30 signed & numbered copies
Format : 35,5 x 30 cm
Image : 25,5 x 20 cm
Saywho Gallery is the first online gallery dedicated to mundane & relational photography. With a focus on this phenomenon since its inception up to the contemporary era analyzing its journalistic and artistic standards, Saywho Gallery proposes a limited edition of signed & numbered prints. Through its selection, Saywho Gallery wishes to put forward different techniques & approaches that center on the night life (sometimes diurnal too) of different families, determined to becoming immortal thanks to the magic of photography, which, as Patrick Modiano said, «sets a dream forever».
In 1968 Andy Warhol declared in the catalogue for his exhibition at Stockholm’s Moderna Museet : « In the future, everyone will have its 15 minute global fame ». Depicting his generation in order to, he says, ” Remember where he was at a precise moment”, he was an untiring chronicler of life and its encounters. His Polaroid camera followed him wherever he went abd he birthed a great collection of snapshots of his friends, lovers, philanthropists, celebrities, unknown people, performers, people from the fashion industry and of himself. He might now have known that his prediction would happen decades later. A whole generation sees itself as the sole heir to Andy Warhol: they mimic, in a endless night where there are no limits, what made the pop visionary successful: taking photos of oneself and one’s friends, but also offering an argument on the existing artistic codes by advocating for a net permeability between Art & Life whilst being open to the daily life.
The 80’s and the 90’s were immortalized by Nan Goldin, Larry Clark and Wolfgang Tillmans, then a new dimension appears and explores new domains as spread as they are captivating. While the ancients created artistic standards by doing social & journalist photography, the new actors discover new possibilities with a sort of informed amateurism. Instagram is on their key & core medium. Prior to Olivier Zahm, there were Jean Pigozzi and Bobe Colacello. There was Billy Monk and his images of Cape Town’s Club, The Montmartre de Brassaie, Robert Frank or Nobuyoshi Araki’s photo journal. There also was the movie journal of Jonas Mekas and many others. More than a practice, it’s become a real photographic trend that draws its essence within journalistic photography. The subject has simply changed, and the tools have become accessible. Without properly knowing it and by mimicking the same photographic movement, we enter one big and united, beloved and friendly family. The gesture we all share unites and gives us the sensation we all belong, amongst and with everyone. That’s what a selfie is: a landmark, a symbol, and for many an attachment. Nowadays, everyone documents their life and ell their own story with images, so as to mark down, as Emily Dickinson wrote in her preface for Bob Colacella’s book, “the hope, that thing with feathers that perch on the soul”.
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