NEW PUBLICATION
F&D Cartier
JOURNAL singulier R A Y O N M A N
comments/review by Mrs. Peter Pfrunder
& Naveen Hattis
.. j’ai eu l’occasion de me plonger dans votre Journal singulier, et j’étais tout de suite captivé par la richesse, la beauté, la radicalité et la poésie énigmatique de ce opus magnum. J’ai toujours eu une faiblesse pour la tension entre la logique rationnelle et le hasard, l’impromptu, et je vois que vous avez traité votre travail artistique avec un approche ludique qui dépasse tous les conventions – une relécture très inspirante ! Mr. Peter Pfrunder Director Fotostiftung Schweiz
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..**I received the book a few days ago and have been paging through it slowly ever since. I am really impressed with the work and as a book designer myself I am a big fan of Ludovic Balland’s design too. I wanted to give you a few preliminary impressions as you have asked for:
What I have observed most striking about the book is the synthesis of photographic and bookmaking techniques. I interpret this to be the “experiment” that you have alluded to previously where the overlaying of images produces a kind of double-exposure effect but carried out through a printing technique: a single plate overprinted on top of four-color or B&W. It is clear to me the similarity between the photograph representing the impression of light onto film or digital sensor and the overprint replicating this process with ink onto paper. What yields is particularly satisfying because the produced images depend upon both photographic characteristics like value, contrast, saturation and bookmaking factors like ink color, paper, position and sequence. The collision of disciplines in this way produces photographic images as book “exposures” with unexpected results. Sometimes the original page’s image still dominates the composition and the overlay becomes more of a texture or at times the overlayed image reads dominant, layering and obscuring the original page’s image. Or anywhere in-between. No better example for me then p. 351 where the ink color and the original image produce a subtle combination almost of equal visual weight vs p. 359 where due to both the ink color and contrast, the resulting image redirects almost all of the visual attention to the overlayed image and the original page’s image becomes secondary. Mr. Naveen Hattis Book designer California USA
JOURNAL singulier RAYONMAN
Journal du Jura Antoine Leroy “Un condensé d’images en double file”
“Black Shadows” 2024
Metal plates from the 50’s, used in ananlogic photography to glaze some of the baryt silver gelatin papers
Inkjet prints Ed 5
NEW PUBLICATION F&D Cartier JOURNAL singulier R A Y O N M A N ISBN 978-2-88964-067-6 orders @ www.fdcartier.ch or art&fiction
Design and Typesetting Ludovic Balland and Annina Schepping, Typography Cabinet GmbH, Basel // Lithography and Printing Courvoisier & Gassmann SA Biel/Bienne Switzerland //Papers • Cover: Munken Lynx Rough, 300 g/m2 • Werkdruck 1.8, 90 g/m2
Commissioning editor Office of Culture of the Canton of Bern >> Artist’s book grant “Werk-Buch 2023”
Managing editor Stéphane Fretz, assisted by Allison Huetz art&fiction publications Switzerland > First edition of 500 copies + limited edition of 10, Sept. 23
ARTE TV JOURNAL 28.3.2023 KUNST HAUS WIEN “MINING PHOTOGRAPHY..” @fdcartier has an installation of “Wait and See”.
The exhibition will be shown in Switzerland in Autumn 23 at the GEWERBE MUSEUM OF WINTERTHUR.
installation view F&D Cartier >> Wait and See, Light of Vienna, ongoing unfixed installation of b/w photosensitive papers
Grant 2023 Office of Culture Bern Artist's book “JOURNAL singulier 1967-2023”
In collaboration with Ludovic Balland and Annina Schepping /Design
PUBLIKATIONEN
F & D Cartier. The Never Taken Images | Pia Draskovits BOOK REVIEW/ REZENSION
LFI – Leica Fotografie International Mining Photography. The Ecological Footprint of Image Production
Kunststiftung DZ BANK Frankfurt Ausstellung “Passagen” 1.06 -15.10.2022 AUSSTELLUNGSFILM >
JURAPLATZ BIEL/BIENNE F&D Cartier “Wait and See” Vidéo
F&D Cartier "The Never Taken Images. Photographic Paper Archive"
…it looks great! It sums up your extraordinary project very thoroughly and beautifully and it will be THE reference on the subject of never taken photographs. Martin Gasser, Codirecteur et conservateur de la Fotostiftung Schweiz /Fondation suisse pour la photographie, de 1998 - 2018
Book orders : -Scheidegger & Spiess Publishers -F&D Cartier Editors/Authors -Bookshops Europe now / USA: Sept./Oct. 22
Wir befinden uns inmitten einer Reihe von Umbrüchen, die unser gesellschaftliches Leben prägen. Die Ausstellung »Passagen« setzt sich auf vielfältige Weise mit genau dieser Thematik des Durch- und Übergangs (französisch ›passage‹) auseinander.
Im Wintersemester 2021/22 wurde im Rahmen einer Kooperation mit der Masterklasse von Prof. Dr. Steffen Siegel (Theorie und Geschichte der Fotografie) an der Folkwang Universität der Künste in Essen die Ausstellung »Passagen« erarbeitet. Gemeinsam mit den Studentinnen und Studenten wurde gesichtet, diskutiert, Pläne wurden ent- und wieder verworfen, schließlich eine Auswahl getroffen und kuratiert. Mit Blick auf die dramatische politische Situation in Europa ist eine erschreckend aktuelle Zusammenstellung entstanden.
Die Reflexion von sozialen und politischen Transformationsprozessen und gesellschaftlichen Umbrüchen findet in der Werkschau ebenso ihren Niederschlag wie die von kultischen Übergangsritualen oder Schwellenerfahrungen im persönlichen (Er-)Leben. In Umwelt, Natur, Politik und Gesellschaft treten bisweilen markante Ereignisse ein, die uns zu einem anderen Handeln auffordern. Klimatische Veränderungen, Krankheiten oder kriegerische Auseinandersetzungen zwingen uns, nicht nur einzelne Handlungen, sondern unsere Haltung insgesamt zu überdenken und anzupassen.
Künstlerinnen und Künstler setzen sich seit jeher mit Veränderungen auseinander und finden dafür immer wieder eine angemessene Bildsprache. Dabei kann auch das gewählte Material eine »Passage« im Sinne eines Durch- oder Übergangs darstellen, wenn vorhandene Gegenstände in eine andere Beschaffenheit oder Konstellation überführt und somit neu aufgeladen werden.
Kunststiftung DZ BANK Frankfurt Installation view 4. Juni 2022 (C) Norbert Miguletz “Passagen” 01.06. - 15.10.2022 PRESS INFORMATION > Wait and See, Frankfurt am Main, 2022 _ 76 teilig 175x700cm
Collection Kunsstiftung DZ BANK Frankfurt _ KATALOG_
Publication documenting and synthetizing our research & works of many years "Wait and See, 1998 - Today" Design Balmer Hählen Lausanne Two internationally renowned photography historians who have long been involved with abstract photography wrote essays, placing our research in the context of historical and contemporary experimental photographic art : Kathrin Schönegg, Berlin curator at C/O Berlin and Thilo Koenig, Roma The Swiss Foundation for Photography Winterthur collaborated, making its digital lab available for the Facsimilé Repros. >>Excerpt essay Kathrin Schoenegg “Instabile Materie
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ACTUAL EXHIBITION AT THE GEORGE EASTMAN MUSEUM IN ROCHESTER
Selections from the Collection October 9–September 4, 2022 Collection Gallery
Talk / video: Selections from the Collection: Tourism & Photography
In this virtual presentation, Lily Jones, Boyer Cataloguer in the Department of Photography, will discuss her selections for the upcoming iteration in the Collections Gallery, which highlights how the history of photography has intersected with the evolution of tourism in the United States and abroad. Watch video.
F&D Cartier from the series Grand Tour revisited, 2014 Pompeii - Kaunas, inkjet print - found objects. >> WATCH THE VIDEO
F&D Cartier from the series Grand Tour revisited, 2014 Pompeii - Kaunas, inkjet print - found objects.
"Mining Photography. The ecological footprint of photography" 15.4.2022 – 15.8.2022
Traveling exhibition > 03.23 Kunst Haus Wien
We will present a Wait and See in-situ installation and the new publication (spring 2022) which will illustrate our research of the last twenty years " The never taken Images - Paper archive ", Scheidegger & Spiess Publishers Zurich.
One of our work from the series “Grand Tour revisited, 2014” (in the permanent collection of GEM) is included in the selection shown in the exhibition.
About the George Eastman Permanent Collection Gallery
The George Eastman Museum photography collection is among the best and most comprehensive in the world. With holdings that include objects ranging in date from the announcement of the medium’s invention in 1839 to the present day, the collection represents the full history of photography. Works by renowned masters of the medium exist side-by-side with vernacular and scientific photographs. The collection also includes all applications of the medium, from artistic pursuit to commercial enterprise and from amateur pastime to documentary record, as well as all types of photographic processes, from daguerreotypes to digital prints.
The museum's Collection Gallery is dedicated to rotating installations that demonstrate photography’s historical trajectory through photographs and cameras drawn from the collection. The selection of photographs changes regularly, and each rotation offers new opportunities to engage with the museum's treasures.
Publikationen zum Jubilaum
Zum Jubilaum der Fotostiftung Schweiz erscheinen zwei umfangreiche sich erganzende
Publikationen bei Lars Müller Publishers.
99 Fotografien
Der Bildband prasentiert bekannte lkonen und unbekannte Trouvailien aus der Sammlung der Fotostiftung Schweiz. 50 Jahre nach ihrer Gründung ladt die Stiftung dazu ein, die reiche Sprache der Fotografie neu zu entdecken und die Welt mit anderen Augen zu sehen. Die Begleittexte, vom Team der Fotostiftung verfasst und in einer beliebten Bildkolumne der Neuen Zürcher Zeitung publiziert, fragen nach der Bedeutung von Fotografien, die im Gedachtnis hatten bleiben.
Die Publikation erscheint in einer deutschsprachigen und englischsprachigen Ausgabe.
Herausgegeben von Peter Pfrunder in Zusammenarbeit mit Teresa Gruber.
exerpt VIDEO
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Two pink photograms from our series “R O S E S , 2000-2007 “ are included in this publication for the 50. Jubilee of the Swiss Foundation for Photography in Winterthur. The publication presents Director Peter Pfrunder’s choice of 99 photographers of the Fotostiftung collections/archives/estates.
Revolution 2021 Inkjet prints from unique daylight chemigrams - cameraless / Kunstmuseum Olten 12.2021
Views of in-situ installations “Wait and See 1998-present
unique unfixed Luminogram object-piece “Wait and See, 2014” collection Imago Mundi Helvetia
Kunstmuseum Thun “Red” 2018
Iselp Brussels “Inspire” 2020 // Kazan Tatarstan “W&S” 2019 /// unique unfixed Luminogram object-piece “Wait and See, 2014”
Exhibition is unfortunately closed, sorry Covid-19*
interview de Laurent Courtens (Iselp) sur #soundcloud
Dans le cadre de l'exposition 𝑖𝑛𝑠𝑝𝑖𝑟𝑒, le duo d'artistes suisse 𝐅 & 𝐃 𝐂𝐚𝐫𝐭𝐢𝐞𝐫 nous explique l'oeuvre exposée à l'ISELP, intitulée 𝑊𝑎𝑖𝑡 𝑎𝑛𝑑 𝑠𝑒𝑒, une cinquantaine de papiers photosensibles industriels (Kodak) épinglés à une cimaise. Leur chromatisme s'éveille dès le début de l'accrochage et évolue tout au long de l'exposition en fonction des variations lumineuses de leur environnement.
~~ l'exposition inspire est visible du mardi au samedi de 11H à 18H jusqu'au 28/11 - entrée libre ~~
#be_culture 09.2020
Happy 50th anniversary @iselp_brussels 💙 Today we visited their new expo 'Inspire' to celebrate 🎉 Check it out yourself starting this Friday!
F&D Cartier are a Swiss duo working together as one artist. Their medium is photographic paper – without the camera. The excellent Ffotogallery in Penarth is showing Wait and See, a retrospective of their work encompassing three projects, until 27 July.
f&d collect photographic paper from all over the world. Some of it is very old, and of course the medium is increasingly rare as we move away from the analogue world. Exposing the paper to light changes the paper. So, for the title project, they create uniquely site-specific and time-bound collages of this material. At the start of the exhibition they arrange the unexposed sheets on the wall. Over time, in the ambient light of the room, each sheet changes colour, becomes the picture of the light in the room as it interacts with the specific chemicals with which it is imbued. Even to stand in front of the display for a little while is to change it.
On the first, bigger wall, you can clearly see that not all the paper is the same, and not only in colour. The whitest sheet, on the second row down towards the right,is very fine, originally intended for setting type face where definition is important. The dark blue sheet on the second row up and fifth from the right isn’t paper at all, but canvas. It has turned blue and looks like denim. The second installation, more spread out and delicate, contains some of the oldest square-shaped photographic paper in the world. (The provenance of all the papers used are in the Exhibition Resource File. At Ffotogallery these files are always full of learned information, but I must say this one was particularly intimidating.)
On entering this exhibition it is easy to start by thinking – ok, where are the pictures? These are just coloured sheets of paper arranged with a bit of flair. But as you get closer and study the tiny differences you realise how much beauty there is in the variegations, the predictable and the random, the extra blotches on older paper, small tears, the contrast of gloss and matte. The knowledge that your own shadow is reflected in an ångström change of colour, a minute molecular difference, is a subtle interaction with a complex work which is totally beyond your control. An invisible record is embedded in the slow, inevitable changes that record the room in dark and light for the weeks the papers hang pinned to the wall.
If you don’t get to Penarth in the next couple of weeks, watch out for f&d near you. Well worth throwing a shape for.
F&D Cartier Wait and See Ffotogallery Wales
Color Mania FotoMuseum Winterthur 2019
(In)Visible Color Plea for a History of Color Photography Essay Thilo Koenig
Art Historian Kathrin Schönegg, essay including “Wait and See, 1998 - present” “Fotogragiegeschichte der Abstraktion”
F&D Cartier Wait and See in two chapters Material Agency & Lost and Found
Wait and See, Kazan Tatarstan, 09.2019
Solo show at Smena Cultural Center
Interview > ENTER online Russian intermedia magazine, Louise Nizamova, 09.2019
photos by Daniil Shvedov
Lecture Igumo Art School in Moscow, 2019
Berner Almanach Fotografie 2019
Playing against the Camera Katalog Nov. 2018
Time-lapse Clouds from series W&See
See time-lapse installation Wilhelm-Hack Museum Ludwigshafen
Musée Art Pully Evidences du réel
Musée Art Pully Evidences du réel >Espaces contemporains
Musée d’Art de Pully, 2017
Unfixed: the fugitive image
Mould #2 Degree Zero 2016 curator J. Fontcuberta
Prix Michel Jordi de la Photographie, Genève, Centre St Gervais , 1st prize “A-Venir, March 3rd, 1998” ::: Very first joined work’s F&D Cartier experimental photographic in-situ installation. We were then really poundering about keeping on our independant artistic works….and thought about a radical shift, in parallel to the upheaval of analog to post-digital trend at this moment: work in duo team without camera nor dark room nor chemicals, using our own stocked expired paper, let them live by themselves, and notice how they evolve from black/white to chromatic colors.. Win or loose, Wait and See. As the Jury thought it was worth giving us the first prize, it gave us the energy and the will to carry on. Here we are, more than 20 years after, enjoying this endless research. See concept from the time, based on the theme of the prize : “It’s time to be Swiss” oh la la…but we were as Swiss citizen as well voting at the exact same time, wether we would be part of Europe or not: by a very small margin the people voted…no… You might as well notice on the above image that our own expired photo paper’s stock turned mostly BLUE - color of europe’s flag. We did send the anonymous dossier/parcel of works under alias “Cold and Hot” (= CH = Switzerland) one day before date limit, with a pencil draft dummy of how to install them, alphabetically on one line, see> CONCEPT “A-VENIR” F&D Cartier :::: JURY decision members :::
newspapers critics
SHOW ROOM BIENNE SWITZERLAND JOURNAL DU JURA 24 AVRIL 2019
Bialystok Poland, First Interphoto Grand Prix 2017, F&D finalists.
Online representation/magazine
Art Photo Index USA Zonezero.com Mexico Beta issue 10 Australia Fotostiftung Switzerland
Essays, interviews, Q&A, critics
Transbordeur photographie, No 4, 2020 Kathrin Schönegg ::: Fotografiegeschichte der Abstraktion, Kathrin Schönegg. Walter König 2019 ::: Color Mania Material Color Photography Film, Fotomuseum Winterthur Thilo Koenig 2019 ::: "Reset the Apparatus! " University of Applied Arts, Vienna > 2019 ::: Berner Almanach Fotografie Atelier Berne 2019 Pauline Martin ::: Acquisitions collections George Eastman Museum, Rochester 2018 ::: Katalog - Journal of Photography/Video 29.2 2018 ::: Interview TV Yekaterinburg, Russia 2018 ::: Metenkov House Museum Yekaterinburg >VIDEO "The never taken images" ::: Photo Teoria 33 2018 ::: ART like you network 2018 ::: Biennale für aktuelle Fotografie "Farewell Photography" Q-A F&D 2017 ::: La Photographie face à ses lacunes. Pauline Martin /Ithaque 2017 ::: Eikon #97, 02/17 Reset the Apparatus! ::: Musée Charleroi Périodique 2016 ::: Mould ≠2, Degree Zero, curator J. Fontcuberta 2016 inside ::: Nomination Deutsche Börse Photography Prize 2015 concept ::: Imago mundi helvetia,luciano benetton collection, 2015 ::: Blue Sky 2013-2015 ::: MFAH Cameraless Photography 2014 ::: BETA Issue 10 online Magazine, 2014 ::: Eikon Austria 2014 :::
Hochparterre Zurich 2013 ::: Intervalles photographie contemporaine, bienne, 2013 ::: Photomonitor: Anna McNay 2013 ::: F&D Cartier: Wait and See: A Retrospective 2013 Rory Duckhouse ::: Journées photographiques de Bienne 2011 ::: Villa Garbald, Varlin im Bergell, 2007 ::: Eyemazing, Amsterdam, 2007 ::: Spot magazine, Houston, 2006 ::: Selbstsicht - der Schritt ins Bild, Darmstädter T Fotografie, 2006 ::: Branding, Centre d’art Pasquart Bienne 2006 ::: Blue Sky Critical Mass, Portland USA, 2005 F&D Cartier: We are the camera 2004 ::: Critical Mass selection, Portland 2004 ::: Varlin– Dürrenmatt – Horizontal Scheidegger&Spiess 2005 ::: Fotophile, nr. 44, New York, 2003 ::: Passages, nr. 34, Pro Helvetia, 2003 ::: Le Temps Universel Daniel Cartier, Musée Elysee Lausanne 1995-96 Charles-Henri Favrod
Institutional collections, website archivals
Interview, radio audio, tv, cinématon
Awards, Residencies, Distinctions
Deutsche Börse Photography Prize nominated 2015 concept “The never taken images” Kaunas Photo Gallery, Lithuania watch video unveiling at the opening of exhibition in front of public
Istuto Svizzero di Roma 2007 Exhibition R O S E S F&D Cartier
Istituto Svizzero di Venezia, Italia, Artists-in-residence, 2008
Swiss photo Award, free 2001 Swiss Foundation for Photography Acquisitions “Someday, …2002” Acquisition Swiss Foundation for Photography /Martin Gasser
Prix Michel Jordi de la Photographie, Genève, Centre St Gervais , 1st prize “A-Venir, March 3rd, 1998” ::: Very first joined work’s F&D Cartier experimental photographic in-situ installation. We were then really poundering about keeping on our independant artistic works….and thought about a radical shift, in parallel to the upheaval of analog to post-digital trend at this moment: work in duo team without camera nor dark room nor chemicals, using our own stocked expired paper, let them live by themselves, and notice how they evolve from black/white to chromatic colors.. Win or loose, Wait and See. As the Jury thought it was worth giving us the first prize, it gave us the energy and the will to carry on. Here we are, more than 20 years after, enjoying this endless research. See concept from the time, based on the theme of the prize : “It’s time to be Swiss” oh la la…but we were as Swiss citizen as well voting at the exact same time, wether we would be part of Europe or not: by a very small margin the people voted…no… You might as well notice on the above image that our own expired photo paper’s stock turned mostly BLUE - color of europe’s flag. We did send the anonymous dossier/parcel of works under alias “Cold and Hot” (= CH = Switzerland) one day before date limit, with a pencil draft dummy of how to install them, alphabetically on one line, see> CONCEPT “A-VENIR” F&D Cartier :::: JURY decision members :::
watch video >Bourse Fédérale Suisse 1977 “Femme-Pierre”, 1975-77
27.11.2021 — 30.01.2022 | Ganzes Haus >> Vernissage 26. November 2021
organisiert vom Kunstverein Olten mit einer Tagung zum Thema Künstlernachlässe
We will present one of our latest work,
REVOLUTION, 2021
REVOLUTION:
-Movement, transformation, evolution.
-Periodic return of a star to a point in its orbit; motion of that star; time taken by it to complete its orbit.
-A very important change in society, in history.
Consisting of inkjet prints from 4 unique unprocessed & unfixed chemigrams + one fixed chemigram, all cameraless expermimental photography.