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Über Manfred Paul: Paris 1988

In 1988 Manfred Paul was invited to go on a six-week trip to study in Paris. At the time, this was a rare opportunity for a photographer from East Germany to explore a country on the other side of the Iron Curtain. He managed to borrow a Leica M3 from one of the staff at the French Cultural Centre in Berlin; looking through the viewfinder of this camera gave him a special experience of Paris, which changed his way of seeing and had a lasting effect on his photography. The sixty-five pictures comprising Paris 1988 are not concerned with the tourist version of Paris, nor are they a social documentary exploration: rather, they are a rehearsal for a postmodernist visual practice. Paul sets up an opposition between the fragment and the long shot; instead of watching out for the decisive moment, he is interested in the peripheral aspects of an event. Sur-faces, shop windows, the everyday tokens and material qualities of city life-impressions that no longer piece themselves together into a complete image, but which convey the atmosphere of the time: L'air de Paris. Manfred Paul has lived and worked in East Berlin since 1968. He was one of the most important exponents of auteur photography in the GDR.

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  • Sprache:
  • Französisch
  • ISBN:
  • 9783959057721
  • Einband:
  • Taschenbuch
  • Seitenzahl:
  • 158
  • Veröffentlicht:
  • 1. August 2023
  • Abmessungen:
  • 246x19x312 mm.
  • Gewicht:
  • 1130 g.
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Beschreibung von Manfred Paul: Paris 1988

In 1988 Manfred Paul was invited to go on a six-week trip to study in Paris. At the time, this was a rare opportunity for a photographer from East Germany to explore a country on the other side of the Iron Curtain. He managed to borrow a Leica M3 from one of the staff at the French Cultural Centre in Berlin; looking through the viewfinder of this camera gave him a special experience of Paris, which changed his way of seeing and had a lasting effect on his photography.
The sixty-five pictures comprising Paris 1988 are not concerned with the tourist version of Paris, nor are they a social documentary exploration: rather, they are a rehearsal for a postmodernist visual practice. Paul sets up an opposition between the fragment and the long shot; instead of watching out for the decisive moment, he is interested in the peripheral aspects of an event. Sur-faces, shop windows, the everyday tokens and material qualities of city life-impressions that no longer piece themselves together into a complete image, but which convey the atmosphere of the time: L'air de Paris.
Manfred Paul has lived and worked in East Berlin since 1968. He was one of the most important exponents of auteur photography in the GDR.

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