Covariance
Jean-Kenta Gauthier
Paris, May 6 - 27
Photo © Martin Argyroglo
Raphaël Dallaporta,
Alexandre Brouste.
Raphaël Dallaporta, ‘Covariance’ (2015). Complete set of 48 cyanotype over platinum-palladium prints, 33,5 x 40,5 cm each (framed).
Jean-Kenta Gauthier gallery space located : 5 rue de l’Ancienne-Comédie 75006 Paris.
‘Covariance’ (2015) is a set of 48 photographs derived from mathematical objects realized by
Raphaël Dallaporta following a dialogue with Alexandre Brouste, Professor of Mathematics
at Université du Maine (France). These objects, created from mathematical functions
integrating a covariance principle - a concept used in theories of probabilities and statistics
- are materialized in the form of cyanotypes over platinum-palladium prints, offering the
illusion of fragments of clouds in a cosmic sky.
‘Covariance’ follows Raphaël Dallaporta’s artistic practice collaborating on many occasions
with scientists and researchers in order to question the conditions of our existences, beginning
with ‘Antipersonnel’ (2010). In ‘Covariance’, each of the 48 components bares the name of
‘Aléa’ (meaning ‘hazard’) in reference to the aleatory part of its mathematical formulation.
Through these mathematical uncertainties which generate abstract and illusory images,
Raphaël Dallaporta builds a continuous dialogue between science and art, questions the
nature of the artistic act and evokes our own destinies resulting from numerous events,
encounters and aleatory elements.
Through ‘Covariance’, Raphaël Dallaporta also comments on ‘Equivalent’ (1925-31),
the historical works by Alfred Stieglitz who, photographing real clouds, established a
correspondance between the subjetcs’ abstract form and the author’s moods.
Covariance’ was created in 2015 during Raphaël Dallaporta’s residency at the French
Academy in Rome - Villa Medicis. A book will be published by Rrose Editions in September.
Raphaël Dallaporta
The elusive Chauvet – Pont-d’Arc Cave
“A cave needs to be treated with infinite prudence; as a landscape, a natural area that
awakens a deep sense of time immemorial.” (R. Dallaporta)
The elusive Chauvet – Pont-d’Arc Cave, is the result of a project developed by the artist
Raphaël Dallaporta in the decorated cave of Pont-d’Arc, known as Grotte Chauvet. This
geological site at the heart of the Ardèche department of southern France was untouched for
more than 20 000 years, before being rediscovered in 1994. The access to its hundreds of cave
paintings has been severely restricted to researchers and scientists. Thanks to the Association
pour la Mise en Valeur de la Grotte Ornée du Pont-d’Arc and to the Ministry of Culture,
Raphaël Dallaporta has taken panoramic views of the inside of the cave, which he presents
KyotoGraphie, The Museum of Kyoto Annex
6K Video instalation 4 m x 12 m.
in the form of planispheres, following the model conceived by American inventor Richard
Buckminster Fuller in 1946.
Reproduced as a book, Raphaël Dallaporta’s work invites the reader to shift the way they look
at the cave. He tilts their perception by creating an imbalance, in a metaphor of the world’s
movements, of the rotation of the Earth and planets. The artist thus refers to the anthropological
hypothesis according to which the caves and the universe are linked to one another.
Exhibition curated by Xavier Barral, in collaboration with On-situ studio
Sound design by Marihiko Hara
with the support of Sony PCL.
Raphaël Dallaporta
Édition Xavier Barral
Chauvet – Pont-d’Arc, L’inappropriable
Chauvet – Pont-d’Arc,
L’inappropriable, R. Dallaporta,
Editions Xavier Barral, 2016
Vol I : B&W photographs, 280p.
Vol II : Texts and illustrations, 80p.
Design de Christophe Renard.
French edition.
2 books with a Japanese
bookbinding 240 × 320 mm.
Texts :
Marie Bardisa,
Jean-Jacques Delannoye,
Jean-Paul Curnier,
Jean Clottes,
Rémi Labrusse.
New
Book
Monography
Raphaël Dallaporta
Antipersonnel, R. Dallaporta
Ruins
Fragile
Domestic Slavery
35 color photographs
Captions by Tom Ridgway
Design by Kummer&Herrman.
French and English edition.
12 color photographs,
13 differently sized posters
Design by Kummer&Herrman.
English edition.
23 color photographs
Design by Kummer&Herrman.
French and English edition.
Translation by Tom Ridgway
12 color photographs
Design by Kummer&Herrman.
French and English edition.
Translation by Tom Ridgway
Hardcover cloth - 88 p.
245 × 320 mm.
Archival box
240 x 340 mm.
Swiss binding - 96 p.
240 x 340 mm.
Flexible dossier - 24 p.
210 x 297 mm.
Editions Xavier Barral,
Musée Elysée, Lausanne. 2010
R. Dallaporta
Editions GwinZegal, 2013.
R. Dallaporta
Editions GwinZegal, 2011.
R. Dallaporta, O. Millot
Utrecht: Fotodok, 2009.
Raphaël Dallaporta
captions by Tom Ridgway
Antipersonnel
One of photography’s great strength is its ability to catalogue and record the world in
which we live. The simplicity and clarity that photography offers has both commercial
and artistic possibilities. In more recent years there has been a trend towards
documentary photographers isolating one particular aspect of society and exploring this
in great detail. Raphaël Dallaporta presents the most chilling example of this genre by
photographing antipersonnel landmines. These strange ugly objects also have a certain
disturbing beauty to them. We hear about the damage that landmines inflict on innocent
victims long after the purpose of their planting has lapsed. They of course are hidden
underground before exploding.
Dye destruction prints
(Ilfochrome) 24 x 30 cm
I had never seen a landmine in real life or in a photograph until discovering Dallaporta’s
images. It was a revelation. We now learn that hundreds of types of landmines exist and
the variety of design, appearance, shape and design is incredible. Because Dallaporta
has photographed these objects in the way an advertising photographer might render a
shampoo bottle, he glorifies these objects and yet appears totally neutral in his approach.
It is a most clever trick, so much so that we hardly notice he has done it.
Martin Parr.
Introduction of ‘Antipersonnel’
Editions Xavier Barral, 2010.
Raphaël Dallaporta
text by Ondine Millot
Domestic Slavery
“I’m not with the victims but with those making amends”, says Raphaël Dallaporta. The
photographer has set up his camera where it happened. He has tried to go beyond the
suffering of individual fates, his only certainty being his documentary conviction. If, at
first sight, it seems that there’s little going on in Dallaporta’s photographs, that would be to
forget the texts. Because ‘Domestic slavery’ is a work that creates a resonance between text
and photography, the result of a collaboration between a journalist, Ondine Millot, and a
photographer. Dallaporta thus joins a documentary tradition in which the attempt to create
a dialogue between words and images has long given food for thought. From Walker Evans
(‘Let us now praise famous men’, in collaboration with James Agee) and Dorothea Lange
(‘An American Exodus’, in collaboration with Paul Taylor), the contributions to the history
Offset prints
420 x 297 mm
of photography have been numerous. But Dallaporta’s documentary technique may seem
disconcerting. He has chosen a silent image. He places us outside, he leaves us alone with
our capacity to think. Thus our perception of the images is subtly altered. Though, at first
glance, we may ask ourselves whether they are necessary – they seem overshadowed by
the written accounts – Dallaporta’s photographs become more and more the anchor for the
texts, making it possible to empathize, increasing the feeling of uneasiness. For, from this
point in time, the reader is within and the viewer without.
Sam Stourdzé
‘The silent image, or the documentary conviction of Raphaël Dallaporta’
Raphaël Dallaporta
Fragile
The first viewing can be unbearable, for it shows the inevitable imperatives of reality especially those concerning our own death in a context defined by a terrifying, inflicted
accident - in order to project it into a more aesthetic, philosophical realm. This is a body of
work, coherent and complete, that exposes itself, leading the viewer towards a contemplative
stance and a gazing inwards. The viewer, nonetheless, quickly understands that each of
these prints, displayed like an anatomical plate, has a specific, terrifying story attached to it.
In most of these images, natural death doesn’t exist ; rather death comes from an accident,
a murder, or drama. There is an exception to the irreality of these photographs: the Four
Humors in large scale format, Saturn’s rings or ellipses in space, a reference to Hippocrates,
Fragile portfolio,
8 Dye transfer prints 40 x 50 cm.
and yet directly linked to human nature. However, this body of work also seeks to reveal the
unexpected but fascinating relationship between human body parts, made objective and yet
mysteriously transformed by Dallaporta’s vision, and exploration of a new system of seeing
stretched to the limits to an almost formal abstractionism. For if his images seems outside
of familiar contexts, they decompose the distress and solitude of the human predicament
deceived by the system and close friends and/or family.
Françoise Docquiert
Commissioner of the exhibition
“Sciences: Berenice Abbott, Raphaël Dallaporta”
Raphaël Dallaporta
Ruins
In 1863, with the help of Gustave Ponton d’Amércourt, who had invented a prototype
helicopter, Nadar founded the Society for the Encouragement of Aerial Locomotion through
the use of Machines Heavier than the Air. One and a half century later, in autumn 2010,
Raphaël Dallaporta was flying his modern equivalent – a six-propeller drone – over northern
Afghanistan. Using a drone he designed himself, he took aerial photographs of endangered or
heretofore unknown archaeological sites in a country at war. Designed to give a French-Afghan
archaeological team a new perspective on their fieldwork, the “pacifist drone” photographed
from on high the historical palimpsest on the ground, capturing during this first mission
Zoroastrian religious sites, Achaemenid Empire-era fortifications and the strategic passes.
Vol au dessus de Kafir Qala
province de Balkh, Afghanistan, 2010.
Raphaël Dallaporta has worked on assembling the images. With their voluntarily
asymmetrical contours they depict these inaccessible monuments and places at their best. The
most cutting-edge technology reveals the artist’s themes — destruction, the precariousness
of things. It brings to light that which was and is no longer: like all photography, these
images don’t say anything; they record a shape
and document the invisible.
Angela Lampe
Commissioner of the exhibition ‘Views from above’
Raphaël Dallaporta
Alexandre Brouste
Covariance
It looks like a sky with clouds, cut into 48 small pieces, that make a dappled blue
wall and in which slowly we become immersed in. In reality, it is a mathematical
function. Photographer Dallaporta who likes to collaborate with scientists, has
partnered with a mathematician, Alexander Brouste to generate forms from a
function called covariance. For each image, only one parameter of the function
varies, resulting in more or less dark spots.
Instalation de 48 tirages 33x40 cm
au platine-palladium cyanotypés.
A broken image for evanescent clouds ... and performed by mixing two former
methods, cyanotype and platinum. Enough to keep the brain functioning. - yet
without taking away enjoyment of the eye.
Claire Guillot
Le Monde
Raphaël Dallaporta
Observatoire de l’espace - Cnes
Relique Avant-Garde
In a project that started Raphaël Dallaporta strated with Cnes, the French Space Studies
Centre, he has made a piece on the Symphony project, the joint Franco-German satellite
programme.
Dating from soon after the Second War (development was active since the early
1960s), the Symphony programme was a way for the two former rival nations to look
determinedly forward together in the spirit of the Treaty of Rome. Symphony was a
communications satellite system, the first one in Europe. For Dallaporta it has metaphorical
weight, too: if the two nations could develop a comms system then they were surely
developing actual communication between themselves at the same time.
Instalation 19 tirages baytés
format 350x135 cm.
Dallaporta’s views of the remaining satellite antennae are fractured. They underline how
time has begun to dismantle our memory of these giant projects, controversial yet beneficial,
public-spirited and privately advantageous.
Between two of them, he recovers archival evidence of the early work going on: a lifetime
away by now, ancient history. Symphony lives on in the little communications systems in
the pockets of all of us: technology has become normal. It seems democratic. But it wasn’t
always obvious that it was to be so. It may yet turn out not to be so in the end.
Francis Hodgson
Raphaël Dallaporta
Musée Nicéphore Niépce
Correspondance
Impression pigmentaire 180x275 cm.
et tirages encadrées 21x30 et 15x 30 cm.
I am intimately convinced that secrecy is the source
of every photographic image. What’s more, I saw in
their letters to each other that right from the very
beginning, around 1830, Niépce and Daguerre used a
numerical code for the substances they were working
with as a way of protecting their invention. So here as
a contribution and a tribute to all the secrets photography
keeps hidden, I offer, symbolically, the hundred
or so original mentions the code concealed.
Nicéphore Niépce’s legacy, an object with no antecedents, has made us a people of the image,
the inhabitants of a new continent that he alone discerned. It is to him that we owe our speaking of a single language. A Newspeak, maybe, but one that has established a shared grounding of references for a humanity at last disencumbered of literary description; one that can
find expression in a host of different media. Looming so large in the uncertain landscapes
of contemporary culture, Niépce’s contribution can be considered the very definition of modernity. Its effects—and even more so, its strange consequences—still remain to be fully
assessed. This open window is, in actuality, Pandora’s box.
Raphaël Dallaporta
Musée Nicéphore Niépce’s Chief Curator
François Cheval
Raphaël Dallaporta
Philippe Vasset
Azimuth
Azimuth is an exploration of the «Grand Paris» through its urban summits. Led
by Raphaël Dallaporta and writer Philippe Vasset, this rising exploration started
with the Utrillo tower, in Clichy-Montfermeil, and kept going with the Lilas tower,
moving from one summit to another, all around Paris, creating, by the exchange of
points of view from one height to another, a semaphoric circle surrounding the city.
The semaphores refer to the optical method of communication, that has disappeared
from our landscape and our memory and finds its origins in Chappe’s telegraph, the
ancestor of our modern telecomunications, with its brief life from French Revolution
to the electricity’s advent.
We walk on this symbolical network of way stations, one after another and each one
Commande photographique
Regards du Grand Paris - Cnap
being in the visual field of the previous and of the following. In-between each point of
view, a message, a mystery, is drawn. A narration, secretly relayed between the filled
and the empty spaces above the city. A digital sensor is assembled to a telescope,
replacing the spyglass used by the watchmen at the end of the XVIIIe century.
Just like the aerial telegraph, the image capturing protocol will only be operational
at daytime. Through the shifting of the gaze we are invited to follow by the ensembleParis takes the shape of a points of view’s constellation, where every star becomes
an observatory.
Raphaël Dallaporta
Biography
Portrait by Jerome Sother
Photographer Raphaël Dallaporta, born in France in 1980, has garnered
international acclaim for his its rigorous protocols and documentary
conviction. He is concerned with public issues addressing human rights as
well as more symbolic subjects such as the fragility of life. His long term
projects which combine text and images are a product of his collaborations
with professionals from a wide range of fields. He has worked closely with
a landmine clearer (Antipersonnel), a reporter who covers social work as it
intersects with the law (Domestic Slavery), forensic pathologist (Fragile) and
archeologists (Ruins). He recently join the art-science laboratory of the Cnes
the French Space Studies Centre.
Fellow at the Villa Medici, the French Academy in Rome in 2014-2015.
Raphael Dallaporta is the winner of the 2010 Young Photographer ICP Infinity
Award and FOAM’s 2011 Paul Huf Award. Solo exhibitions include “Raphaël Dallaporta, Protocole” at Musée de
l’Elysée, Lausanne, in 2010, ‘Antipersonnel’ selected by Martin Parr
Rencontres d’Arles 2004 , among many others in Europe, Asia and USA.
His work is included in the collections of the Musée de l’Elysée, Lausanne,
; Fond National d’Art Contemporain, Paris, the Maison Europeenne de la
Photographie, Paris or the New York Public Librairy.
Raphaël Dallaporta
cv
Education
2014_2015
2002_2003
2000_2002
1998_2000
Académie de France à Rome - Villa Medici, It.
Fabrica, Trévise, It.
Gobelins, l’Ecole de l’image, Paris, Fr.
Université Pantheon-Sorbonne, Paris, Fr.
Prizes
2011 Foam Paul Huf Award. Nl.
2010 Inifinity Award ICP New York. Usa.
2009 European Central Bank Prize. De.
Collections
New York Public Librairy, New York, Usa.
Musée Nicéphore Niépce, Chalon-sur-Saône, Fr.
Foam Fotografiemuseum, Amsterdam, Nl.
Musée de l’Élysée, Lausanne, Ch.
Fond National d’Art Contemporain, Paris, Fr.
Maison Européenne de la Photographie, Paris, Fr.
Monography
2016
2013
2011
2010
2009
2006
2004
Chauvet – Pont-d’Arc, L’inappropriable, R. Dallaporta, Editions Xavier Barral.
Ruins, Dallaporta R. Editions GwinZegal.
Fragile, Dallaporta R. Editions GwinZegal.
Antipersonnel, Dallaporta R. Editions Xavier Barral, Musée de l’Elysée, Lausanne.
Domestic slavery [Esclavage domestique], Dallaporta R. Millot O. Fotodok.
Esclavage domestique, Dallaporta R. Millot O. Filigranes Editions.
Front Toward Enemy, Dallaporta R. Filigranes Editions
Rome, Villa Médicis,
pensionnaires 2014-2015.
Raphaël Dallaporta
cv
Solo Exhibitions
2017
2016
2015
2014
2013
2013
2013
2012
2012
2012
2011
2011
2010
2010
2010
2008
2008
2008
2007
2006
2006
2005
2004
“Raphaël Dallaporta, Chauvet – Pont-d’Arc Cave, KyotoGraphy, The Museum of Kyoto Annex, Kyoto, Jp.
“Raphaël Dallaporta, Chauvet­–Pont-d’Arc” Paris-Photo, Gare du Nord, Paris, Fr.
“Covariance”, Paris-Photo, Amana Salto, Grand-Palais Paris, Fr.
“Raphaël Dallaporta, Observation.” Gallery of Photography Ireland, Dublin, Ir.
“Raphaël Dallaporta, Observation.” Alliance Ethio-Française Addis Abeba, Et.
“Raphaël Dallaporta, Ruins.” Skol, Le Mois de la photographie à Montréal, Ca.
“Raphaël Dallaporta.” Ecole des Beaux-Arts de Poitiers, Fr.
“Raphaël Dallaporta, Observation.” CNA Luxembourg, Lu.
“Raphaël Dallaporta, Observation.” Museum für Photographie Braunschweig, De.
“Raphaël Dallaporta, Observation.” Musée Nicéphore Niépce, Chalon-sur-Saône, Fr.
“Raphaël Dallaporta, Observation.” Foam Fotografiemuseum, Amsterdam, Nl.
“Ruins, Saison 1.” Prix découverte, Rencontres Internationales d’Arles, Fr.
“Raphaël Dallaporta, Protocole.” Musée de l’Elysee, Espace Arlaud, Lausanne, Ch.
“Raphaël Dallaporta.” Fotohof, Salzburg, Au.
“Raphaël Dallaporta, Domestic slavery.” New York Photo Festival, Usa.
“Raphaël Dallaporta, Autopsy.” New York Photo Festival, Usa.
“Raphaël Dallaporta, Esclavage domestique.” Imaginaid Galerie, Geneve, Ch.
“Raphaël Dallaporta, Esclavage domestique.” Fait & Cause Galerie, Paris, Fr.
“Raphaël Dallaporta, Domestic Slavery.” Langhans Galerie, Prague, Cz.
“Esclavage domestique.” Rencontres Internationales d’Arles, Fr.
“Antipersonnel.” Mois de la Photographie de Moscow, Ru.
“Raphaël Dallaporta, Antipersonnel.” Galleria Santa Cecilia, Rome, It.
“Antipersonel.” Rencontres Internationales d’Arles, Fr.
Gallery of Photography Ireland,
Dublin, 2014
Group Exhibitions
2016
2016
2016
2015
2014
2014
2014
2013
2012
2013
2012
2012
2012
2012
2011
2010
2009
2008
2006
“Gelatin Silver Print Is Dead!”, Galerie Ernst Hilger, Vienne, At.
“Looking for the clouds. Contemporary Photography in Times of Conflict”, Musa, Vienne, At.
“Design and Violence”, Science Gallery Dublin, Ir. / MoMA New York, Usa.
“Nicéphore Niépce en héritage” Musée Nicéphore Niépce, Chalon-sur-Saône, Fr.
“Contakt” Cnes - Observatoire de l’Espaces, Nuit Blanche, Paris, Fr.
“Luttes.” GetxoPhoto, Festival International de la Photographie, Bilbao Es.
“LGV Sur les rails de l’histoire.” Inrap, Musée archéologique de Jublains, Fr.
“L’œil Photographique.” FRAC Auvergne, Fr.
“Transition”, Rencontres Internationales d’Arles, Fr / Market Photo workshop, Johannesburg, Za.
“Vues d’en Haut.” Centre Pompidou Metz, Fr.
“Naratives and Narative Form.” Lianzhou Photo festival, Cn.
“Sciences: Berenice Abbott, Raphaël Dallaporta.” Galerie Les Douches, Paris, Fr.
“Survival Techniques.” MoCP Museum of Contemporary Photography, Chicago, Usa.
“Imaging History.” FoMu FotoMuseum, Antwerp Be.
“Autour de l’Extrême.” Maison Européenne de la Photographie, Paris Fr.
“Warzone.” Noorderlicht International Photofestival, Groningen, Nl.
“Esclavage domestique.” QPN festival photographie Nantes, Fr.
“Pour en finir avec l’esclavage.” Festival d’Aix-en-Provence, Fr.
“Réinventer le visible.” Maison Européenne de la Photographie, Kunsthalle Erfurt, De.
Musée Nicéphore Niepce, 2015
photography by Alexandra Catière
Raphaël Dallaporta
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Teaching
2014-2015 Guest artist, Ecole Supérieure d’Art des Rocailles, Biarritz, Fr.
2011-2012 Instructeur du Junior seminar, Parsons School of Art and Design, Paris, Fr.
Lectures
2017 “The Elusive Chauvet-Pont d’Arc Cave” R. Dallaporta, C. Minato, Kyoto, Jp.
2016 “Chauvet­ –Pont-d’Arc : R.Dallaporta, R. Labrusse, C. Renard, LeBal, Paris, Fr.
2016 “The relationship editor/author : J. Sother et R. Dallaporta”, ENSP, Arles, Fr.
2014 “After photography”, University of Ulster, MFA Photography Belfast, Ir.
2014 “Cara a cara/ Face to face.” OjodePez. IV Photo Meeting Barcelona, Es.
2014 “In Eyes in the Sky.” Bard College, Aperture Foundation, New York, Usa.
2014 “Artist’s Talk.” University of Ulster, MFA Photography Belfast, Ir.
2014 “Pratiques de l’image.” Ecole Supérieure d’Art d’Aix en Provence, Fr.
2013 “Représenter la mort.” Fondation Henri Cartier-Bresson Paris, Fr.
2013 “Dronology.” seminaire au MAI Arts Interculturels Montréal, Ca.
2013 “Narration.” Ecole Supérieure d’Art des Roucailles Biarritz. Fr.
2012 “Social Landscape.” Market Photo Workshop Johannesburg, Za.
2012 “New Documentary.” Foto 8 Host Gallery London, Uk.
2012 “Regards croisés.” Musée Nicéphore Niépce, Chalon-sur-Saône, Fr.
2012 “La Photographie Sociale.” Ecole Nationale Supérieure des Arts, Nancy, Fr.
2011 “Conférence de la SFP.” Université Paris 1, Paris Fr.
2011 “Art Contemporain & Géo politique.” Science Po. NYU Paris, Fr.
2011 “Observation: Foam lecture.” Fotografiemuseum, Amsterdam, Nl.
2010 “The Photographers Lecture Series.” ICP School, New York, Usa.
2009 “Guest lecture.” Parsons School of Art and Design Paris, Fr.
2009 “Plat(t)form.” Fotomuseum Winterthur, Ch.
2008 “The documentary conviction.” New York Photo Festival, Usa.
Workshops
2017
2016
2014
2013
2012
2009
2008
2006
2005
2004
“Carambolage” high school workshop Guingamps / GwinZegal, Fr.
“Espace.” scolar workshop, with le Musée Nicéphore Niépce, Chalon-sur-Saône, Fr.
“Terre Lune” Primairy school Quemper Guézennec / GwinZegal, Fr.
“Traffic light.” workshop,.” DFA, Alliance Ethio-Française Addis Abeba, Et.
“Figures Impossibles.”, masterclass, Gobelins l’ecole de l’Image, Paris, Fr.
“Mobilité.” scolar workshop, with the help of Ministère de l’Education Nationale, Fr.
“Alter Ego.” high school workshop Naples and Saint-Denis, supported by the regions, Fr./It.
“Clic et Classes.” scolar workshop, with the help of Ministère de l’Education Nationale, Fr.
“Masterclass.” The Arles Photography Festival, Fr.
“Documents.” workshop of the centre Photographique d’Iles de France, Fr.
“Münchausen.” artiste invité,
ESA des Rocailles Biarritz. 2014
Antipersonnel
Raphaël Dallaporta
légendes de Tom Ridgway
TYPE 72B
Chine
A-200
Allemagne
Mine artisanale
-
PFM-1
Fédération de Russie
Mine artisanale
Bosnie
PMA-2
Ex-Yougoslavie
PPMINA-1
République tchèque
No. 4
Israël
BLU-44/B
États-Unis
M-966/B
Portugal
M-16
États-Unis
V-69
Italie
PDM-57
Union soviétique
VS-50
Italie
SB-33
Italie
P-5
Espagne
MI AP DV 61
France
MI AP DV 59
France
MI AP 51
France
M-18/A1
États-Unis
M-18/A1
Iran
MAUS-1
Italie
GMMI-43
Allemagne
B-40
États-Unis/Vietnam
R2M2
Afrique du Sud
M-39
États-Unis
KB1
Ex-Yougoslavie
BLU-97/B
États-Unis
BLU-77/B
États-Unis
F1
France
BLU-24/B
États-Unis
ZAB-500
Fédération de Russie
AO-2.5RTM
Fédération de Russie
BLU-3/B
États-Unis
BLU-26/B
États-Unis
Aquisition
Edition
- Fond National d'Art
Contemporain, Paris.
35 prints and captions.
Dye destruction prints
(Ilfochrome) 24 x 30 cm
- Maison Européenne
de la photographie, Paris.
- Musée Elysée,
Lausanne.
Edition 10+2AP
Esclavage Domestique
Raphaël Dallaporta
textes de Ondine Millot
Aquisition
Edition
Links
- Fond National d’Art
Contemporain, Paris.
12 Offset prints
(images and text)
420 x 297 mm
www.domesticslavery.com
- Musée Nicéphore Niépce,
Chalon-sur-Saône.
- Musée Elysée,
Lausanne.
Download the pdf. of the publication
(available translations : French,
English, German, Italian).
Fragile
Raphaël Dallaporta
Planche I a. Moelle épinière
Planche I b. Voûte crânienne
Planche II a. Plastron
Planche II b. Bloc cardio-pulmonaire
Planche VII a. Cerveau congestif
Planche XII a. Dure-mère
Planche XIV a. Bloc cardio-pulmonaire
Planche XIV b. Pace-maker
Sang
Bile jaune
Bile noire
Flegme
Acquisition
Publication
- New York Public Library
New York.
- Fragile portfolio :
8 Dye transfer prints
and silkscreen captions
40 x 50 cm. Edition 03
- Foam Fotografiemuseum,
Amsterdam.
- Musée Nicéphore Niépce,
Chalon-sur-Saône.
- Four Humors :
4 Dye destruction print
(Ilfochrome) 120 x 150 cm
Edition 04 + 2A.P.
Ruins
Raphaël Dallaporta
Exhibition:
Format:
- “Views from above”
Centre Pompidou, Metz
- Ruins (Season 1)
12 Pigment prints on Dibond
120 x 150 cm
- “Drone: the automated image”
Month of photography, Montréal
- “Imaging History”
FoMu Foto Museum, Antwerp
- Check-point Tangui
Video installation, 8’45 min.
Raphaël Dallaporta
Chauvet – Pont-d’Arc Cave
Exhibition:
Format:
- KyotoGraphy 2017,
The elusive Chauvet – Pont-d’Arc Cave,
The Museum of Kyoto Annex,
curated by Xavier Barral.
- Pigment lines above trichromie
prints on wall.
- Video installation
by On-situ studio.
- Sound design
by Marihiko Hara.
Monographie
Raphaël Dallaporta
Chauvet – Pont-d’Arc,
L’inappropriable, R. Dallaporta,
Editions Xavier Barral, 2016
Antipersonnel, R. Dallaporta
Editions Xavier Barral,
Musée Elysée, Lausanne. 2010
Ruins
R. Dallaporta
Editions GwinZegal, 2013
Fragile
R. Dallaporta
Editions GwinZegal, 2011
Domestic Slavery
R. Dallaporta, O. Millot
Utrecht: Fotodok, 2009
Vol I : B&W photographs, 280p.
Vol II : Texts and illustrations, 80p.
Design by Christophe Renard.
French edition.
35 color photographs
Captions by Tom Ridgway
Design by Kummer&Herrman.
French and English edition.
12 color photographs,
13 differently sized posters
Design by Kummer&Herrman.
English edition.
23 color photographs
Design by Kummer&Herrman.
French and English edition.
Translation by Tom Ridgway
12 color photographs
Design by Kummer&Herrman.
French and English edition.
Translation by Tom Ridgway
2 books with a Japanese
bookbinding 240 × 320 mm.
Hardcover cloth - 88 p.
245 × 320 mm.
Archival box
240 x 340 mm.
Swiss binding - 96 p.
240 x 340 mm.
Flexible dossier - 24 p.
210 x 297 mm.