November and Reflections on Paris Photo

paris photo fair 2013 - genesis imaging

November brought us a whole host of events, shows and activities – from private views to Paris Photo. We’re looking forward to another busy month in the lead-up to 2014 (and to Christmas too). We’ll be printing, mounting and framing your orders right up until December the 24th (closing at 2pm and reopening on January 2nd). To support the growth of the business, we’re very pleased to welcome two new members to the team…

Ian and Ameet have joined us to support the team in processing and producing your work. As part of our Customer Support Team, Ian will be assisting Lynda with Bernie to answer your questions, queries and assist in processing your orders. Ameet will be assisting our production team in our mounting and finishing departments, supporting the production of your work.

Welcome to the team!

After an early start, Mark and I arrived in Paris on Wednesday morning to a sunny, yet cold Paris, which had every threat of rain (thankfully this held off until the following day).

This year’s Paris Photo was a first for me and proved to be every bit as varied, exciting and busy as I had been told it would be. It certainly lived up to its expectations.

As we entered the Grand Palais, I was hit by the enormity of the fair – the building, the stands, everything feels much larger than any British art fair that I could hold in comparison. Now in its third year at The Grand Palais, the venue hosts each of the galleries without imposing itself on the work being shown. For 55,239 visitors, the fair offered everything from vintage to contemporary, platinum archival prints to screen prints and from Anonymous prints to the photo stars of the 21st Century. For me, the undoubtable highlight of Paris Photo was the opportunity to get up-close to images that I had only seen in books.

In contrast to the fair itself, Offprint, a publishing fair for emerging practices in art, was hosted at Beaux Arts – a modest space on the other side of the river. Described by Offprint as including “contemporary artists, graphic designers, photographers, publishers, book dealers, museums, art schools curators and antiquarians”, the fair had something for almost everyone. Alongside the array of books, Offprint offered the opportunity to make your own book’ from a selection of printed pages – putting the editing of the publication very much in the hands of the purchaser. An interesting idea, giving the buyer their very own title hot off the (printing) press.

Coinciding with the opening of Paris Photo, Mark and I attended the Prix Pictet shortlist announcement at The Musée d’Art Moderne. Each of the eleven bodies of work interpreted Consumption’, the broad theme of this year’s Prix Pictet, in suitably different ways – providing thought-provoking responses to the world around us. The shortlist includes: Adam Bartos (United States), Motoyuki Daifu (Japan), Rineke Dijkstra (Netherlands), Hong Hao (China), Mishka Henner (Belgium), Juan Fernando Herrán (Colombia), Boris Mikhailov (Ukraine), Abraham Oghobase (Nigeria), Michael Schmidt (Germany), Allan Sekula (United States) and Laurie Simmons (United States). The finalist’s exhibition will showcase the work of these eleven artists and will be held at the Victoria and Albert Museum in May 2014 – where the winner of the fifth cycle award will be announced by Kofi Annan.

As Saturday came, we were able to catch Edmund Clark’s talk on Control Order House’ which offered a brief, yet insightful insight into his interest and approach to working within a space where a man suspected of terrorist activity had been placed under a Control Order.

The anonymity of the house – an archetypal semi-detached house in a faceless suburb – is explored through Edmund’s unedited visual record of the space itself. We are looking forward to speaking with Edmund about the publication and his explorations into incarceration and control in January 2014, as part of our ongoing Twitter interview series. Join us live on Tuesday 21st January from 3pm…

During our time in Paris, we were also fortunate to have been able to see Gayle Chong Kwan’s Blind Vistas’ in situ – having printed her large-scale work in August (shown in our September blog). Her solo show at Galeria Alberta Pane featured her tactile explorations into sight and touch – stalactites, stalagmites and framed works of paper forms painted in household paint accompanied her printed Dibond pieces. The space itself allowed for an intimate, immersive look into Gayle’s exploration of sight, touch and the lunar vista.

My first Paris Photo will certainly not be my last – a varied, interesting and exciting fair and one that I very much look forward to attending again in the forthcoming years.

Paris, it was a pleasure.

Until next time…

Gabrielle and the Genesis team.

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