Texte Fabien Ribery (Français/Anglais) 32 pages, couverture en sérigraphie, 250 exemplaires numérotés et 20 exemplaires hors commerce. Chaque Zine contient une photographie originale signée par Joakim Eskildsen
Edition de tête 10 exemplaires avec un tirage supplémentaire numérotés et signés
Text Fabien Ribery (French/English) 32 pages, silkscreen cover, 250 numbered copies and 20 not for sale copies. Each Zine contain a signed original photo
Special edition with an original signed and numbered print on Japan paper. Edition of 10
While a number of photographers are watchful of what comes, like epiphanic possibilities, Joakim Eskildsen conveys the sense of balancing on the thin line between discernible and null.
Born in Copenhagen, the artist chose to move to Berlin; he captures moments of pause, of stasis, with humankind appearing in his gaze as a modest incarnation enclosed in an unyielding decor.
We pass, leaving behind a few traces of our existential crossing, we will soon be phantoms; besides, we may already be.
Joakim Eskildsen observes the world and the ballet of the living from a distant place, with a solitude marked by a delicate melancholy.
It is, by a brilliant knowledge of proper distance, a way of not disrupting reality and to let every moment breathe, with the perpetual conscience that the party, or more simply the pulse of life, may cease at any point.
His photographs display themselves as dream waves, the sea he enjoys contemplating as an allegory for the passing, cyclical, of time.
Through his attention to the golden nature of light, as it touches the characters, landscapes, or objects of his choosing, the Danish author reveals a dimension of transfiguration in all things.
We are drawn to think of Christophe Bourguedieu, along with Todd Hido, by the cinematographic substance of the conveyed scenes.
Are we the background actors in our own lives ?
We inhabit precarious palaces, we wait for events to transpire, a catastrophe, a birth, an act of love.
Waiting for the pictures to come alive, the onlooker witnesses the preparation of all the elements belonging to a film whose plot is perplexing.
All will construct their own sequences, their own associations, their own paths of intensity, however, buried deep inside, Joakim Eskildsen’s scopic regime is that of the metaphysical, of the sea always starting over, with the conviction that there exists a formal transcendental order in which the fate of the last humans inscribes itself.
Fabien Ribery
