kuter (Chopin Museum, Warsaw)

","After their separation in 1847, George Sand undertook to erase every material trace of Chopin from her house. This act of erasure, paradoxically, heightens today the sense of absence that permeates the place. FLORE explores this tension between presence and absence. Through processes that play with materiality, layering, blur, and photographic ghosts, she brings back the spirit of the place and the memory of a vanished love. The title of the book, “I am in strange worlds,” a quotation by Frédéric Chopin, resonates as an invitation to enter a universe suspended between dream and reality, at the height of the Romantic era. The book brings together texts by three authors who shed light on different facets of the project: Aurélie Razimbaud Marie Lavandier and Elizabeth Braoun (Centre des Monuments Nationaux) Seweryn Kuter (Chopin Museum, Warsaw)",[527],{"_23":121,"_122":528},[529],{"_23":125,"_126":530,"_156":-5},{"_128":98,"_129":-5,"_21":531,"_35":532,"_141":535,"_103":537,"_148":538,"_152":540,"_53":125,"_153":-5,"_154":541},"gid://shopify/ProductVariant/53254585614600",{"_132":133,"_21":533,"_29":534,"_136":-5,"_137":300,"_139":301},"gid://shopify/ProductImage/79345096425736","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_FLORE_mondesetranges_mainFRcopie.png?v=1772720218",{"_143":536,"_145":146},"45.0",{"_53":522,"_108":523},[539],{"_23":121,"_151":125},"SKU-FLORE-45",[-5],{"_159":543},[544,546,550,554,558,562],{"_162":545},{"_21":533,"_29":534,"_136":-5,"_139":301,"_137":300},{"_162":547},{"_21":548,"_29":549,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/79345096392968","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_FLORE_mondesetranges_hovercopie.png?v=1772720218",{"_162":551},{"_21":552,"_29":553,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/79345112809736","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_FLORE_mondesetranges_alternate01copie.png?v=1772720182",{"_162":555},{"_21":556,"_29":557,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/79345112842504","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_FLORE_mondesetranges_alternate02copie.png?v=1772720182",{"_162":559},{"_21":560,"_29":561,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/79345112875272","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_FLORE_mondesetranges_alternate03copie.png?v=1772720182",{"_162":563},{"_21":564,"_29":565,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/79345112908040","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_FLORE_mondesetranges_alternate04copie.png?v=1772720182",{"_21":533,"_136":-5,"_139":301,"_29":534,"_137":300},{"_168":568,"_170":569},{"_143":536,"_145":146},{"_143":536,"_145":146},[571,572,574,576,-5,578,582,584],{"_174":175,"_151":412,"_177":178,"_179":-5},{"_174":245,"_151":573,"_177":178,"_179":-5},"[{\"value\":22.0,\"unit\":\"CENTIMETERS\"},{\"value\":27.0,\"unit\":\"CENTIMETERS\"},{\"value\":1.7,\"unit\":\"CENTIMETERS\"}]",{"_174":248,"_151":575,"_177":178,"_179":-5},"128",{"_174":251,"_151":577,"_177":178,"_179":-5},"{\"value\":781.0,\"unit\":\"GRAMS\"}",{"_174":254,"_151":255,"_177":256,"_179":579},{"_182":580},[581],{"_21":260,"_108":261},{"_174":263,"_151":583,"_177":178,"_179":-5},"Aurélie Razimbaud, Marie Lavandier, Elizabeth Braoun, Seweryn Kuter",{"_174":266,"_151":585,"_177":178,"_179":-5},"{\"type\":\"root\",\"children\":[{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"In 2024, FLORE was welcomed in residence at the Maison de George Sand in Nohant by the Centre des Monuments Nationaux. This Berry residence was the setting of a legendary love story: that of the writer George Sand and the composer Frédéric Chopin, who lived there through nine years of creative passion (1839–1847).\"}]}]}",{"_182":587},[588,589,590],{"_108":428,"_53":412},{"_108":273,"_53":54},{"_108":185,"_53":186},{"_128":98,"_129":-5,"_21":531,"_35":592,"_141":593,"_103":594,"_148":595,"_152":540,"_53":125,"_153":-5,"_154":597},{"_132":133,"_21":533,"_29":534,"_136":-5,"_137":300,"_139":301},{"_143":536,"_145":146},{"_53":522,"_108":523},[596],{"_23":121,"_151":125},[-5],[],{"_25":-5,"_53":-5},{"_21":601,"_53":602,"_107":603,"_108":604,"_110":605,"_25":605,"_112":113,"_114":113,"_115":116,"_117":111,"_118":606,"_157":622,"_164":642,"_166":643,"_154":646,"_180":662,"_187":668,"_195":675,"_197":676},"gid://shopify/Product/10070365012232","Asmara Dream","Maison CF / Filigranes","asmara-marco-barbon","“It might be said that Asmara is a city of three dreams. 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Conceived as a leporello, the book was released following Juliette Agnel’s exhibition La susceptibilité des Roches, organized by Photo Days in November 2025. It appeared alongside the exhibition Rêveries de pierres: Poetry and Minerals of Roger Caillois, presented from 6 November 2025 to 29 March 2026 at L’École des Arts Joailliers in Paris.

Photographs by Juliette Agnel
Editorial direction by Emmanuelle de l’Ecotais
Text by Roger Caillois

","Conceived as a leporello, the book was released following Juliette Agnel’s exhibition La susceptibilité des Roches, organized by Photo Days in November 2025. It appeared alongside the exhibition Rêveries de pierres: Poetry and Minerals of Roger Caillois, presented from 6 November 2025 to 29 March 2026 at L’École des Arts Joailliers in Paris. Photographs by Juliette AgnelEditorial direction by Emmanuelle de l’EcotaisText by Roger Caillois",[684],{"_23":121,"_122":685},[686],{"_23":125,"_126":687,"_156":-5},{"_128":98,"_129":-5,"_21":688,"_35":689,"_141":692,"_103":693,"_148":694,"_152":696,"_53":125,"_153":-5,"_154":697},"gid://shopify/ProductVariant/53109652979976",{"_132":133,"_21":690,"_29":691,"_136":-5,"_137":300,"_139":301},"gid://shopify/ProductImage/78251131404552","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_julietteagnel_roches_main.png?v=1771494788",{"_143":616,"_145":146},{"_53":679,"_108":680},[695],{"_23":121,"_151":125},"SKU-ROCHES-JULIETTEAGNEL-30",[-5],{"_159":699},[700,702,706,710],{"_162":701},{"_21":690,"_29":691,"_136":-5,"_139":301,"_137":300},{"_162":703},{"_21":704,"_29":705,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/78251134320904","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_julietteagnel_roches_hover.png?v=1771494806",{"_162":707},{"_21":708,"_29":709,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/78252327436552","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_julietteagnel_roches_additional2.png?v=1771495931",{"_162":711},{"_21":712,"_29":713,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/78252329206024","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_julietteagnel_roches_additional1_cc1db22f-e0af-477a-adc3-ad7341a05cff.png?v=1771495942",{"_21":690,"_136":-5,"_139":301,"_29":691,"_137":300},{"_168":716,"_170":717},{"_143":616,"_145":146},{"_143":616,"_145":146},[719,721,723,725,-5,-5,727,729],{"_174":175,"_151":720,"_177":178,"_179":-5},"Juliette Agnel",{"_174":245,"_151":722,"_177":178,"_179":-5},"[{\"value\":12.0,\"unit\":\"CENTIMETERS\"},{\"value\":15.0,\"unit\":\"CENTIMETERS\"},{\"value\":1.2,\"unit\":\"CENTIMETERS\"}]",{"_174":248,"_151":724,"_177":178,"_179":-5},"20",{"_174":251,"_151":726,"_177":178,"_179":-5},"{\"value\":0.11,\"unit\":\"KILOGRAMS\"}",{"_174":263,"_151":728,"_177":178,"_179":-5},"Roger Caillois",{"_174":266,"_151":730,"_177":178,"_179":-5},"{\"type\":\"root\",\"children\":[{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"Maison CF publie, avec le soutien de Van Cleef & Arpels, le livre d’artiste\"},{\"type\":\"text\",\"value\":\" Roches\",\"italic\":true},{\"type\":\"text\",\"value\":\", qui s’inscrit dans la suite de Juliette Agnel, \"},{\"type\":\"text\",\"value\":\"Silex \",\"italic\":true},{\"type\":\"text\",\"value\":\"(éd. Maison CF, 2022).\"}]}]}",{"_182":732},[733,735,736],{"_108":734,"_53":720},"juliette-agnel",{"_108":273,"_53":54},{"_108":185,"_53":186},{"_128":98,"_129":-5,"_21":688,"_35":738,"_141":739,"_103":740,"_148":741,"_152":696,"_53":125,"_153":-5,"_154":743},{"_132":133,"_21":690,"_29":691,"_136":-5,"_137":300,"_139":301},{"_143":616,"_145":146},{"_53":679,"_108":680},[742],{"_23":121,"_151":125},[-5],[],{"_25":-5,"_53":-5},{"_21":747,"_53":748,"_107":24,"_108":749,"_110":750,"_25":751,"_112":113,"_114":113,"_115":116,"_117":111,"_118":752,"_157":768,"_164":788,"_166":789,"_154":792,"_180":811,"_187":817,"_195":824,"_197":825},"gid://shopify/Product/10442383294728","new York","new-york","

New York is a city that belongs to no one, yet to everyone. A canvas open to dreamers, exiles, and those who still believe in the power of anonymity and metamorphosis. This is the New York that JR has captured, the eternal outsider whose art reveals the collective soul of a city often perceived as a concrete monster, but which pulses above all with its invisible beings. Through his monumental collages, JR gives a voice to those we no longer see: the Azerbaijani student lost in the crowd, the forgotten faces of Ellis Island, the ballerina suspended above a Tribeca parking lot. His work transcends public space to create a gallery without walls, where every passerby becomes both spectator and work. This book is a journey through the artist's most emblematic collages. As the preface rightly writes, this city is a magnetic chaos, where he captures the fleeting brilliance of ordinary lives to turn them into ephemeral monuments. Welcome to the artist's New York.

","New York is a city that belongs to no one, yet to everyone. A canvas open to dreamers, exiles, and those who still believe in the power of anonymity and metamorphosis. This is the New York that JR has captured, the eternal outsider whose art reveals the collective soul of a city often perceived as a concrete monster, but which pulses above all with its invisible beings. Through his monumental collages, JR gives a voice to those we no longer see: the Azerbaijani student lost in the crowd, the forgotten faces of Ellis Island, the ballerina suspended above a Tribeca parking lot. His work transcends public space to create a gallery without walls, where every passerby becomes both spectator and work. This book is a journey through the artist's most emblematic collages. As the preface rightly writes, this city is a magnetic chaos, where he captures the fleeting brilliance of ordinary lives to turn them into ephemeral monuments. Welcome to the artist's New York.",[753],{"_23":121,"_122":754},[755],{"_23":125,"_126":756,"_156":-5},{"_128":98,"_129":-5,"_21":757,"_35":758,"_141":761,"_103":763,"_148":764,"_152":766,"_53":125,"_153":-5,"_154":767},"gid://shopify/ProductVariant/52076072173832",{"_132":133,"_21":759,"_29":760,"_136":-5,"_137":300,"_139":301},"gid://shopify/ProductImage/69112986468616","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_jr_newyork_main.png?v=1753892040",{"_143":762,"_145":146},"55.0",{"_53":748,"_108":749},[765],{"_23":121,"_151":125},"SKU-JR-NEWYORK",[-5],{"_159":769},[770,772,776,780,784],{"_162":771},{"_21":759,"_29":760,"_136":-5,"_139":301,"_137":300},{"_162":773},{"_21":774,"_29":775,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/69112987877640","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_jr_newyork_hover.png?v=1753892050",{"_162":777},{"_21":778,"_29":779,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/69113018286344","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_jr_newyork_additional01.jpg?v=1753892084",{"_162":781},{"_21":782,"_29":783,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/69113018941704","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_jr_newyork_additional02.jpg?v=1753892088",{"_162":785},{"_21":786,"_29":787,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/69113019236616","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_jr_newyork_additional03.jpg?v=1753892089",{"_21":759,"_136":-5,"_139":301,"_29":760,"_137":300},{"_168":790,"_170":791},{"_143":762,"_145":146},{"_143":762,"_145":146},[793,795,797,799,-5,801,807,809],{"_174":175,"_151":794,"_177":178,"_179":-5},"JR",{"_174":245,"_151":796,"_177":178,"_179":-5},"[{\"value\":28.5,\"unit\":\"CENTIMETERS\"},{\"value\":36.0,\"unit\":\"CENTIMETERS\"}]",{"_174":248,"_151":798,"_177":178,"_179":-5},"88",{"_174":251,"_151":800,"_177":178,"_179":-5},"{\"value\":1.1,\"unit\":\"GRAMS\"}",{"_174":254,"_151":802,"_177":256,"_179":803},"[\"gid://shopify/Metaobject/164334076168\",\"gid://shopify/Metaobject/164291117320\"]",{"_182":804},[805,806],{"_21":347,"_108":348},{"_21":260,"_108":261},{"_174":263,"_151":808,"_177":178,"_179":-5},"Françoise Mouly",{"_174":266,"_151":810,"_177":178,"_179":-5},"{\"type\":\"root\",\"children\":[{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"This second work in the collection, which brings together the artist JR and cities, puts New York in the spotlight.\\nSince 2006, JR's collages have marked the life of New York and several of his most important projects have been set up in this cosmopolitan city: Unframed at Ellis Island, in collaboration with Robert de Niro (2014), The Chronicles of New York City in front of the Brooklyn Bridge (2024), or the immense collaborative collages, like the one in Times Square or the one in Flatiron Plaza.\\nAn introductory text by the editorial director of the New Yorker, Françoise Mouly, offers a new perspective on this work.\\n\\nThese books ordered on the site are not signed by the artist.\"}]}]}",{"_182":812},[813,815,816],{"_108":814,"_53":794},"jr",{"_108":273,"_53":54},{"_108":185,"_53":186},{"_128":98,"_129":-5,"_21":757,"_35":818,"_141":819,"_103":820,"_148":821,"_152":766,"_53":125,"_153":-5,"_154":823},{"_132":133,"_21":759,"_29":760,"_136":-5,"_137":300,"_139":301},{"_143":762,"_145":146},{"_53":748,"_108":749},[822],{"_23":121,"_151":125},[-5],[],{"_25":-5,"_53":-5},{"_21":827,"_53":828,"_107":24,"_108":829,"_110":830,"_25":831,"_112":113,"_114":113,"_115":116,"_117":111,"_118":832,"_157":848,"_164":868,"_166":869,"_154":872,"_180":886,"_187":891,"_195":898,"_197":899},"gid://shopify/Product/10069881749768","FLORE Conversation with Christian Caujolle","conversation-avec-christian-caujolle-flore","In this beautiful interview book, enriched with iconic images and family archives, the artist FLORE reveals herself with rare sincerity. The full richness of her aesthetic is conveyed here, based on the personal memory of an elsewhere that oscillates between fiction and family myths.

More than geographic spaces, Morocco, the Mediterranean basin, or the banks of the Mekong are for the artist places conducive to poetic imagination and intimate storytelling. Her photographs, made unique by singular laboratory processes, bear the mark of time passed, thanks to work on patina and the dissolution of the image.","In this beautiful interview book, enriched with iconic images and family archives, the artist FLORE reveals herself with rare sincerity. The full richness of her aesthetic is conveyed here, based on the personal memory of an elsewhere that oscillates between fiction and family myths. More than geographic spaces, Morocco, the Mediterranean basin, or the banks of the Mekong are for the artist places conducive to poetic imagination and intimate storytelling. Her photographs, made unique by singular laboratory processes, bear the mark of time passed, thanks to work on patina and the dissolution of the image.",[833],{"_23":121,"_122":834},[835],{"_23":125,"_126":836,"_156":-5},{"_128":98,"_129":-5,"_21":837,"_35":838,"_141":841,"_103":843,"_148":844,"_152":846,"_53":125,"_153":-5,"_154":847},"gid://shopify/ProductVariant/50992581673224",{"_132":133,"_21":839,"_29":840,"_136":-5,"_137":300,"_139":301},"gid://shopify/ProductImage/64257220477192","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_FLORE_conversations_main.png?v=1748103748",{"_143":842,"_145":146},"32.0",{"_53":828,"_108":829},[845],{"_23":121,"_151":125},"SKU-CONVERSATION-FLORE-32",[-5],{"_159":849},[850,852,856,860,864],{"_162":851},{"_21":839,"_29":840,"_136":-5,"_139":301,"_137":300},{"_162":853},{"_21":854,"_29":855,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/64257221001480","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_FLORE_conversations_hover.png?v=1748103748",{"_162":857},{"_21":858,"_29":859,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/64257219625224","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_FLORE_conversations_alternate01.jpg?v=1748103748",{"_162":861},{"_21":862,"_29":863,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/64257220051208","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_FLORE_conversations_alternate02.jpg?v=1748103748",{"_162":865},{"_21":866,"_29":867,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/64257220542728","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_FLORE_conversations_alternate03.jpg?v=1748103748",{"_21":839,"_136":-5,"_139":301,"_29":840,"_137":300},{"_168":870,"_170":871},{"_143":842,"_145":146},{"_143":842,"_145":146},[873,874,876,878,-5,880,-5,884],{"_174":175,"_151":412,"_177":178,"_179":-5},{"_174":245,"_151":875,"_177":178,"_179":-5},"[{\"value\":21.6,\"unit\":\"CENTIMETERS\"},{\"value\":15.4,\"unit\":\"CENTIMETERS\"},{\"value\":1.9,\"unit\":\"CENTIMETERS\"}]",{"_174":248,"_151":877,"_177":178,"_179":-5},"168",{"_174":251,"_151":879,"_177":178,"_179":-5},"{\"value\":427.0,\"unit\":\"GRAMS\"}",{"_174":254,"_151":255,"_177":256,"_179":881},{"_182":882},[883],{"_21":260,"_108":261},{"_174":266,"_151":885,"_177":178,"_179":-5},"{\"type\":\"root\",\"children\":[{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"In this beautiful interview book, enriched with images and family archives, FLORE reveals herself with rare sincerity in a conversation with Christian Caujolle. \"}]}]}",{"_182":887},[888,889,890],{"_108":428,"_53":412},{"_108":273,"_53":54},{"_108":185,"_53":186},{"_128":98,"_129":-5,"_21":837,"_35":892,"_141":893,"_103":894,"_148":895,"_152":846,"_53":125,"_153":-5,"_154":897},{"_132":133,"_21":839,"_29":840,"_136":-5,"_137":300,"_139":301},{"_143":842,"_145":146},{"_53":828,"_108":829},[896],{"_23":121,"_151":125},[-5],[],{"_25":-5,"_53":-5},{"_21":901,"_53":902,"_107":24,"_108":903,"_110":904,"_25":905,"_112":113,"_114":113,"_115":116,"_117":111,"_118":906,"_157":921,"_164":941,"_166":942,"_154":945,"_180":962,"_187":969,"_195":976,"_197":977},"gid://shopify/Product/10069885681928","Portraits | Florence and Damien Bachelot collection at the Réattu museum","portraits-collection-florence-et-damien-bachelot","\n

Portraiture is one of the guiding threads of this collection: \"The essence of our collection is the human being. This was not a deliberate choice, but rather the result of observing our selections over time. In this spirit, it is only natural that portraiture should be one of the cornerstones of the collection—featuring images of individuals or groups, but also, more broadly, photographs that reflect human situations.\", Damien Bachelot

As a faithful or distorted mirror of reality, portraiture reveals the wide range of perspectives photographers bring to their subjects. Through the body, facial features, or gaze, they seek to explore the intricate workings of the human mind. As a genre, portraiture challenges the traditional roles historically assigned to photography—identifying, recognizing, cataloguing, classifying—and sheds light, across time, on the sociological, political, religious, or cultural contexts of our societies.

This publication, with a foreword by Patrick de Carolis, Françoise Docquiert, and Andy Neyrotti, was co-published by Maison CF and the Réattu Museum in Arles, France.

","Portraiture is one of the guiding threads of this collection: \"The essence of our collection is the human being. This was not a deliberate choice, but rather the result of observing our selections over time. In this spirit, it is only natural that portraiture should be one of the cornerstones of the collection—featuring images of individuals or groups, but also, more broadly, photographs that reflect human situations.\", Damien BachelotAs a faithful or distorted mirror of reality, portraiture reveals the wide range of perspectives photographers bring to their subjects. Through the body, facial features, or gaze, they seek to explore the intricate workings of the human mind. As a genre, portraiture challenges the traditional roles historically assigned to photography—identifying, recognizing, cataloguing, classifying—and sheds light, across time, on the sociological, political, religious, or cultural contexts of our societies.This publication, with a foreword by Patrick de Carolis, Françoise Docquiert, and Andy Neyrotti, was co-published by Maison CF and the Réattu Museum in Arles, France.",[907],{"_23":121,"_122":908},[909],{"_23":125,"_126":910,"_156":-5},{"_128":98,"_129":-5,"_21":911,"_35":912,"_141":915,"_103":916,"_148":917,"_152":919,"_53":125,"_153":-5,"_154":920},"gid://shopify/ProductVariant/50992593010952",{"_132":133,"_21":913,"_29":914,"_136":-5,"_137":300,"_139":301},"gid://shopify/ProductImage/64257205207304","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_bachelot_portraits_main.png?v=1748103715",{"_143":456,"_145":146},{"_53":902,"_108":903},[918],{"_23":121,"_151":125},"SKU-PORTRAITS-BACHELOT-42",[-5],{"_159":922},[923,925,929,933,937],{"_162":924},{"_21":913,"_29":914,"_136":-5,"_139":301,"_137":300},{"_162":926},{"_21":927,"_29":928,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/64257204650248","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_bachelot_portraits_hover.png?v=1748103715",{"_162":930},{"_21":931,"_29":932,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/64257204683016","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_bachelot_portraits_alternate01.jpg?v=1748103715",{"_162":934},{"_21":935,"_29":936,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/64257204551944","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_bachelot_portraits_alternate03.jpg?v=1748103715",{"_162":938},{"_21":939,"_29":940,"_136":-5,"_139":301,"_137":300},"gid://shopify/ProductImage/64257204584712","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_bachelot_portraits_alternate02.jpg?v=1748103715",{"_21":913,"_136":-5,"_139":301,"_29":914,"_137":300},{"_168":943,"_170":944},{"_143":456,"_145":146},{"_143":456,"_145":146},[946,948,950,951,-5,953,958,960],{"_174":175,"_151":947,"_177":178,"_179":-5},"Collective",{"_174":245,"_151":949,"_177":178,"_179":-5},"[{\"value\":26.7,\"unit\":\"CENTIMETERS\"},{\"value\":21.7,\"unit\":\"CENTIMETERS\"},{\"value\":2.0,\"unit\":\"CENTIMETERS\"}]",{"_174":248,"_151":575,"_177":178,"_179":-5},{"_174":251,"_151":952,"_177":178,"_179":-5},"{\"value\":846.0,\"unit\":\"GRAMS\"}",{"_174":254,"_151":496,"_177":256,"_179":954},{"_182":955},[956,957],{"_21":260,"_108":261},{"_21":347,"_108":348},{"_174":263,"_151":959,"_177":178,"_179":-5},"Patrick de Carolis, Françoise Docquiert, Andy Neyrotti",{"_174":266,"_151":961,"_177":178,"_179":-5},"{\"type\":\"root\",\"children\":[{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"This book, third volume devoted to the collection of Florence and Damien Bachelot, accompanies the exhibition focused on one of the major axes of their collector's vision: the portrait. Presented at the heart of the permanent collections of the Réattu Museum in Arles, as part of the Rencontres de la photographie in 2023, the selected prints interact with the paintings and sculptures of the venue. From Diane Arbus to Saul Leiter, seventy photographs are reproduced in this book, testifying to the richness and sensitivity of an amateur's perspective.\"}]}]}",{"_182":963},[964,967,968],{"_108":965,"_53":966},"collection-bachelot","Collection Florence et Damien Bachelot",{"_108":273,"_53":54},{"_108":185,"_53":186},{"_128":98,"_129":-5,"_21":911,"_35":970,"_141":971,"_103":972,"_148":973,"_152":919,"_53":125,"_153":-5,"_154":975},{"_132":133,"_21":913,"_29":914,"_136":-5,"_137":300,"_139":301},{"_143":456,"_145":146},{"_53":902,"_108":903},[974],{"_23":121,"_151":125},[-5],[],{"_25":-5,"_53":-5},"actionData","errors"]