Some people shine thanks to their tiny existences. Certain graceful gestures captivate our hearts because they are sketched with all discretion. Man has forged the noble spirit over time, and this has caused our society to evolve. Currently, this heritage is on the verge of disappearing in the face of human desires that no longer know its limits. Even art, supposed to reflect the state of the soul, risks losing its hold on aesthetics and self-control in the face of the craze for multiple unprincipled choices made possible by the latest technologies.

Yet, at such a turning point in values, the story of a country was born, in thirty-two carefully selected photographs that will never cease to be told. A moment, a space captured by a discreet gesture, only a small camera that fits in the palm of the hand could achieve it. The past, present, and future of the country are represented in these images. Located on the French Riviera, Monaco is the second smallest country in the world.

Mikiya Takimoto pressed the camera button with serenity, as if in prayer. Through the succession of landscapes, a message appears, it seems to me, that tells us how to face this world and save this beautiful planet.
Will you share this feeling with me?

Naoko Bernadette Ohta

","Some people shine thanks to their tiny existences. Certain graceful gestures captivate our hearts because they are sketched with all discretion. Man has forged the noble spirit over time, and this has caused our society to evolve. Currently, this heritage is on the verge of disappearing in the face of human desires that no longer know its limits. Even art, supposed to reflect the state of the soul, risks losing its hold on aesthetics and self-control in the face of the craze for multiple unprincipled choices made possible by the latest technologies. Yet, at such a turning point in values, the story of a country was born, in thirty-two carefully selected photographs that will never cease to be told. A moment, a space captured by a discreet gesture, only a small camera that fits in the palm of the hand could achieve it. The past, present, and future of the country are represented in these images. Located on the French Riviera, Monaco is the second smallest country in the world. Mikiya Takimoto pressed the camera button with serenity, as if in prayer. Through the succession of landscapes, a message appears, it seems to me, that tells us how to face this world and save this beautiful planet. Will you share this feeling with me? Naoko Bernadette Ohta",[328],{"_23":121,"_122":329},[330],{"_23":125,"_126":331,"_156":-5},{"_128":98,"_129":-5,"_21":332,"_35":333,"_141":336,"_103":338,"_148":339,"_152":341,"_53":125,"_153":-5,"_154":342},"gid://shopify/ProductVariant/50993286611208",{"_132":133,"_21":334,"_29":335,"_136":-5,"_137":138,"_139":140},"gid://shopify/ProductImage/64256496075016","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_mikiyatakimoto_monaco_main_2e5555ac-b003-48f6-a1ec-e8709c16701e.png?v=1748101517",{"_143":337,"_145":146},"30.0",{"_53":322,"_108":324},[340],{"_23":121,"_151":125},"SKU-TAKIMOTO-MONACO-30",[-5],{"_159":344},[345,347,351,355],{"_162":346},{"_21":334,"_29":335,"_136":-5,"_139":140,"_137":138},{"_162":348},{"_21":349,"_29":350,"_136":-5,"_139":140,"_137":138},"gid://shopify/ProductImage/64256495517960","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_mikiyatakimoto_monaco_hover_ee9da274-db50-4132-9c76-46a241a6f4cf.png?v=1748101517",{"_162":352},{"_21":353,"_29":354,"_136":-5,"_139":140,"_137":138},"gid://shopify/ProductImage/64256495354120","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_mikiyatakimoto_monaco_alternate02_f3185495-ab21-4473-9902-895d77c19c3f.jpg?v=1748101517",{"_162":356},{"_21":357,"_29":358,"_136":-5,"_139":140,"_137":138},"gid://shopify/ProductImage/64256495550728","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_mikiyatakimoto_monaco_alternate01_1499c309-32d8-49d5-b339-a988ff91ed99.jpg?v=1748101517",{"_21":334,"_136":-5,"_139":140,"_29":335,"_137":138},{"_172":361,"_174":362},{"_143":337,"_145":146},{"_143":337,"_145":146},[364,366,369,372,-5,375,387,390],{"_178":179,"_151":365,"_181":182,"_183":-5},"Mikiya Takimoto ",{"_178":367,"_151":368,"_181":182,"_183":-5},"dimensions","[{\"value\":20.2,\"unit\":\"CENTIMETERS\"},{\"value\":15.2,\"unit\":\"CENTIMETERS\"},{\"value\":1.2,\"unit\":\"CENTIMETERS\"}]",{"_178":370,"_151":371,"_181":182,"_183":-5},"pages","44",{"_178":373,"_151":374,"_181":182,"_183":-5},"weight","{\"value\":241.0,\"unit\":\"GRAMS\"}",{"_178":376,"_151":377,"_181":378,"_183":379},"language-version","[\"gid://shopify/Metaobject/164334076168\",\"gid://shopify/Metaobject/164291117320\"]","shopify",{"_186":380},[381,384],{"_21":382,"_108":383},"gid://shopify/Metaobject/164334076168","eng-anglais",{"_21":385,"_108":386},"gid://shopify/Metaobject/164291117320","fra-francais",{"_178":388,"_151":389,"_181":182,"_183":-5},"prefacer","Prince Albert II de Monaco, Naoko Bernadette Ohta",{"_178":391,"_151":392,"_181":182,"_183":-5},"chaporichtext","{\"type\":\"root\",\"children\":[{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"« La Principauté de Monaco est depuis longtemps un site particulièrement apprécié des photographes. Elle allie un patrimoine urbain historique et une architecture très moderne. La lumière des rives de la Méditerranée donne une ambiance particulière aux prises de vue.\\nC'est pourquoi je salue l'exposition des photographies de M. Mikiya Takimoto, qui reflètent parfaitement ce qu'est notre territoire : une terre de contrastes, baignée de soleil.\\n Je lui souhaite tout le succès qu'il mérite et je remercie tous ceux qui ont participé à ce projet. »\\n- Prince Albert II de Monaco\"}]}]}",{"_186":394},[395,397,398],{"_108":396,"_53":54},"books",{"_108":191,"_53":192},{"_108":288,"_53":289},{"_128":98,"_129":-5,"_21":332,"_35":400,"_141":401,"_103":402,"_148":403,"_152":341,"_53":125,"_153":-5,"_154":405},{"_132":133,"_21":334,"_29":335,"_136":-5,"_137":138,"_139":140},{"_143":337,"_145":146},{"_53":322,"_108":324},[404],{"_23":121,"_151":125},[-5],[],{"_25":-5,"_53":-5},{"_21":409,"_53":410,"_107":24,"_108":411,"_110":412,"_25":413,"_112":414,"_114":113,"_115":116,"_117":111,"_118":415,"_157":459,"_168":483,"_170":484,"_154":487,"_184":504,"_195":513,"_203":520,"_205":535},"gid://shopify/Product/10070092185864","Refettorio 37 Anti-Waste Recipes ","refettorio-37-recettes-anti-gaspi","

\"Refettorio: 37 Anti-Waste Recipes\" brings together creations by several renowned chefs and artists, united by the vision of anti-waste cooking — whether prepared with leftovers from the fridge, by fully utilizing ingredients, or on a larger scale using surplus products from supermarkets and producers.

This is precisely the approach at Refettorio Paris, a community-focused restaurant located on Place de la Madeleine, where all these chefs came to cook and for whose benefit this book was created. A beautiful volume combining cuisine and photography, telling the story of a noble cause and a successful project, captured through the lens of JR, who also authored the foreword.

Ghislaine Arabian [Les Petites Sorcières] ; Christophe Aribert [Maison Aribert] ; Pascal Barbot [Astrance] ; Maxime Bonnabry Duval [Refettorio] ; Massimo Bottura [Osteria Francescana] ; Sébastien Bras [Le Suquet] ; Benjamin Brial [Lutécia] ; Boris Campanella [Hôtel de Crillon] ; Mauro Colagreco [Mirazur] ; Fabrizio Cosso [Eataly Paris Marais] ; Alexandre et Céline Couillon [La Marine] ; Sonia Ezgulian [Les Sardines filantes] ; Solène Gallard [Mingway] ; Guillaume Goupil [Le Baudelaire] ; Bertrand Grébaut [Septime] ; Cédric Grolet [Cédric Grolet Opéra] ; Jean Imbert [Mamie] ; Flavia Vanessa Isla [Patagonia sucrée] ; JR ; Pierre Hermé [Pierre Hermé] ; Guy Krenzer [Lenôtre] ; Alexandre Maigrot [Ernest] ; Grégory Marchand [Frenchie] ; Romain Meder [Plaza Athénée] ; Tabata et Ludovic Mey [Les Apothicaires] ; Olivier Roellinger [Le Coquillage] ; Anna Trattles et Alice Quillet [Ten Belles Bread] ; Régis Marcon [Régis & Jacques Marcon] ; Alessandra Montagne [Tempero] ; Prune Nourry ; Apollonia Poilâne [POILÂNE] ; Mama Rebecca et Mama Marina [Meet My Mama] ; Romain Roudeau [Juveniles] ; Harouna Sow [Refugee Food Festival] ; Michel et César Troisgros [Le Bois sans Feuilles] ; Agnès et Rosalie Varda ; Loïc Villemin [Toya]

","\"Refettorio: 37 Anti-Waste Recipes\" brings together creations by several renowned chefs and artists, united by the vision of anti-waste cooking — whether prepared with leftovers from the fridge, by fully utilizing ingredients, or on a larger scale using surplus products from supermarkets and producers. This is precisely the approach at Refettorio Paris, a community-focused restaurant located on Place de la Madeleine, where all these chefs came to cook and for whose benefit this book was created. A beautiful volume combining cuisine and photography, telling the story of a noble cause and a successful project, captured through the lens of JR, who also authored the foreword. Ghislaine Arabian [Les Petites Sorcières] ; Christophe Aribert [Maison Aribert] ; Pascal Barbot [Astrance] ; Maxime Bonnabry Duval [Refettorio] ; Massimo Bottura [Osteria Francescana] ; Sébastien Bras [Le Suquet] ; Benjamin Brial [Lutécia] ; Boris Campanella [Hôtel de Crillon] ; Mauro Colagreco [Mirazur] ; Fabrizio Cosso [Eataly Paris Marais] ; Alexandre et Céline Couillon [La Marine] ; Sonia Ezgulian [Les Sardines filantes] ; Solène Gallard [Mingway] ; Guillaume Goupil [Le Baudelaire] ; Bertrand Grébaut [Septime] ; Cédric Grolet [Cédric Grolet Opéra] ; Jean Imbert [Mamie] ; Flavia Vanessa Isla [Patagonia sucrée] ; JR ; Pierre Hermé [Pierre Hermé] ; Guy Krenzer [Lenôtre] ; Alexandre Maigrot [Ernest] ; Grégory Marchand [Frenchie] ; Romain Meder [Plaza Athénée] ; Tabata et Ludovic Mey [Les Apothicaires] ; Olivier Roellinger [Le Coquillage] ; Anna Trattles et Alice Quillet [Ten Belles Bread] ; Régis Marcon [Régis & Jacques Marcon] ; Alessandra Montagne [Tempero] ; Prune Nourry ; Apollonia Poilâne [POILÂNE] ; Mama Rebecca et Mama Marina [Meet My Mama] ; Romain Roudeau [Juveniles] ; Harouna Sow [Refugee Food Festival] ; Michel et César Troisgros [Le Bois sans Feuilles] ; Agnès et Rosalie Varda ; Loïc Villemin [Toya]","v1_0-2",[416],{"_23":417,"_122":418},"Cover color",[419,433,446],{"_23":420,"_126":421,"_156":-5},"Blue cover",{"_128":98,"_129":-5,"_21":422,"_35":423,"_141":426,"_103":428,"_148":429,"_152":431,"_53":420,"_153":-5,"_154":432},"gid://shopify/ProductVariant/51764797014280",{"_132":133,"_21":424,"_29":425,"_136":-5,"_137":138,"_139":140},"gid://shopify/ProductImage/65917525393672","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_refettorio_main3_21280176-5c91-42ab-947c-499c17cb990c.png?v=1750523106",{"_143":427,"_145":146},"42.0",{"_53":410,"_108":411},[430],{"_23":417,"_151":420},"SKU-REFETTORIO-LIVRE-BLEU-42",[-5],{"_23":434,"_126":435,"_156":-5},"White 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je ne t'oublierai","L'ARTIERE","jamais-je-ne-toublierai","\n

\"While working on my personal archives, I realized that there were very few images of my parents before their marriage: an iconographic desert explained by the fact that they were born in the 1930s in Morocco not yet having running water or electricity. The few photographs kept by my grandmother were double-locked away so as not to touch upon the tragedy caused by the accidental loss of one of her sons. A blanket of silence had stroke with a ban on this previous life. I found myself orphaned by images from the past.

I collect anonymous photographs that I buy in flea markets. I am magnetized by the happiness displayed at attention in these photos, by these people I don’t know but who existed, loved, and disappeared. They are ghosts who follow me quietly, and I take them over to build an imaginary family album in order to repair oblivion.

I am rebuilding the memory of my family that I missed, I am inventing another one made to measure where I resurrect all the ancestors who have disappeared, the territories that I did not know and that have been praised to me.

These scraps, given away for a few euros on the curb because the heirs no longer want them, change status by a simple gesture: the application of gold leaf on the photograph. By masking part of the image and, more specifically the faces of these ghosts, I multiply the possible projections tenfold.

Gold is a stainless metal. The golden flat surface operates both as an obliteration and a shiny surface on which our own faces are reflected.

I choose photographs that evoke something déjà-vu, a familiar pose, happy moments that illustrate all those fables told about ancestors. This happiness, ritualized as events unfold, refers to the lies about the family myth. It removes the dark matter related to the family, which is precisely absent from these photographs.

In order to deny this ideal happiness, I note at the bottom of the photographs in this imaginary album, personal and painful memories that speak of the difficulty of building a happy life « just as in the photos ».

I type these memories on a keyboard whose keys are inoperative because of a coffee I accidentally spilled there, just like Hölderlin who voluntarily removed some strings from his piano and played without knowing which ones were missing. The memories I recount become opaque, incomprehensible to the reader.

But like these photographs, which express the impossibility of identification, I construct « absent » memories.

Using these images is a way of living by proxy and restoring a dream life. Nevertheless, the gold leaf procedure creates gaps in memory and imposes a distance, so I am not fooled by the lie they display.

Working on these photographs allows us to mourn the ideal family life. Taking back one by one all the old fantasies about these projections, and dismantling them, makes this symbolic death bearable.\", Carolle Bénitah

","\"While working on my personal archives, I realized that there were very few images of my parents before their marriage: an iconographic desert explained by the fact that they were born in the 1930s in Morocco not yet having running water or electricity. The few photographs kept by my grandmother were double-locked away so as not to touch upon the tragedy caused by the accidental loss of one of her sons. A blanket of silence had stroke with a ban on this previous life. I found myself orphaned by images from the past.I collect anonymous photographs that I buy in flea markets. I am magnetized by the happiness displayed at attention in these photos, by these people I don’t know but who existed, loved, and disappeared. They are ghosts who follow me quietly, and I take them over to build an imaginary family album in order to repair oblivion.I am rebuilding the memory of my family that I missed, I am inventing another one made to measure where I resurrect all the ancestors who have disappeared, the territories that I did not know and that have been praised to me.These scraps, given away for a few euros on the curb because the heirs no longer want them, change status by a simple gesture: the application of gold leaf on the photograph. By masking part of the image and, more specifically the faces of these ghosts, I multiply the possible projections tenfold.Gold is a stainless metal. The golden flat surface operates both as an obliteration and a shiny surface on which our own faces are reflected.I choose photographs that evoke something déjà-vu, a familiar pose, happy moments that illustrate all those fables told about ancestors. This happiness, ritualized as events unfold, refers to the lies about the family myth. It removes the dark matter related to the family, which is precisely absent from these photographs.In order to deny this ideal happiness, I note at the bottom of the photographs in this imaginary album, personal and painful memories that speak of the difficulty of building a happy life « just as in the photos ».I type these memories on a keyboard whose keys are inoperative because of a coffee I accidentally spilled there, just like Hölderlin who voluntarily removed some strings from his piano and played without knowing which ones were missing. The memories I recount become opaque, incomprehensible to the reader.But like these photographs, which express the impossibility of identification, I construct « absent » memories.Using these images is a way of living by proxy and restoring a dream life. Nevertheless, the gold leaf procedure creates gaps in memory and imposes a distance, so I am not fooled by the lie they display.Working on these photographs allows us to mourn the ideal family life. Taking back one by one all the old fantasies about these projections, and dismantling them, makes this symbolic death bearable.\", Carolle Bénitah",[544],{"_23":121,"_122":545},[546],{"_23":125,"_126":547,"_156":-5},{"_128":98,"_129":-5,"_21":548,"_35":549,"_141":552,"_103":554,"_148":555,"_152":557,"_53":125,"_153":-5,"_154":558},"gid://shopify/ProductVariant/51825930699016",{"_132":133,"_21":550,"_29":551,"_136":-5,"_137":138,"_139":140},"gid://shopify/ProductImage/66197035811080","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_carollebenitah_jamaisjenetoublierai_main.png?v=1750860109",{"_143":553,"_145":146},"250.0",{"_53":538,"_108":540},[556],{"_23":121,"_151":125},"SKU-BENITAH-JAMAISOUBLIERAIS",[-5],{"_159":560},[561,563,567,571,575],{"_162":562},{"_21":550,"_29":551,"_136":-5,"_139":140,"_137":138},{"_162":564},{"_21":565,"_29":566,"_136":-5,"_139":140,"_137":138},"gid://shopify/ProductImage/66197035155720","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_carollebenitah_jamaisjenetoublierai_hover.png?v=1750860108",{"_162":568},{"_21":569,"_29":570,"_136":-5,"_139":140,"_137":138},"gid://shopify/ProductImage/66197035024648","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_carollebenitah_jamaisjenetoublierai_01.jpg?v=1750860108",{"_162":572},{"_21":573,"_29":574,"_136":-5,"_139":140,"_137":138},"gid://shopify/ProductImage/66197035057416","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_carollebenitah_jamaisjenetoublierai_02.jpg?v=1750860108",{"_162":576},{"_21":577,"_29":578,"_136":-5,"_139":140,"_137":138},"gid://shopify/ProductImage/66197035090184","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_carollebenitah_jamaisjenetoublierai_03.jpg?v=1750860108",{"_21":550,"_136":-5,"_139":140,"_29":551,"_137":138},{"_172":581,"_174":582},{"_143":553,"_145":146},{"_143":553,"_145":146},[584,586,588,590,-5,592,598,600],{"_178":179,"_151":585,"_181":182,"_183":-5},"Carolle Bénitah",{"_178":367,"_151":587,"_181":182,"_183":-5},"[{\"value\":22.6,\"unit\":\"CENTIMETERS\"},{\"value\":20.6,\"unit\":\"CENTIMETERS\"},{\"value\":2.0,\"unit\":\"CENTIMETERS\"}]",{"_178":370,"_151":589,"_181":182,"_183":-5},"56",{"_178":373,"_151":591,"_181":182,"_183":-5},"{\"value\":470.0,\"unit\":\"GRAMS\"}",{"_178":376,"_151":593,"_181":378,"_183":594},"[\"gid://shopify/Metaobject/164291117320\",\"gid://shopify/Metaobject/164334076168\"]",{"_186":595},[596,597],{"_21":385,"_108":386},{"_21":382,"_108":383},{"_178":388,"_151":599,"_181":182,"_183":-5},"Carolle Bénitah, Laura Serani",{"_178":391,"_151":601,"_181":182,"_183":-5},"{\"type\":\"root\",\"children\":[{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"\\\"In her new project \\\"\"},{\"type\":\"text\",\"value\":\"Jamais je ne t'oublierai\",\"italic\":true},{\"type\":\"text\",\"value\":\"\\\" (Never Will I Forget You), the objective seems to want to save images from oblivion and erasure.\\nMade precious by gold, these jewels of private memory become \\\"objectively\\\" precious and sometimes recall Fornasetti's enigmatic and surrealist universe.\\\", Laura Serani\"}]}]}",{"_186":603},[604,605,606],{"_108":396,"_53":54},{"_108":191,"_53":192},{"_108":607,"_53":585},"carolle-benitah",{"_128":98,"_129":-5,"_21":548,"_35":609,"_141":610,"_103":611,"_148":612,"_152":557,"_53":125,"_153":-5,"_154":614},{"_132":133,"_21":550,"_29":551,"_136":-5,"_137":138,"_139":140},{"_143":553,"_145":146},{"_53":538,"_108":540},[613],{"_23":121,"_151":125},[-5],[],{"_25":-5,"_53":-5},{"_21":618,"_53":619,"_107":620,"_108":621,"_110":622,"_25":623,"_112":113,"_114":113,"_115":116,"_117":111,"_118":624,"_157":640,"_168":660,"_170":661,"_154":664,"_184":684,"_195":689,"_203":696,"_205":697},"gid://shopify/Product/10373376770312","Land Space","SEIGENSHA Art Publishing","land-space","This extraordinary collection consists of two series of photographs that have been Mikiya Takimoto’s lifework: Space, a collection of portraits of the new space shuttle which were taken during numerous visits to NASA’s Kennedy Space Center, and Land, in which he has documented the ancient tranquility of the living Earth. The laws of life and the universe are expressed through the interplay between these two completely different series of images.

To accompany these monumental photographs, the afterword is written by Keiichiro Hirano, who shares his feelings upon discovering the series, as well as his interpretation of Takimoto's vision.

\n

A Japanese photographer and cinematographer born in Aichi in 1974, Mikiya Takimoto began taking photographs at the age of 16. He worked at various studios, including that of Tamotsu Fujii, before becoming independent in 1998.

In addition to his photographic work, he has collaborated with director Hirokazu Kore-eda on films such as Soshite Chichi ni Naru (“Like Father, Like Son”), which won the Jury Prize at the 2013 Cannes Film Festival, and Sandome no Satsujin (“The Third Murder”), which competed at the 2017 festival.

Mikiya Takimoto's photographic work is deeply rooted in time, spanning the seven continents, often captured under extreme conditions and complex protocols. Achieving these unique images requires a prolonged photographic process, each carrying the symbolism of a global movement. His work has been published in a dozen books and displayed in numerous exhibitions.

\n
","This extraordinary collection consists of two series of photographs that have been Mikiya Takimoto’s lifework: Space, a collection of portraits of the new space shuttle which were taken during numerous visits to NASA’s Kennedy Space Center, and Land, in which he has documented the ancient tranquility of the living Earth. The laws of life and the universe are expressed through the interplay between these two completely different series of images.To accompany these monumental photographs, the afterword is written by Keiichiro Hirano, who shares his feelings upon discovering the series, as well as his interpretation of Takimoto's vision. A Japanese photographer and cinematographer born in Aichi in 1974, Mikiya Takimoto began taking photographs at the age of 16. He worked at various studios, including that of Tamotsu Fujii, before becoming independent in 1998.In addition to his photographic work, he has collaborated with director Hirokazu Kore-eda on films such as Soshite Chichi ni Naru (“Like Father, Like Son”), which won the Jury Prize at the 2013 Cannes Film Festival, and Sandome no Satsujin (“The Third Murder”), which competed at the 2017 festival.Mikiya Takimoto's photographic work is deeply rooted in time, spanning the seven continents, often captured under extreme conditions and complex protocols. Achieving these unique images requires a prolonged photographic process, each carrying the symbolism of a global movement. His work has been published in a dozen books and displayed in numerous exhibitions.",[625],{"_23":121,"_122":626},[627],{"_23":125,"_126":628,"_156":-5},{"_128":98,"_129":-5,"_21":629,"_35":630,"_141":633,"_103":635,"_148":636,"_152":638,"_53":125,"_153":-5,"_154":639},"gid://shopify/ProductVariant/51825908875528",{"_132":133,"_21":631,"_29":632,"_136":-5,"_137":138,"_139":140},"gid://shopify/ProductImage/66196876099848","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_mikiyatakimoto_landspace_main.png?v=1750859963",{"_143":634,"_145":146},"65.0",{"_53":619,"_108":621},[637],{"_23":121,"_151":125},"SKU-TAKIMOTO-LANDSPACE",[-5],{"_159":641},[642,644,648,652,656],{"_162":643},{"_21":631,"_29":632,"_136":-5,"_139":140,"_137":138},{"_162":645},{"_21":646,"_29":647,"_136":-5,"_139":140,"_137":138},"gid://shopify/ProductImage/66196876722440","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_mikiyatakimoto_landspace_hover.png?v=1750859963",{"_162":649},{"_21":650,"_29":651,"_136":-5,"_139":140,"_137":138},"gid://shopify/ProductImage/66196875706632","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_mikiyatakimoto_landspace_additionals01.jpg?v=1750859963",{"_162":653},{"_21":654,"_29":655,"_136":-5,"_139":140,"_137":138},"gid://shopify/ProductImage/66196876689672","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_mikiyatakimoto_landspace_additional03.jpg?v=1750859963",{"_162":657},{"_21":658,"_29":659,"_136":-5,"_139":140,"_137":138},"gid://shopify/ProductImage/66196876951816","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_mikiyatakimoto_landspace_additionals02.jpg?v=1750859963",{"_21":631,"_136":-5,"_139":140,"_29":632,"_137":138},{"_172":662,"_174":663},{"_143":634,"_145":146},{"_143":634,"_145":146},[665,666,668,670,-5,672,680,682],{"_178":179,"_151":365,"_181":182,"_183":-5},{"_178":367,"_151":667,"_181":182,"_183":-5},"[{\"value\":40.7,\"unit\":\"CENTIMETERS\"},{\"value\":30.3,\"unit\":\"CENTIMETERS\"},{\"value\":1.5,\"unit\":\"CENTIMETERS\"}]",{"_178":370,"_151":669,"_181":182,"_183":-5},"78",{"_178":373,"_151":671,"_181":182,"_183":-5},"{\"value\":1.3,\"unit\":\"KILOGRAMS\"}",{"_178":376,"_151":673,"_181":378,"_183":674},"[\"gid://shopify/Metaobject/164334076168\",\"gid://shopify/Metaobject/214741516552\"]",{"_186":675},[676,677],{"_21":382,"_108":383},{"_21":678,"_108":679},"gid://shopify/Metaobject/214741516552","jpn-japonais",{"_178":388,"_151":681,"_181":182,"_183":-5},"Keiichiro Hirano",{"_178":391,"_151":683,"_181":182,"_183":-5},"{\"type\":\"root\",\"children\":[{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"This monumental book traces both \"},{\"type\":\"text\",\"value\":\"Land\",\"italic\":true},{\"type\":\"text\",\"value\":\" and \"},{\"type\":\"text\",\"value\":\"Space\",\"italic\":true},{\"type\":\"text\",\"value\":\" series of Mikiya Takimoto, depicting once again the smallness of human beings compared to the greatness of the world. \"}]}]}",{"_186":685},[686,687,688],{"_108":396,"_53":54},{"_108":191,"_53":192},{"_108":288,"_53":289},{"_128":98,"_129":-5,"_21":629,"_35":690,"_141":691,"_103":692,"_148":693,"_152":638,"_53":125,"_153":-5,"_154":695},{"_132":133,"_21":631,"_29":632,"_136":-5,"_137":138,"_139":140},{"_143":634,"_145":146},{"_53":619,"_108":621},[694],{"_23":121,"_151":125},[-5],[],{"_25":-5,"_53":-5},{"_21":699,"_53":700,"_107":24,"_108":701,"_110":702,"_25":703,"_112":704,"_114":704,"_115":116,"_117":111,"_118":705,"_157":735,"_168":745,"_170":746,"_154":749,"_184":753,"_195":758,"_203":765,"_205":773},"gid://shopify/Product/10374878134536","Napperons","napperons-carolle-benitah","Les Napperons Bonimenteurs, 2011
Les Napperons Obsédés, 2011
Signed and numbered by the artist
Boxed by Ginette Cognault in Marseille, France
Series of 14 or 17 paper doilies embroidered with silk thread
14 x 14 cm / 5 ½ x 5 ½ in
Edition of 10 plus 2 artist's proofs","Les Napperons Bonimenteurs, 2011 Les Napperons Obsédés, 2011 Signed and numbered by the artist Boxed by Ginette Cognault in Marseille, France Series of 14 or 17 paper doilies embroidered with silk thread 14 x 14 cm / 5 ½ x 5 ½ in Edition of 10 plus 2 artist's proofs","v1_0-1",[706],{"_23":707,"_122":708},"boites",[709,722],{"_23":710,"_126":711,"_156":-5},"Les Napperons Obsédés",{"_128":98,"_129":-5,"_21":712,"_35":713,"_141":716,"_103":718,"_148":719,"_152":111,"_53":710,"_153":-5,"_154":721},"gid://shopify/ProductVariant/51832990433544",{"_132":133,"_21":714,"_29":715,"_136":-5,"_137":138,"_139":140},"gid://shopify/ProductImage/66286597538056","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_objets_carollebenitah-napperons1_hover_3430b46d-12e4-46b7-9ccc-938baf7cfa47.png?v=1750944023",{"_143":717,"_145":146},"260.0",{"_53":700,"_108":701},[720],{"_23":707,"_151":710},[-5],{"_23":723,"_126":724,"_156":-5},"Les Napperons Bonimenteurs",{"_128":98,"_129":-5,"_21":725,"_35":726,"_141":729,"_103":730,"_148":731,"_152":733,"_53":723,"_153":-5,"_154":734},"gid://shopify/ProductVariant/51832990466312",{"_132":133,"_21":727,"_29":728,"_136":-5,"_137":138,"_139":140},"gid://shopify/ProductImage/66286418755848","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_objets_carollebenitah-napperons2_hover.png?v=1750944023",{"_143":717,"_145":146},{"_53":700,"_108":701},[732],{"_23":707,"_151":723},"SKU-CB-BONIMENTEURS",[-5],{"_159":736},[737,741,743],{"_162":738},{"_21":739,"_29":740,"_136":-5,"_139":140,"_137":138},"gid://shopify/ProductImage/66286339391752","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_objets_carollebenitah-napperons1_main.png?v=1750944023",{"_162":742},{"_21":714,"_29":715,"_136":-5,"_139":140,"_137":138},{"_162":744},{"_21":727,"_29":728,"_136":-5,"_139":140,"_137":138},{"_21":739,"_136":-5,"_139":140,"_29":740,"_137":138},{"_172":747,"_174":748},{"_143":717,"_145":146},{"_143":717,"_145":146},[750,-5,-5,-5,-5,-5,-5,751],{"_178":179,"_151":585,"_181":182,"_183":-5},{"_178":391,"_151":752,"_181":182,"_183":-5},"{\"type\":\"root\",\"children\":[{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"The visual artist Carolle Bénitah transforms paper doilies into meaningful works of art with poetry and depth. Using the red thread of wool that characterizes her work, she reimagines these traditional domestic objects—silent witnesses to family intimacy—turning them into platforms for reflection on our relationship to the private and the emotional.\"}]}]}",{"_186":754},[755,756,757],{"_108":191,"_53":192},{"_108":194,"_53":70},{"_108":607,"_53":585},{"_128":98,"_129":-5,"_21":712,"_35":759,"_141":760,"_103":761,"_148":762,"_152":111,"_53":710,"_153":-5,"_154":764},{"_132":133,"_21":714,"_29":715,"_136":-5,"_137":138,"_139":140},{"_143":717,"_145":146},{"_53":700,"_108":701},[763],{"_23":707,"_151":710},[-5],[766],{"_128":98,"_129":-5,"_21":725,"_35":767,"_141":768,"_103":769,"_148":770,"_152":733,"_53":723,"_153":-5,"_154":772},{"_132":133,"_21":727,"_29":728,"_136":-5,"_137":138,"_139":140},{"_143":717,"_145":146},{"_53":700,"_108":701},[771],{"_23":707,"_151":723},[-5],{"_25":-5,"_53":-5},{"_21":775,"_53":776,"_107":24,"_108":777,"_110":778,"_25":779,"_112":113,"_114":113,"_115":116,"_117":111,"_118":780,"_157":795,"_168":815,"_170":816,"_154":819,"_184":837,"_195":844,"_203":851,"_205":852},"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.",[781],{"_23":121,"_122":782},[783],{"_23":125,"_126":784,"_156":-5},{"_128":98,"_129":-5,"_21":785,"_35":786,"_141":789,"_103":790,"_148":791,"_152":793,"_53":125,"_153":-5,"_154":794},"gid://shopify/ProductVariant/50992593010952",{"_132":133,"_21":787,"_29":788,"_136":-5,"_137":138,"_139":140},"gid://shopify/ProductImage/64257205207304","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_bachelot_portraits_main.png?v=1748103715",{"_143":427,"_145":146},{"_53":776,"_108":777},[792],{"_23":121,"_151":125},"SKU-PORTRAITS-BACHELOT-42",[-5],{"_159":796},[797,799,803,807,811],{"_162":798},{"_21":787,"_29":788,"_136":-5,"_139":140,"_137":138},{"_162":800},{"_21":801,"_29":802,"_136":-5,"_139":140,"_137":138},"gid://shopify/ProductImage/64257204650248","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_bachelot_portraits_hover.png?v=1748103715",{"_162":804},{"_21":805,"_29":806,"_136":-5,"_139":140,"_137":138},"gid://shopify/ProductImage/64257204683016","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_bachelot_portraits_alternate01.jpg?v=1748103715",{"_162":808},{"_21":809,"_29":810,"_136":-5,"_139":140,"_137":138},"gid://shopify/ProductImage/64257204551944","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_bachelot_portraits_alternate03.jpg?v=1748103715",{"_162":812},{"_21":813,"_29":814,"_136":-5,"_139":140,"_137":138},"gid://shopify/ProductImage/64257204584712","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_bachelot_portraits_alternate02.jpg?v=1748103715",{"_21":787,"_136":-5,"_139":140,"_29":788,"_137":138},{"_172":817,"_174":818},{"_143":427,"_145":146},{"_143":427,"_145":146},[820,822,824,826,-5,828,833,835],{"_178":179,"_151":821,"_181":182,"_183":-5},"Collective",{"_178":367,"_151":823,"_181":182,"_183":-5},"[{\"value\":26.7,\"unit\":\"CENTIMETERS\"},{\"value\":21.7,\"unit\":\"CENTIMETERS\"},{\"value\":2.0,\"unit\":\"CENTIMETERS\"}]",{"_178":370,"_151":825,"_181":182,"_183":-5},"128",{"_178":373,"_151":827,"_181":182,"_183":-5},"{\"value\":846.0,\"unit\":\"GRAMS\"}",{"_178":376,"_151":593,"_181":378,"_183":829},{"_186":830},[831,832],{"_21":385,"_108":386},{"_21":382,"_108":383},{"_178":388,"_151":834,"_181":182,"_183":-5},"Patrick de Carolis, Françoise Docquiert, Andy Neyrotti",{"_178":391,"_151":836,"_181":182,"_183":-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.\"}]}]}",{"_186":838},[839,842,843],{"_108":840,"_53":841},"collection-bachelot","Collection Florence et Damien Bachelot",{"_108":396,"_53":54},{"_108":191,"_53":192},{"_128":98,"_129":-5,"_21":785,"_35":845,"_141":846,"_103":847,"_148":848,"_152":793,"_53":125,"_153":-5,"_154":850},{"_132":133,"_21":787,"_29":788,"_136":-5,"_137":138,"_139":140},{"_143":427,"_145":146},{"_53":776,"_108":777},[849],{"_23":121,"_151":125},[-5],[],{"_25":-5,"_53":-5},{"_21":854,"_53":855,"_107":24,"_108":856,"_110":857,"_25":857,"_112":113,"_114":113,"_115":116,"_117":111,"_118":858,"_157":873,"_168":881,"_170":882,"_154":885,"_184":901,"_195":908,"_203":915,"_205":916},"gid://shopify/Product/10355043467528","Smoke & Mirrors | Special edition","smoke-mirrors-tirages-de-tete","\"To impose these complex feelings that combine contemplation and deciphering, understanding and reverie, Guillaume Zuili resorts to what is most photographic in the practice of images: the print. A salutary reminder that photography only exists in virtual, even ephemeral form – the one that apparently wins today – if it does not materialize, if it does not become an object, even if it is made of paper and fragile. He reminds us, in fact, that these sheets, learned and refined, fruits of artisanal know-how and perpetual reinterpretations, vibrate with the often uncontrollable tones of the toning, move by the way in which the silver grains couple with the weaves of the paper, affirming both the velvety depth of the blacks and the shades of gray that modulate and caress the forms. This is where a perception of time is inscribed, sometimes amused under its charming exterior, which takes distance and sends us back to the dream of palm trees and pin-ups, motifs that pop art summoned and that advertising diverts. Time stopped and at the same time suspended between yesterday, which neither the photographer nor what he depicts knew, and today, which he uses to send us back to a universe that we do not know how to see, that he makes exist, which is certainly an illusion, but which presents itself as obvious as he knows how to convince us by evoking memories, a peaceful feeling of time, a possible escape into the dream that softens the decor and opens up a possible space for us. 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Mikiya Takimoto, a leading photographer in the fields of advertising and television campaigns, continues to pursue a recognized career on the contemporary scene. He broadened his scope of work by taking on the role of director of photography for the first time on the film Like Father, Like Son directed by Hirokazu Kore-eda.

This book is a stunning collection of images that capture the endless rhythm of the sea—from the origins of the Earth to the present moment.

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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. 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