Fleurs du mal

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ANTOINE D'AGATA X CHARLES BAUDELAIRE For Charles Baudelaire, the photographic medium (then from the beginning) was not an art but a technical means of representing reality. Yet it is a contemporary photographer, Antoine d'Agata, who today revisits Baudelaire's texts and universe. As a counterpoint to Baudelaire, d'Agata reworks his own photographs through digital intervention to return to engraving, as if to move from the pixel to the line of the time. He pushes photography to its limits, mistreats it, does violence to it, discards the medium to return to the raw, to the essential, to the material, to a purified line. Available in limited edition
[:fr]ANTOINE D'AGATA X CHARLES BAUDELAIRE   L'ouvrage reprend l'édition originale non censurée du recueil de Baudelaire accompagnée de ces étranges impressions gravées de d'Agata. Présent et passé s’y superposent. Comme un jeu de transparence que présentera la trame d’une image sur la couverture. Dans cet ouvrage Fleurs du Mal , Baudelaire fait figure de flâneur, de spectateur du monde qui l’entoure, des transformations urbaines, quand d’Agata incarne la photographie, la vie et se réapproprie l’espace de la ville par le geste.   Disponible en édition limitée[:en]ANTOINE D'AGATA X CHARLES BAUDELAIRE   For Charles Baudelaire, the photographic medium (then from the beginning) was not an art but a technical means of representing reality. Yet it is a contemporary photographer, Antoine d'Agata, who today revisits Baudelaire's texts and universe. As a counterpoint to Baudelaire, d'Agata reworks his own photographs through digital intervention to return to engraving, as if to move from the pixel to the line of the time. He pushes photography to its limits, mistreats it, does violence to it, discards the medium to return to the raw, to the essential, to the material, to a purified line.   Available in limited edition[:]

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