Harry Gruyaert, "Belgique, Bruxelles, Gare de Bruxelles-Midi", 1981 © Harry Gruyaert / Magnum Photos
TITLE_NAME :
Harry Gruyaert - La part des choses
15/06/2023 - 24/09/2023
Le Bal
6, impasse de la Défense
75018 Paris
www.le-bal.fr
Le Bal presents the work of the Belgian photographer Harry Gruyaert through a wide selection of vintage cibachrome prints, drawing an unprecedented path in the work of this leading figure of contemporary photography.
Born in Antwerp in 1941, the photographer Harry Gruyaert is one of the pioneers of colour photography, like the great Americans he discovered and fell in love with at an early age: Joel Meyerowitz, William Eggleston, and Stephen Shore. Far from the narrow confines of his native Belgium, New York in the early 1970s exposed him to pop art and taught him ''to cast a different eye on the ordinary, to accept a form of ugliness in the world and to do something with that!' His friendships with the avant-garde (Gordon Matta-Clark, Richard Nanas) reinforced what Antonioni's Red Desert -''seen a thousand times''- had already instilled in him: the need to explore the world, to throw himself into it headlong, not in order to describe it or to inform us about it, but rather to shape it, to model it. To render his perception of things instead of the things themselves. To become a seer, not a witness.
15/06/2023 - 24/09/2023
Le Bal
6, impasse de la Défense
75018 Paris
www.le-bal.fr
Le Bal presents the work of the Belgian photographer Harry Gruyaert through a wide selection of vintage cibachrome prints, drawing an unprecedented path in the work of this leading figure of contemporary photography.
Born in Antwerp in 1941, the photographer Harry Gruyaert is one of the pioneers of colour photography, like the great Americans he discovered and fell in love with at an early age: Joel Meyerowitz, William Eggleston, and Stephen Shore. Far from the narrow confines of his native Belgium, New York in the early 1970s exposed him to pop art and taught him ''to cast a different eye on the ordinary, to accept a form of ugliness in the world and to do something with that!' His friendships with the avant-garde (Gordon Matta-Clark, Richard Nanas) reinforced what Antonioni's Red Desert -''seen a thousand times''- had already instilled in him: the need to explore the world, to throw himself into it headlong, not in order to describe it or to inform us about it, but rather to shape it, to model it. To render his perception of things instead of the things themselves. To become a seer, not a witness.