{"title":"Catalog","description":"","products":[{"product_id":"luce-lebart-inventions-1915-1938","title":"Luce Lebart — INVENTIONS, 1915-1938","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan class=\"s1\"\u003e17 x 24 cm\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"s1\"\u003eLinen soft cover\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"s1\"\u003e304 pages\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"s1\"\u003e142 photographs\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eBetween 1916 and 1939 thousands of films and photographs were produced in France, in line with the national policy encouraging scientific and industrial research. These largely unknown images stand as visual witnesses to twenty years of invention and research. Their analog archives trace through the history of innovation, anchored at first in war and national defense, before shifting towards civilian and domestic life. This history, interlaced with design, lies at the crossroads of science, technology and industry. The images also tell a story that is still unfolding today, that of the institutionalization of research. From the very beginning a systematic archiving policy was set up. These administrative, yet aesthetically breathtaking images were produced in mass by the institution. Behind the scenes however, visionaries and pioneers harnessed and experimented with the power of the still and moving image: its demonstrative, archival, educational, aesthetic and communicational applications.\u003c\/p\u003e","brand":"Luce Lebart","offers":[{"title":"Default Title","offer_id":31688088027205,"sku":"100","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0280\/0431\/9301\/products\/INVENTIONS_1915-1938LuceLebart_RVB.jpg?v=1593597215"},{"product_id":"chris-rhodes-hotel-mermaid-club","title":"Chris Rhodes — HOTEL MERMAID CLUB","description":"\u003cul\u003e\n\u003cli\u003e21,6 x 27 cm\u003c\/li\u003e\n\u003cli\u003ePrinted linen hard back\u003c\/li\u003e\n\u003cli\u003e112 pages\u003c\/li\u003e\n\u003cli\u003e59 colour photographs\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003cem\u003eHotel Mermaid Club\u003c\/em\u003e, Chris Rhodes' first photobook, is an ode to daily life. The British photographer is transforming reality to recreate a calming and poetic universe flirting with melancholia. His use of colours and framing rearrange into the book a very personal aesthetics of the mundane world. 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Clément Lambelet gets interested in process of facial automatic recognition and reflects upon its generalisation regarding to its development in every social media (Facebook, Instagram, Snapchat). For the book Happiness is the only true emotion, he worked on a panel of portraits given by the Pain Express Set from Stirling University in Scotland, he selected one emotion per person, reframed images and saved only the face. The artist manipulated each photograph and worked on its materiality to get more expressive images.These portraits become a vector of emotion. Each picture is then submitted to the Microsoft Cognitive Emotion API challenging the accuracy of these systems. 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Vitali immediately sensed that this industrial site was like a living organism, its metabolism fine-tuned to digest and transform metal. Her sculptural work during the residency took shape through a poetic displacement of the techniques and various materials in use at the factory, one that turns our usual understanding of metal on its head in order to draw out its organic nature, its suppleness, its depth, and its sensual side. 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The images he collected are posted by men, picturing their wives or partners completely exposed, but with any details threatening to reveal their identity carefully masked with photoshop. The artist analysed and extracted the pictures and drawings, which exhibitionists use to cover themselves, and he presented those on their own, without context. 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