Happy International Bike Day!
Rouleur devoted 24 pages to Henri Cartier-Bresson’s photo essay from the Vélodrome d’Hiver. To describe Rouleur as a cycling magazine denies the breadth and depth of the content and scope of the magazine. Launched six years ago and since published eight times a year, Rouleur also produces books and photography annuals, focusing on the drama of the sport rather than race reports or reviews of bike products.
With an emphasis on high-quality design and reproduction, Rouleur adopts a reportage approach, and its pages are filled with multi-page photo essays and interviews. Photography is given pride of place throughout.
In Rouleur’s issue 34, it has dedicated 24 pages to photographs by Henri Cartier-Bresson taken in 1957 at the Vélodrome d’Hiver in Paris. The images are shown without captions, sometimes spread across two pages. Interestingly, the photographs include images of the crowd as well as the riders themselves. Amongst the unposed portraits, a cyclist is shown reading a newspaper, cyclists are seen resting post-race and being attended to by a trainer. (read more on BJoP)
PHOTOS: © Henri Cartier-Bresson, 1957, Vélodrome d’Hiver, Paris
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#1: © René Burri, Che Guevara, Havana 1963
#2: © Henri Cartier-Bresson, Sport in a refugee camp, Kurukshetra, Punjab 1948
#3: © Marc Riboud, Peace march, Washington D.C. 1967
#4: © René Burri, Fête Forain, Zurich 1980
EXHIBITION “IN OUR TIME” - MAGNUM 1947-1987
Until today Magnum stands for documentary photography of the highest standard. Robert Capa, Henri Cartier-Bresson, George Rodger and David Seymour (Chim) founded the legendary photo agency in 1947, with the aim to work independently in a motivated cooperative of likeminded photographers - as reporters, commentators and poets with a camera. The decisive moment and Human Interest became the central paradigms of this group.
The exhibition “In our time” (at Galerie WestLicht, Vienna) opens a time window to the first forty years of Magnum with photographs of the five initiators and fifty other members, such as Werner Bischof, Ernst Haas, Erich Lessing, Eve Arnold, Marc Riboud, Elliott Erwitt, Inge Morath, René Burri, Bruce Davidson, Constantine Manos, Burk Uzzle, Hiroji Kubota, Bruno Barbey, Josef Koudelka, Gilles Peress, Mary Ellen Mark, Susan Meiselas, Raymond Depardon and Sebastião Salgado.
The photographs present strong contrasts, ranging from classic black and white reportage to abstract plays of colour that became icons of collective visual memory. The 145 large format prints were produced during the late 1980s for an exhibition carrying the same name and later got into private ownership. WestLicht managed to acquire this spectacular convolute and present it for the first time in Austria.
Exhibition dates:
Dec. 07, 2012 - Feb. 10, 2013
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© Henri Cartier-Bresson, 1968, Rue de Vaugirard
Wall inscription: “Jouissez sans entraves.” (“Pleasure without limits.”)
Yesterday ARTE was airing the documentary “Le siècle de Cartier-Bresson” directed by Pierre Assouline, author of a biography of Cartier-Bresson. The film covers some of the 20th century’s greatest moments in photography, commented by the photographer himself, who opened his archives to Assouline fto use in the film. Many of the photographs have rarely been seen or published.
© Henri Cartier-Bresson, 1948, Gandhi dictates a message, just before breaking his fast
THE EXHIBITION “EYE ON GANDHI”
The photographs above and below are part of the exhibition “Eye on Gandhi” at the Nobel Peace Center in Oslo, Norway.
Mohandas Karamchand ‘Mahatma’ Gandhi’s non-violence philosophy and work made him one of history’s strongest symbols of peace. Despite the fact that he was nominated for a Nobel Peace Prize several times, he was never awarded the prize. In a unique exhibition India and Gandhi are captured through the camera lens of legendary photographer Henri Cartier-Bresson. Cartier-Bresson met Gandhi the same day he was shot, and documented India in grief after the spiritual leader’s death.
Photographs, films, texts and interactive installations give the audience a chance to know the man who has been a great inspiration to several Peace Prize laureates. A short film produced for the exhibition highlights why Gandhi never was awarded the Nobel Peace Prize.
(read more: +, +)
The exhibition is presented in cooperation with Magnum Photos.
Exhibition dates:
Sep. 21, 2012 – Feb. 17, 2013
THE SQUALID CONTROVERSY OVER GANDHI’S POSSESSIONS
Unknown photographer, ca. 1948, Some of Gandhi’s few worldly possessions
Some of the items on above photo went up for auction in New York in on March 5, 2009, despite direct appeals from the Indian government and a last-minute stay from an Indian court. The items were sold for $1.8 million to Vijay Mallya, an Indian liquor and airline executive who owns the company that makes Kingfisher beer.
“When people have money, they can buy these items even if their views are different or opposite (to Gandhi). The last time this happened, it was Mallya who bought such items, even though his views on prohibition are completely opposite of what Gandhi thought,” said Chunnilal Vaidya, one of Gandhi’s followers.
“Even his business is based on the same (liquor). If he took some money out of that to buy something that belonged to Gandhi, it was not to spread his message, but to satisfy his ego,” he added.
Vaidya further said that such articles were perishable, and would lose their importance with time, while Mahatma Gandhi’s message was a greater legacy.
“These items are perishable. If this money were spent to spread the message and to fulfill the vision that made Gandhi the man he was, then that would have been more appropriate. What happened was that money went from one pocket to another, nothing else changed,” he said. (Apr. 18, 2012; source)
A representative for Mr. Mallya, Tony Bedhi, did the bidding and later announced that the belongings would be returned to India for public display, but it was not clear whether they would be turned over to the government, as some officials have demanded. I could not find any evidence if these items are really on public display at the moment (well, at least photographs of them are…) - if you have information on that please let me know.
(read more: +, +, +, +)
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Henri Cartier-Bresson - Just Plain Love / VIDEO
If you’re a fan of hearing from photography greats and have some free time, check out his awesome documentary film about Henri Cartier-Bresson titled Henri Cartier-Bresson: L’amour Tout Court (“Just Plain Love”). It was directed by Raphaël O’Byrne back in 2001 when Cartier-Bresson was 92 years old, and features interviews with the legendary photojournalist as he talks about how various photographs were made. (via PetaPixel)
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© Henri Cartier-Bresson, ca. 1947, Fire in Hoboken, facing Manhattan
As my friend Simeon (a photo junkie just like me) and his better half Sandra came to Austria for a short trip we visited the Galerie Johannes Faber to see the Henri Cartier-Bresson exhibition there - that’s where I first saw above photograph. Actually I tried to find another of the great photos I saw there, but couldn’t find it online - but I think this one is also amazing.
If you are in Vienna at the moment take your time and drop by there, it’s really worth a visit.
» find more of Magnum Photos here « | » find more exhibitions here «
© Henri Cartier-Bresson, 1972, Telavi / Georgia (former Russia)
Visitors from the Kolkhoz celebrate St George’s Day near the Alaverdi Monastery.
This photograph is part of the exhibition ‘Henri Cartier-Bresson. The Compass in the Eye: America-India-Soviet Union’ at Kunsthaus Vienna, Austria (Nov. 17, 2011 - Feb. 26, 2012).
Video: Henri Cartier-Bresson – “The Impassioned Eye” (2003)
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© Henri Cartier-Bresson, 1933, Andalusia / Spain
Drawn into the circle of the French Surrealists, Henri Cartier-Bresson came to share their belief in the capacity of photography to undermine accepted ideas about reality. In the early 1930s, he made an acclaimed series of photographs of the poor and the dispossessed in Italy, Spain, and Mexico. In making these images, Cartier-Bresson perfected his idea of the “decisive moment,” his characterization of the style that became his trademark.
“Above all,” he once said, “I craved to seize the whole essence, in the confines of a single photograph, of some situation that was in the process of unfolding itself before my eyes.” Here, the flattening effect of the camera has produced an unexpected image in which the boys seem to be enveloped in graffiti.
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