London. 1959.
Xavier Barral| N° d'inventaire | 23106 |
| Format | 19 x 25 |
| Détails | 172 p., publisher's canvas binding. |
| Publication | Paris, 2020 |
| Etat | Nine |
| ISBN | 9782365112734 |
London brings together around 80 black and white images from the time of the most famous Chilean photographer in England, almost half of which have never been published. A text by Roberto Bolano, written especially for these images in 1999, enriches this corpus. It was in 1965, seven years after a four-month stay in London, that he wrote in a brief introduction to his book El rectangulo en la mano: "It is deep within me that I seek photographs, when, camera in hand, I cast a glance outside; I can consolidate this world of ghosts when I encounter something that resonates within me." This new book is tangible proof of this. It follows the first published in 1999 by Hazan, which served as a "first draft" before Sergio Larrain made some adjustments, even though we had suggested many forgotten photos, which he had not initially considered. The Chilean photographer has been remembered in the history of the medium primarily for his sharp and brilliant eye, of course, but especially for his images of Valparaiso. The body of photography produced during the four months of this residency in London during the winter of 1958-1959 constitutes the photographer's first major attempt, which was intended to prove himself, partly following in the footsteps of Bill Brandt, whom he admired. Curiously, the photographs that Larrain took in London, in the style of a stroll, were rarely reproduced in the press, which could have been possible thanks to Magnum Photos, his new agency. For it was during this trip to England that the aspiring photographer made a stop in Paris to meet his mentor Henri Cartier-Bresson and join Magnum.
London brings together around 80 black and white images from the time of the most famous Chilean photographer in England, almost half of which have never been published. A text by Roberto Bolano, written especially for these images in 1999, enriches this corpus. It was in 1965, seven years after a four-month stay in London, that he wrote in a brief introduction to his book El rectangulo en la mano: "It is deep within me that I seek photographs, when, camera in hand, I cast a glance outside; I can consolidate this world of ghosts when I encounter something that resonates within me." This new book is tangible proof of this. It follows the first published in 1999 by Hazan, which served as a "first draft" before Sergio Larrain made some adjustments, even though we had suggested many forgotten photos, which he had not initially considered. The Chilean photographer has been remembered in the history of the medium primarily for his sharp and brilliant eye, of course, but especially for his images of Valparaiso. The body of photography produced during the four months of this residency in London during the winter of 1958-1959 constitutes the photographer's first major attempt, which was intended to prove himself, partly following in the footsteps of Bill Brandt, whom he admired. Curiously, the photographs that Larrain took in London, in the style of a stroll, were rarely reproduced in the press, which could have been possible thanks to Magnum Photos, his new agency. For it was during this trip to England that the aspiring photographer made a stop in Paris to meet his mentor Henri Cartier-Bresson and join Magnum.