{"title":"Catalogue","description":null,"products":[{"product_id":"mille-mercis","title":"Mille Mercis","description":"\u003ch2\u003eA unique, limited edition of 300 copies\u003c\/h2\u003e \r\n\r\n\u003cp\u003eThe book Mille Mercis (A Thousand Thank You \/ Many thanks) brings together a thousand messages, post-it notes, posters, and other informal inscriptions compiled by Benoît Luisière during the COVID lockdowns of 2020-2021. All of these messages contain the word “Merci” (Thank you).\u003c\/p\u003e\r\n\r\n\u003cp\u003eBenoît Luisière is an artist, collector, and photographer born in 1972. Trained as a documentalist, he appropriates anonymous and ordinary forms of photography and vernacular documents.\u003c\/p\u003e\r\n\r\n\u003cbr\u003e\r\n\u003ch3\u003eTECHNICAL CHARACTERISTICS\u003c\/h3\u003e\r\n\u003cspan class=\"tech\"\u003e\r\n\u003cstrong\u003eFormat: \u003c\/strong\u003e14,8 x 17 cm\u003cbr\u003e\r\n\u003cstrong\u003eNumber of pages: \u003c\/strong\u003e1 000 pages\u003cbr\u003e\r\n\u003cstrong\u003ePaper: \u003c\/strong\u003ebible paper 50 g\u003cbr\u003e\r\n\u003cstrong\u003eCover: \u003c\/strong\u003esemi-rigid cover, 270 g.\u003cbr\u003e\r\nPrinted and bound in Europe.\u003cbr\u003e\r\n\u003cstrong\u003ePrice: \u003c\/strong\u003e25 euros\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e\r\nBOOK RELEASE  (AND SHIPPING): December 01, 2025\r\n\u003c\/strong\u003e\u003c\/span\u003e","brand":"Innocences","offers":[{"title":"Default Title","offer_id":59937084703065,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1092\/1381\/1033\/files\/MilleMercis-couv.jpg?v=1793018926"},{"product_id":"tout-doit-disparaitre-everything-must-go","title":"TOUT DOIT DISPARAITRE","description":"\u003ch2\u003eCollection Jean-Marie Donat - curator Audrey Hoareau \u003cbr\u003e\u003c\/h2\u003e \r\n\r\n\u003cp\u003eA unique, bilingual (French\/English) limited edition of 1000 copies, co-published by Le CENTQUATRE-PARIS and INNOCENCES\u003c\/p\u003e\r\n\r\n\u003cp\u003eWith EVERYTHING MUST GO, collector Jean-Marie Donat and curator Audrey Hoareau paint the picture of a society that was forged in the \"miracle\" of consumption, through a photographic corpus collection of nearly 1000 original documents, the result of a meticulous research work over more than three decades. Or how to see in these idealized representations of the 20th century the seeds of its ruin.\u003c\/p\u003e\r\n\r\n\u003cp\u003eBased on the collection of vernacular photography by Jean-Marie Donat which ran from 1880 to 1980, EVERYTHING MUST GO synthesizes and questions the obsessions and mechanisms of the Western middle class. And highlights the excesses of a way of life on the verge of collapsing.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThis book is a bilingual coedition by LE CENTQUATRE-PARIS \/ INNOCENCES with the support of the CRP - Center Régional de la Photographie HAUTS-DE-France. It was published on the occasion of the exhibition EVERYTHING MUST GO, a look at the consumer society \/ Exhibition of orphan photographs, at the CENTQUATRE-PARIS from December 2021 to february 2022.\r\n\u003c\/p\u003e\r\n\r\n\u003cspan class=\"infop\"\u003e\r\n\u003cbr\u003e\r\n\u003cstrong\u003ePhotography\u003c\/strong\u003e: Collection Jean-Marie Donat\u003cbr\u003e\r\n\u003cstrong\u003eBook Management\u003c\/strong\u003e: Jean-Marie Donat\u003cbr\u003e\r\n\u003cstrong\u003eEditorial Director\u003c\/strong\u003e: Léo de Boisgisson\u003cbr\u003e\r\n\u003cstrong\u003eForword\u003c\/strong\u003e: Audrey Hoareau\u003cbr\u003e\r\n\u003cstrong\u003eInterview\u003c\/strong\u003e: Richard Vine\u003cbr\u003e\r\n\u003cstrong\u003eTexts\u003c\/strong\u003e: Léo de Boisgisson\u003cbr\u003e\r\n\u003c\/span\u003e\r\n\u003cbr\u003e\u003ch3\u003eTECHNICAL CHARACTERISTICS\u003c\/h3\u003e\r\n\u003cspan class=\"tech\"\u003e\r\n\u003cstrong\u003eFormat: \u003c\/strong\u003e23 x 28.7 cm\u003cbr\u003e\r\n\u003cstrong\u003eNumber of pages: \u003c\/strong\u003e336 pages\u003cbr\u003e\r\n\u003cstrong\u003ePaper: \u003c\/strong\u003e100 g, Munken, print white 1,5 (Artic Paper)\u003cbr\u003e\r\n\u003cstrong\u003eCover: \u003c\/strong\u003esoft cover\u003cbr\u003e\r\nPrinted and bound in Europe.\u003cbr\u003e\r\n\u003cstrong\u003ePrice: \u003c\/strong\u003e35 euros\u003cbr\u003e\u003cstrong\u003eBOOK RELEASE: December 10, 2021\u003cbr\u003e\r\n\u003c\/strong\u003e\u003c\/span\u003e","brand":"Innocences","offers":[{"title":"Default Title","offer_id":59937084768601,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1092\/1381\/1033\/files\/Capture.png?v=1792150019"},{"product_id":"memento-mori","title":"Memento Mori","description":"\u003ch2\u003eA unique, limited edition of 365 copies, co-published by Innocences and BOL. \r\n\u003c\/h2\u003e \r\n\r\n\u003cp\u003eThis book presents the work of the artist F. Bonniot who collected for a year 365 dairy deserts, with the expiration date of each day of the year written on it.\u003c\/p\u003e\r\n\r\n\u003cp\u003eI have three children and I regularly buy dairy products for them, mostly yogurt. I like to stroll through this department of the supermarket, whose rigor of organization is matched only by the beauty of the packaging of the displayed products. Customers choose yogurts based on packaging, brands and of course their own taste. For my part, in 2009, I decided to have only one choice criterion: their expiry date. By buying and then eating dairy products with an expiration date of January 1 to December 31, I made a consumer collection. So I selected and then consumed with my family throughout the year yogurts mentioning the 365 dates. \"\u003c\/p\u003e\r\n\r\n\u003cp\u003eText by artist Florian Bonniot.\u003c\/p\u003e\r\n\u003cbr\u003e\r\n\u003ch3\u003eTECHNICAL CHARACTERISTICS\u003c\/h3\u003e\r\n\u003cspan class=\"tech\"\u003e\r\n\u003cstrong\u003eFormat: \u003c\/strong\u003e14 x 14 cm\u003cbr\u003e\r\n\u003cstrong\u003eNumber of pages: \u003c\/strong\u003e368 pages\u003cbr\u003e\r\n\u003cstrong\u003ePaper: \u003c\/strong\u003eglossy coated paper - Magno Gloss 150 g\u003cbr\u003e\r\n\u003cstrong\u003eCover: \u003c\/strong\u003esemi-rigid cover, silver miror light cardboard - Board Silver Gloss 230 g.\u003cbr\u003e\r\nPrinted and bound in Europe.\u003cbr\u003e\r\n\u003cstrong\u003ePrice: \u003c\/strong\u003e20 euros\u003cbr\u003e\u003cstrong\u003eBOOK PRE-ORDER: June 30, 2021\u003cbr\u003e\r\nBOOK RELEASE  (AND SHIPPING): September 30, 2021\r\n\u003c\/strong\u003e\u003c\/span\u003e","brand":"Innocences","offers":[{"title":"Default Title","offer_id":59937084834137,"sku":null,"price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1092\/1381\/1033\/files\/mementomori.png?v=1792150019"},{"product_id":"a-self-portrait-of-the-xxth-century","title":"A Self Portrait of the XXth Century","description":"\u003ch2\u003eA unique, bilingual (French\/English) limited edition of 500 copies, co-published by Innocences and L'éditeur du dimanche. \u003cbr\u003eThe 20 first copies will be signed and numbered. (SOLD !)\u003c\/h2\u003e \r\n\r\n\u003cp\u003eThis book gathers around sixty photo series made up of more than 500 anonymous vernacular photographs. This photographic corpus is built by collector Jean-Marie Donat around of idea of giving a peculiar vision of the 20th century.\u003c\/p\u003e\r\n\r\nThis book has been published on the occasion of the exhibition\u003cstrong\u003eA Self Portrait of the XXth Century - \u003cI\u003eFrom the J.M. Donat  Collection of Vernacular Photography\u003c\/i\u003e\u003c\/strong\u003e at FOTOFESTIWAL 2020 - International Festival of Photography in Lodz Poland.\r\n\r\n\u003cp\u003e\"Jean-Marie Donat is a typologist of the snapshot, infused with the vigor of an eighteenth-century encyclopedist venturing into unknown territory, determined to catalog its bewildering profusion of languages or religions or species of click beetle. By now dozens if not hundreds of collections of snapshots have been published by others, some fascinating and some apparently haphazard, but all of them resting uneasily on the premise of their collectors\u0026#39; subjective scale of values. […] What they all have in common is that they represent photographic phenomena that recur, not in the literature but in those bins, tubs, crates of the postmortem economy. […] The great range of topics, procedures, effects, conventions, and experiences to which he is alert causes him to slice through the whole century of popular everyday photographic practice, revealing a cross-section teeming with life. All of these photos are vigorous, despite being several times removed from the life of their conception, and their vigor will not allow a dry, logical order to be imposed on them. And once they have been united under the sign of their common pattern they are many times stronger than they would be in isolation. […] Cumulatively, they demonstrate that popular photography is a cluster of ritualistic practices, generally transparent in their sociological and psychological meaning, to which their photographers and subjects submit as if they had always existed.\"\u003c\/p\u003e\r\n\r\n\u003cp\u003eExtracts from the preface by Luc Sante.\u003c\/p\u003e\r\n\u003cspan class=\"infop\"\u003e\r\n\u003cbr\u003e\r\nContributors\u003cbr\u003e\u003cstrong\u003eMarie José Mondzain\u003c\/strong\u003e is a philosopher, Emeritus director of research at the National Centre for Scientific Research (CNRS); Director of research for the Political and moral sociology group at the École des Hautes Études en Sciences Sociales (EHESS).\u003cbr\u003e\u003cstrong\u003eLuc Sante\u003c\/strong\u003e is a writer, literary critic and essayist for the New York Review of Books and the New York Times; Photography Professor at Bard College, Annandale-on-Hudson, NY.\u003cbr\u003e\u003cstrong\u003eRichard Vine\u003c\/strong\u003e is an art critic and managing editor for Art in America, where he frequently writes on contempory art and ideas.\u003cbr\u003e\u003cstrong\u003eLéo de Boisgisson\u003c\/strong\u003e is a lecturer, guide, journalist, author.\u003cbr\u003e\r\n\u003c\/span\u003e\r\n\u003cbr\u003e\u003ch3\u003eTECHNICAL CHARACTERISTICS\u003c\/h3\u003e\r\n\u003cspan class=\"tech\"\u003e\r\n\u003cstrong\u003eFormat: \u003c\/strong\u003e23 x 28.7 cm\u003cbr\u003e\r\n\u003cstrong\u003eNumber of pages: \u003c\/strong\u003e304 pages\u003cbr\u003e\r\n\u003cstrong\u003ePaper: \u003c\/strong\u003eGardapat Kiara 150 gsm (1,3) \u003cbr\u003e\r\n\u003cstrong\u003eCover: \u003c\/strong\u003esemi-rigid cover, overlaid with four-color printed IMPERIAL linen.\u003cbr\u003e\r\nPrinted and bound in Europe.\u003cbr\u003e\r\n\u003cstrong\u003ePrice: \u003c\/strong\u003e56 euros\u003cbr\u003e\u003cstrong\u003eBOOK RELEASE: April 20, 2020\u003cbr\u003e\r\nBOOK SHIPPING FROM: September 28, 2020\r\n\u003c\/strong\u003e\u003c\/span\u003e","brand":"Innocences","offers":[{"title":"Default Title","offer_id":59937084965209,"sku":null,"price":56.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1092\/1381\/1033\/files\/SELF_COUV.jpg?v=1792150021"},{"product_id":"predator","title":"PREDATOR","description":"\u003ch2\u003e Unique, limited edition - 500 numbered copies \u003c\/h2\u003e\r\n\r\n\u003cp\u003eThese photographs were taken in the 1920s through the 1970s, throughout the world. They have one detail in common, which reminds us of the history of amateur photography: the shadow of the photographer. Jean-Marie Donat appropriated this incongruity, choosing only images in which the shadow appears wearing a hat. The effect of repetition created by imagining this series becomes its subject: the same man looms, always and everywhere.\u003c\/p\u003e\r\n\r\n\u003cspan class=\"infop\"\u003ePostface by \u003cstrong\u003eJacinto Lageira \u003c\/strong\u003e,  professor of aesthetics at the Université de Paris 1 Panthéon-Sorbonne and art critic.\u003c\/span\u003e\r\n\r\n\u003ch3\u003eTECHNICAL CHARACTERISTICS\u003c\/h3\u003e\r\n\u003cspan class=\"tech\"\u003e\r\n\u003cstrong\u003eFormat : \u003c\/strong\u003e19.5 x 22 cm.\u003cbr\u003e\r\n\u003cstrong\u003eNumber of pages : \u003c\/strong\u003e200 pages\u003cbr\u003e\r\n\u003cstrong\u003ePaper : \u003c\/strong\u003eGardaPat 13 BIANKA, 135 gsm \u003cbr\u003e\r\n\u003cstrong\u003eCover : \u003c\/strong\u003eIMPERIAL linen \u003cbr\u003ePhoto vignette on cover. Printed and bound in Italy.\u003cbr\u003e\r\n\u003cstrong\u003ePrice : \u003c\/strong\u003e66 Euros.\u003cbr\u003e\r\n\u003cstrong\u003eISBN : \u003c\/strong\u003e979-10-95154-01-3\r\n\u003c\/span\u003e","brand":"Innocences","offers":[{"title":"Default Title","offer_id":59937085030745,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1092\/1381\/1033\/files\/livre-predator.jpg?v=1792150021"},{"product_id":"to-heaven","title":"TO HEAVEN","description":"\u003ch2\u003e Unique, limited edition - 200 numbered copies\u003c\/h2\u003e \r\n\r\n\u003cp\u003ePresented at COSMOS ARLES BOOKS, on the occasion of Les Rencontres de la photographie d'Arles 2018, this book brings together photographs taken by the street photographer François Gabriel in the early 1920s through the late 1950s. Over 30 years, the photographer took pictures by the same procedure - rather obsessively - of passersby on the Muller stairways of Montmartre in Paris, France. \u003c\/p\u003e\r\n\u003cp\u003eThe early 20th century saw the development of the profession of the strolling or itinerant photographer, in cities, seaside and spa resorts, and tourist sites. Although these pictures, sometimes ‘while you wait’ jobs made to satisfy demand as quickly as possible, might betray awkward framing and technical flaws, that didn’t prevent clients from buying them; the pictures still testified to their subjects’ presence and a moment of lived experience. Thus they are essential to the history of photographic practice and the constitution of what came to be called vernacular photography, allowing photographs of oneself to be distributed in contemporary society.\u003c\/p\u003e\r\n\u003cp\u003eWhat made François Gabriel unique was the protocol he established on the stairs of the rue Muller. For some thirty years, he operated only a few metres from his studio and home. For this strolling photographer did not stroll far. He chose a set territory, a place that he appropriated over time. That is the secret of his work’s originality: his obsession for the space just outside his door.\u003c\/p\u003e\r\n\u003cp\u003eHis photographic arrangements would not change; his darkroom remained absolutely the same throughout his professional life. He positioned himself at the bottom of the stairs in order to take group photographs of tourists who had come to visit the Butte and were coming back down from it.\u003c\/p\u003e\r\n\u003cp\u003eNonetheless, François Gabriel is a representative of his generation, an emblematic figure of the itinerant photography of the era. The rigour of his work leaves a unique testimony to the importance of street photography and the souvenir card in the first through the middle years of the 20th century. He addresses better than any other the question of seriality in photography and the documentary image.  And his obsessive practice establishes him as a profoundly singular character in the history of photography.\u003c\/p\u003e\r\n\u003cbr\u003e\u003cspan class=\"infop\"\u003e\r\nExtracts from the work \u003cstrong\u003eTO HEAVEN\u003c\/strong\u003e, Helène Guillon-Gabriel and Emmanuelle Fructus, words collected by Jean- Marie Donat.\u003cbr\u003eTO HEAVEN\u003cbr\u003e\r\nEditor: Jean-Marie Donat\u003cbr\u003e\r\nPhotographs: François Gabriel\u003cbr\u003e\r\nIconographic Selection and Management: Jean-Marie Donat and Emmanuelle Fructus\u003cbr\u003e\r\nContributors: Hélène Guillon-Gabriel, Emmanuelle Fructus (Un Livre - Une Image), Danielle Lacroix, Gérard Bourgeon, Jean-Marie Donat.\u003cbr\u003e\r\n\u003c\/span\u003e\r\n\u003cbr\u003e\u003ch3\u003eTECHNICAL CHARACTERISTICS\u003c\/h3\u003e\r\n\u003cspan class=\"tech\"\u003e\r\n\u003cstrong\u003eFormat: \u003c\/strong\u003e19.5 x 22 cm\u003cbr\u003e\r\n\u003cstrong\u003eNumber of pages: \u003c\/strong\u003e200 pages\u003cbr\u003e\r\n\u003cstrong\u003ePaper: \u003c\/strong\u003eProfilbulk 1,08 135 gsm \u003cbr\u003e\r\n\u003cstrong\u003eCover: \u003c\/strong\u003eIMPERIAL linen \u003cbr\u003ePhoto vignette on cover. Printed and bound in Europe.\u003cbr\u003e\r\n\u003cstrong\u003ePrice: \u003c\/strong\u003e66 euros\u003cbr\u003e\r\n\u003c\/span\u003e","brand":"Innocences","offers":[{"title":"Default Title","offer_id":59937085063513,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1092\/1381\/1033\/files\/COUV_TO_HEAVEN.png?v=1792150023"},{"product_id":"blackface","title":"BLACKFACE","description":"\u003ch2\u003e Unique, limited edition - 500 numbered copies \u003c\/h2\u003e\r\n\r\n\u003cp\u003eThese previously unpublished photographs were taken in the United States between 1880 and the late 1960s. Some of them promote troupes of travelling performers: the minstrel shows in which whites made up as blacks incarnated, in musical numbers, the ‘good coloured folk’ whose music Americans particularly appreciated (the origin of blues and jazz). Other pictures are souvenirs from private parties, birthdays, or carnivals where children and adults alike tried their hand at ‘blacking up’. These images make us question the development of the gaze that a certain America casts upon African Americans. All the more intensely because their aesthetic effect is powerful.\r\n\u003c\/p\u003e\r\n\r\n\u003cspan class=\"infop\"\u003ePostface by \u003cstrong\u003eRobert C. Morgan\u003c\/strong\u003e, art critic, writer, curator, and professor at the School of Visual Arts, New York.\u003c\/span\u003e\r\n\r\n\u003ch3\u003eTECHNICAL CHARACTERISTICS\u003c\/h3\u003e\r\n\u003cspan class=\"tech\"\u003e\r\n\u003cstrong\u003eFormat : \u003c\/strong\u003e19.5 x 22 cm.\u003cbr\u003e\r\n\u003cstrong\u003eNumber of pages : \u003c\/strong\u003e200 pages\u003cbr\u003e\r\n\u003cstrong\u003ePaper : \u003c\/strong\u003eGardaPat 13 BIANKA, 135 gsm \u003cbr\u003e\r\n\u003cstrong\u003eCover : \u003c\/strong\u003eIMPERIAL linen \u003cbr\u003ePhoto vignette on cover. Printed and bound in Italy.\u003cbr\u003e\r\n\u003cstrong\u003ePrice : \u003c\/strong\u003e66 Euros.\u003cbr\u003e\r\n\u003cstrong\u003eISBN : \u003c\/strong\u003e979-10-95154-01-3\r\n\u003c\/span\u003e\r\n\u003cbr\u003e-","brand":"Innocences","offers":[{"title":"Default Title","offer_id":59937085129049,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1092\/1381\/1033\/files\/livre-blackface.jpg?v=1792150024"},{"product_id":"the-vernacular-collection","title":"The \"Vernacular!\" Collection - 1","description":"\u003cp\u003e\r\nOn the occasion of the launch of new titles in 2025, INNOCENCES offers this set uniting 3 titles of the \"Vernacular!\" collection, whose series come from the Jean-Marie Donat Collection.\r\n\u003cblockquote\u003e\r\n\"the art of assembly, montage, juxtaposition assuredly creates connections between those images. The oblique gaze we cast upon them is the true constituent of the grouping that gives them significance, without which those images would remain dispersed, scattered, unknown, uncomprehended.\"\r\nJacinto Lageira, about the Jean-Marie Donat Collection.\u003c\/blockquote\u003e\u003c\/p\u003e\r\n\r\n\r\n\u003cstrong\u003ePREDATOR\u003c\/strong\u003e\r\nUnique, limited edition - Postface by Jacinto Lageira\r\n\r\n\u003cstrong\u003eBLACKFACE\u003c\/strong\u003e\r\nUnique, limited edition - Postface by Robert C. Morgan\r\n\r\n\u003cstrong\u003eTO HEAVEN\u003c\/strong\u003e\r\nUnique, limited edition - \r\n\r\n\u003cbr\u003e\r\n\u003ch3\u003eTECHNICAL CHARACTERISTICS\u003c\/h3\u003e\r\n\u003cspan class=\"tech\"\u003e\r\n\u003cstrong\u003eFormat : \u003c\/strong\u003e19.5 x 22 cm.\u003cbr\u003e\r\n\u003cstrong\u003eNumber of pages : \u003c\/strong\u003e200 pages\u003cbr\u003e\r\n\u003cstrong\u003ePaper : \u003c\/strong\u003eGardaPat 13 BIANKA, 135 gsm \u003cbr\u003e\r\n\u003cstrong\u003eCover : \u003c\/strong\u003etoile IMPERIAL.\r\n\u003cbr\u003ePhoto vignette on cover. Printed and bound in Italy.\r\n\u003cbr\u003e\u003cstrong\u003ePrice for one book : \u003c\/strong\u003e66 Euros.\r\n\u003cbr\u003e\u003c\/span\u003e","brand":"Innocences","offers":[{"title":"Default Title","offer_id":59937085227353,"sku":null,"price":140.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1092\/1381\/1033\/files\/PHOTO-2025-01-23-13-52-52.jpg?v=1792150025"},{"product_id":"rorschach","title":"RORSCHACH","description":"\u003ch2\u003e Unique, limited edition - 200 numbered copies \u003c\/h2\u003e\r\n\r\n\u003cp\u003ePresented at COSMOS Book Fair, on the occasion of Les Rencontres de la photographie d'Arles 2016, this book brings together rare photographs taken in the 1890s through the 1950, throughout the world. \u003c\/p\u003e\r\n\u003cp\u003eThis corpus of  photographs from the Jean-Marie Donat Collection gives the concept of landscape a greater breadth, and, with it, a more penetrating mystery. The collector, bt an act of tilting, switches the original print from a figurative image of a landscape to an abstract visual, as a reality rollover.\u003c\/p\u003e\r\n\u003cbloquote\u003e\"The visual experience of space and our consciousness of it are so closely related that we have no idea what determines the one or what is dependent on the other. Landscapes mirrored in water, like so many chance Rorschach tests, confirm and cause the mystery of photography. Even though what we see—a set of signs registered by a user—is real, in no way is the world further explained by it. The photographic work has its own logic, which can be enigmatic or occasionally disturbing, but which is always exhilarating.\"\u003c\/bloquote\u003e\r\n\u003cbr\u003e\u003cspan class=\"infop\"\u003ePostface by \u003cstrong\u003eFrançois Cheval\u003c\/strong\u003e, curator, museum administrator and museum director. He is currently the director of the Museum Nicéphore Nièpce, Châlon-sur-Saône, France.\u003c\/span\u003e\r\n\u003cbr\u003e\u003ch3\u003eTECHNICAL CHARACTERISTICS\u003c\/h3\u003e\r\n\u003cspan class=\"tech\"\u003e\r\n\u003cstrong\u003eFormat : \u003c\/strong\u003e19.5 x 22 cm\u003cbr\u003e\r\n\u003cstrong\u003eNumber of pages : \u003c\/strong\u003e200 pages\u003cbr\u003e\r\n\u003cstrong\u003ePaper : \u003c\/strong\u003eGardaPat 13 BIANKA, 135 gsm \u003cbr\u003e\r\n\u003cstrong\u003eCover : \u003c\/strong\u003eIMPERIAL linen \u003cbr\u003ePhoto vignette on cover. 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This representation features details of the Christ's crucifixion. It is considered by the Catholic Church as an icon, and by some believers as a relic. And by Innocences, as the first photographic picture. \r\n\u003c\/p\u003e\r\n\u003cbr\u003e\r\n\u003ch3\u003eTECHNICAL CHARACTERISTICS\u003c\/h3\u003e\r\n\u003cspan class=\"tech\"\u003e\r\n\u003cstrong\u003eFormat : \u003c\/strong\u003e100 x 180 cm\u003cbr\u003e\r\n\u003cstrong\u003eMaterial : \u003c\/strong\u003erecto 100% microfiber \/ verso 100% cotton \u003cbr\u003e\r\n\u003cstrong\u003ePrice : \u003c\/strong\u003e35 euros\u003cbr\u003e\r\n\u003c\/span\u003e","brand":"Innocences","offers":[{"title":"Default Title","offer_id":59937085686105,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1092\/1381\/1033\/files\/miracolo3.png?v=1792150034"},{"product_id":"processing","title":"PROCESSING","description":"\u003ch2\u003eÉdition limitée à 300 exemplaires.\u003c\/h2\u003e\r\n\r\n\u003cp\u003e\"PROCESSING...\" met en lumière l'évolution de la relation entre le regardeur et l'œuvre d’art : le regardeur devient ici le sujet central et l'œuvre n’est plus qu'un accessoire. Le jeu des selfies nous pousse à constater que la photographie n’a plus comme enjeu le « j’y étais », mais le « cela existe, la preuve, j’y étais » .\r\n\u003cbr\u003e\r\nLe photographe Nikola Mihov, à propos de la série \"PROCESSING...\" : \u003cbr\u003e« Pendant plusieurs années, j’ai visité régulièrement le Louvre et j’ai passé de longues heures dans la foule colorée de touristes venus de monde entier pour voir la Mona Lisa. Dans cette salle, on retrouve l’ambiance des concerts de rock : la Joconde en vedette, et les touristes en groupies. Pour la voir de près, il faut plonger dans la foule en espérant que la vague des corps nous porte devant la scène. La foule est si dense que le malaise s’installe : on respire mal, les pickpockets s’en donnent à cœur joie, des duels de selfies sticks s’improvisent, on joue des coudes et la sécurité jouent les videurs… Et à la fin, tout est justifié, Mona Lisa est devenue un produit de la consommation, un lieu de \u003cbr\u003epèlerinage. » \u003cbr\u003e\r\n\u003cstrong\u003eNIKOLA MIHOV \u003c\/strong\u003eest né en 1982 à Sofia. Il est diplômé de la Nouvelle Université de Bulgarie en photographie. Son intérêt pour ce medium coïncide avec son arrivée à Paris en 2002. Son travail a fait l’objet de nombreuses expositions internationales, notamment aux Rencontres d’Arles (France), à la Nuit de la Photo (La Chaux-de-Fonds, Suisse) et au Festival Circulation(s) (Paris, France).\r\n\u003cbr\u003e\r\nEn 2012, Il reçoit le prix de l’Union des Journalistes Bulgares. 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