SOUVENIRS D'UN GLACIER
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Souvenirs d'un glacier, Corinne Vionnet
Published by RRose Editions in 2019; 12 color images; size 220x330mm; Board book; Papyrus Multi Art Silk; Printed at Grafiche Veneziane; ISBN 978-2-9556712-5-2.
200 copies.
SOLD OUT RRose Editions
YOU CAN FIND MORE INFORMATION ABOUT THIS WORK HERE.
Over the years, Corinne Vionnet has collected postcards of the Rhône glacier, spanning almost one century of images. Strikingly, but not so surprisingly, the pictures chosen have all been shot from the same perspective, from an "ideal" spot that reveals the glacier in its archetypal form and the roads that take us there - as is often the case with touristic attractions - a pattern of repetition and supersposition that Vionnet explored for instance in her Photo Opportunities series. There is a difference, however, between monuments as the Taj Mahal, the Rome Coliseum, the Eiffel Tower and landscapes as the Rhône glacier. The latter is not fixed in eternity. When looking at these postcards, the artist noticed a movement: the gradual melting of the ice, the accelerated "retreat" of the glacier. What was a reflection on space became a gaze on time, or more precisely, the two dimensions intertwined in a sequence of images. As in Vionnet's work Total Flag, the image converges gradually towards some sort of emptiness or abstraction. The pattern is loosing its significance, exhausted to the core. In other words, will we still need postcards of the Rhône glacier any longer?
Published by RRose Editions in 2019; 12 color images; size 220x330mm; Board book; Papyrus Multi Art Silk; Printed at Grafiche Veneziane; ISBN 978-2-9556712-5-2.
200 copies.
SOLD OUT RRose Editions
YOU CAN FIND MORE INFORMATION ABOUT THIS WORK HERE.
Over the years, Corinne Vionnet has collected postcards of the Rhône glacier, spanning almost one century of images. Strikingly, but not so surprisingly, the pictures chosen have all been shot from the same perspective, from an "ideal" spot that reveals the glacier in its archetypal form and the roads that take us there - as is often the case with touristic attractions - a pattern of repetition and supersposition that Vionnet explored for instance in her Photo Opportunities series. There is a difference, however, between monuments as the Taj Mahal, the Rome Coliseum, the Eiffel Tower and landscapes as the Rhône glacier. The latter is not fixed in eternity. When looking at these postcards, the artist noticed a movement: the gradual melting of the ice, the accelerated "retreat" of the glacier. What was a reflection on space became a gaze on time, or more precisely, the two dimensions intertwined in a sequence of images. As in Vionnet's work Total Flag, the image converges gradually towards some sort of emptiness or abstraction. The pattern is loosing its significance, exhausted to the core. In other words, will we still need postcards of the Rhône glacier any longer?
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