Its been a few weeks since Paris Photo, and I’ve been busy following up my list of highlights. The overall level of the fair was very good, starting with the venue (www.grandpalais.fr), it really gave the event the image it deserves.

In Paris Photo one expects to find the a-list of the art photography world. In that respect, the fair didn’t disappoint. If, like me, you were expecting to find the next big names then you would be in for a bit of a letdown. Pity, because I think PF could also be great exposure for emerging artists. Talking with gallerists and dealers in the fair, the argument had more to do with investment and return than talent or experience. When paying for a booth at Paris, you’d better make sure you put on the work that sells, that means the common known names (I guess we all agree there were far to many Massimo Vitali prints around), rather than waging your profits on lesser known artists. This is understandable, but hopefully for years to come the fair’s newly appointed director Julien Frydman will find a way to allow the exhibitors to take riskier decisions, and surprise collectors and visitors with bolder, more daring shows.

There were, fortunately, a handful of exceptions. The following are my highlights of the fair: galleries, artists and works that deserve a closer look.

I am always on the look out for Latin American art photography and I am constantly disappointed at Paris because of the lack of representation of artists and galleries from said part of the world. Apart from the expected Vic Muniz and some Muñoz at La Fabrica, one booth really stepped up from the rest. A most welcomed surprise was to find the impeccably curated show by Alexis Fabri at Toluca Editions. Although not at gallery in the strictest of terms, Fabri’s knowledge of  Latin American photography and outstanding photographic eye allowed him to put together a collection of images that truly convey the essence of the continent. I was surprised to find early vintage prints of Colombian photographer Fernell Franco, and also beautiful lesser known photographic work by Argentinian artist Julio Le Parc.  I have my sights fixed on the new projects at Toluca, and eagerly expect their participation in Paris next year.

 Fernell Franco, From the Series Prostitutas, 1970

Another gallery I hadn’t heard of before Paris, and a highlight for various visitors was Asymetria, from Poland. Their stand at PF, although a bit cluttered (probably because of the reasons mentioned at the start of this review) reminded me of Poland’s sound photographic tradition, deeply rooted in the conceptual art movement of the early half of the twentieth century. Last July I was invited to Dublin for PhotoIreland, and was introduced to the master photo-collages of Zofia Rydet. To see them again at PF was a very particular surprise, and clear indication of the value of a generation of artists all along Europe who are being rediscovered and whose work is suddenly gathering a lot of interest. Rydet’s work for me is imbued with the hardship and steadfastness I associate with the Polish spirit. Definitely a highlight of the fair.

 Sophia Rydet: from the series "Holocaust", c. 1970

One last highlight of Paris Photo has to do with a more contemporary gallery with a very distinct selection of artists. Les Filles Du Calvaire (a name one doesn’t easily forget) has now become a Parisian household name, and I have to say much mentioned on the cafe and corridors of the Grand Palais during the fair. Their stand was very elegantly curated, not too much on the walls, but not so little that it seems empty. I was drawn to the work by Portuguese artist Helena Almeida. Her images experiment with the raw expression of the body through actions, but also the elegance of rational thought. Both in concept and execution, her work has the depth and rigour so hard to come by these days.

 
Helena Almeida, O Abraço, 2007


 


All the images © the artists.