Paris

Photography

1KM by Marina Caneve (Photography)

1KM
Marina Caneve

– 1 linear km long
| 10 floors
6000 residents

This series is part of my research into how to use photography in urban investigation. In Île-de-France today, the debate on whether to open the boundaries of metropolitan centers towards the suburbs is of prime importance and has been discussed for years. In this context I’ve been attracted to the rehabilitation and development of the housing complex La Caravelle at Villeneuve-la-Garenne (in the northern suburbs of Paris).

La Caravelle is a housing complex consisting of a one-kilometer-long plan built during “The Glorious Thirties” as a refuge for the myriad of people who were, at that time, looking for a place to live in France. This building was then considered an admirable plastic work designed by Jean Dubuisson.

At the beginning of the 21st century, in contrast with the ideals that led to this complex’s construction, something went wrong and the building had become an enclave estranged from the rest of the city, with one of the highest crime rates. My work focuses on the transformations of this place after the redevelopment made by Atelier Castro in 2003. I was attracted to the reorganization of these urban structures and, widely, to the ways that the complex’s connection with the city was restored.
— Marina Caneve


Marina Caneve (1988) is a visual artist focusing on photography with an interdisciplinary approach. She graduated from the IUAV (University of Architecture in Venice) in 2013, and from the KABK (Royal Academy of Arts, Den Haag) in 2017. Caneve’s work has been exhibited internationally at institutions such as the Fondazione Bevilacqua La Masa (Venice, 2017 and 2013), La Biennale di Venezia (Venice, 2016), and the Matèria gallery (Rome, 2016).

Her dummy book Are They Rocks or Clouds?, which she is currently working on, was awarded the Cortona On The Move Prize and will be published in 2019. It was also displayed at the Fotografia Europea Reggio Emilia festival, receiving the Giovane Fotografia Italiana Award. A curator, she co-founded CALAMITA/Á, a research platform focusing on catastrophes, changes, memory, and politics. Visit her website here.

Literature

Panegyric (Excerpt)

PANEGYRIC

BY GUY DEBORD

Film still from THE BITTER TEARS OF PETRA VON KANT

Film still from THE BITTER TEARS OF PETRA VON KANT

After the circumstances I have just recalled, it is undoubtedly the rapidly acquired habit of drinking that has most marked my entire life. Wines, spirits, and beers: the moments when some of them became essential and the moments when they returned have marked out the main course and the meanders of my days, weeks, years. Two or three other passions, of which I will speak, have been more or less continuously important in my life. But drinking has been the most constant and the most present. Among the small number of things that I have liked and known how to do well, what I have assuredly known how to do best is drink. Although I have read a lot, I have drunk even more. I have written much less than most people who write, but I have drunk much more than most people who drink. I can count myself among those of whom Baltasar Gracián, thinking about an elite discernible only among the Germans – but here he was quite unjust to the detriment of the French, as I think I have shown – could say, “There are those who got drunk only once, but that once lasted them a lifetime.”

Furthermore, I am a little surprised, I who have had to read so often the most extravagant calumnies or quite unjust criticisms of myself, to see that in fact thirty or more years have passed without some malcontent ever instancing my drunkenness as at least an implicit argument against my scandalous ideas – with the one, belated exception of a piece by some young English drug addicts who revealed around 1980 that I was stupefied by drink and thus no longer harmful. I never for a moment dreamed of concealing this perhaps questionable side of my personality, and it was clearly evident for all those who met me more than once or twice. I can even note that on each occasion it sufficed but a few days for me to be highly esteemed, in Venice as in Cadiz, in Hamburg as in Lisbon, by the people I met only by frequenting certain cafés.

At first, like everyone, I appreciated the effect of mild drunkenness; then very soon I grew to like what lies beyond violent drunkenness, once that stage is past: a terrible and magnificent peace, the true taste of the passage of time. Although in the first decades I may have allowed only slight indications to appear once or twice a week, I was, in fact, continuously drunk for periods of several months; and the rest of the time, I still drank a lot.

An air of disorder in the great variety of emptied bottles remains susceptible, all the same, to an a posteriori classification. First, I can distinguish between the drinks I consumed in their countries of origin and those I consumed in Paris; but almost every variety of drink was to be had in mid-century Paris. Everywhere, the premises can be subdivided simply between what I drank at home, or at friends’, or in cafés, cellars, bars, restaurants, or in the streets, notably on café terraces.

The hours and their shifting conditions almost always retain a decisive role in the necessary renewal of the stages of a binge, and each brings its reasonable preference to bear on the available possibilities. There is what one drinks in the mornings, and for quite a long while that was the time for beer. In Cannery Row a character who one can tell is a connoisseur proclaims, “There’s nothing like that first taste of beer.” But often upon waking I have needed Russian vodka. There is what is drunk with meals, and in the afternoons that stretch out between them. At night, there is wine, along with spirits; later on, beer is welcome again, for then beer makes you thirsty. There is what one drinks at the end of the night, at the moment when the day begins anew. One can imagine that all this has left me very little time for writing, and that is exactly as it should be: writing should remain a rare thing, since one must have drunk for a long time before finding excellence.

I have wandered extensively in several great European cities, and I appreciated everything that deserved appreciation. The catalogue on this subject could be vast. There were the beers of England, where mild and bitter were mixed in pints; the big schooners of Munich; the Irish beers; and the most classical, the Czech beer of Pilsen; and the admirable baroque character of the Gueuze around Brussels, when it had its distinctive flavor in each local brewery and did not travel well. There were the fruit brandies of Alsace; the rum of Jamaica; the punches, the aquavit of Aalborg, and the grappa of Turin, cognac, cocktails; the incomparable mescal of Mexico. There were all the wines of France, the loveliest coming from Burgundy; there were the wines of Italy, especially the Barolos of the Langhe and the Chiantis of Tuscany; there were the wines of Spain, the Riojas of Old Castille or the Jumilla of Murcia. 

I would have had very few illnesses if drink had not in the end caused me some, from insomnia to gout to vertigo. “Beautiful as the tremor of the hands in alcoholism,” said Lautréamont. There are mornings that are stirring but difficult.

“It is better to hide one’s folly, but that is difficult in debauchery or drunkenness,” Heraclitus thought. And yet Machiavelli would write to Francesco Vettori: “Anyone reading our letters … would sometimes think that we are serious people entirely devoted to great things, that our hearts cannot conceive any thought which is not honorable and grand. But then, as these same people turned the page, we would seem thoughtless, inconstant, lascivious, entirely devoted to vanities. And even if someone judges this way of life shameful, I find it praiseworthy, for we imitate nature, which is changeable.” Vauvenargues formulated a rule too often forgotten: “In order to decide that an author contradicts himself, it must be impossible to conciliate him.” 

Moreover, some of my reasons for drinking are respectable. Like Li Po, I can indeed exhibit this noble satisfaction: “For thirty years, I’ve hidden my fame in taverns.”

The majority of the wines, almost all the spirits, and every one of the beers whose memory I have evoked here have today completely lost their tastes, first on the world market and then locally, with the progress of industry as well as the disappearance or economic re-education of the social classes that has long remained independent of large industrial production; and thus also through the interplay of the various government regulations that now prohibit virtually anything that is not industrially produced. The bottles, so that they can still be sold, have faithfully retained their labels; this attention to detail gives the assurance that one can photograph them as they used to be – but not drink them.

Neither I nor the people who drank with me have at any moment felt embarrassed by our excesses. “At the banquet of life” – good guests there, at least – we took a seat without thinking even for an instant that what we were drinking with such prodigality would not subsequently be replenished for those who would come after us. In drinking memory, no one had ever imagined that he would see drink pass away before the drinker. 


Read Panegyric by Guy Debord, translated by James Brook and John McHale, from VERSO.

Photography

Fourth Floor (Photography)

Fourth Floor
4e étage

by Joseph Charroy

From “Clarita,” a short story by Anna Kavan

I was lying on top of the still unmade bed. I had to get some sleep somehow. I was dead tired, but the rash kept me awake. At last I dozed for a few minutes. Then I was awake again, scratching. All the triangles had somehow collected in the folds of the sheet crumpled under me. They were pricking me with their points, and one had embedded itself in my thigh. The itching was intolerable by the time I'd extracted it, the sheet was burning my back.

I rolled off the bed, and standing there naked, thoroughly scratched my arms and armpits, my navel, my shins. I must have done some pretty thorough scratching before this, while I was still half-asleep, judging by the amount of blood. I was surprised my blunt fingers could produce those long, deep, bleeding furrows, which looked more as if they'd been inflicted by claws. Blood was running down my shins on to the floor and there was blood on the mattress as well as the sheet. 

Clarita appeared, in a long gold dress made of some soft silky stuff with a lustrous sheen and little ripples all over it, like calm water reflecting a sunset and ruffled by a light breeze. I could only think how lovely she looked. She must have said something I didn't hear, because she was gesturing with her hands and the nails flashed in the light. The next thing was that somehow my arm was around her, I was clasping her tight with one hand, while the other hand went on scratching until it hurt, and really I couldn't tell whether her hand or mine was tearing the flesh as I hugged her. I can't explain it. Then she pushed me so hard that I nearly fell over. I thought her beautiful dress must be covered in blood, but there wasn't a spot on it anywhere. That frightening look she had sometimes was on her face, I knew she was furious with me without listening to what she said. 

(from Julia and the Bazooka, published by Peter Owen Modern Classics.)


Joseph Charroy, born in 1982, lives and works in Brussels. After studying modern literature, he taught himself photography; his photographs often depict a wandering state and the passage of time. Check out his small publishing house Éditions Primitive, and his photography books, which were published by Éditions Lamaindonne. Visit his website here, and don't miss the rest of Fourth Floor!

His work is currently being exhibited at the Musée de la Photographie de Bruxelles