Nutzerkonto

Antoine d’Agata

Born in Marseilles, Antoine d’Agata left France in 1983 and travelled overseas for the next ten years. Finding himself in New York in 1990, he pursued an interest in photography by taking courses at the International Center of Photography, where his teachers included Larry Clark and Nan Goldin. His first books of photographs, De Mala Muerte, and Mala Noche, were published in 1998, and the following year Galerie Vu began distributing his work. In 2001, he published Hometown and won the Niépce Prize for young photographers. He continued to publish regularly: Vortex and Insomnia appeared in 2003, accompanying his exhibition 1001 Nuits in Paris, followed by Stigma (2004), Manifeste (2005), Psychogéographie (2005), Ice (2011), Position(s) (2012), Antibodies (2014), Fukushima (2015), Index (2015), Lilith (2017), and Self-Portraits: 1987–2017 (2017) In 2004 d’Agata joined Magnum Photos and in the same year, shot his first short film, Le Ventre du Monde (The World’s Belly); this experiment led to his long feature film Aka Ana, shot in 2006 in Tokyo. In 2012 his film Atlas was released. His recent film is White Noise (240 min., 2019). His work has been shown in exhibitions all over the world: Antoine d’Agata: Anticorps, Fotomuseum Den Haag, 2012, Le Bal, Paris, 2013; Spazio Forma, Milan, 2013; Atsukobarouh, Tokyo, 2015. His recent solo exhibition Self Portraits and Night Journeys, was shown at Magnum Print Room, London, 2018. Since 2005 Antoine d’Agata has had no settled place of residence but has worked around the world. Until today he published 54 books.

»Falls es einen Künstler gibt, der die Leere sichtbar machen kann, dann ist es Antoine d’Agata: Sichtbar machen, was nicht sichtbar ist, zeigen, was nicht darstellbar ist. Antoine d’Agatas Bildsprache eignet etwas Gespenstisches: Er zeigt eine Gesellschaft, die dabei ist, sich selbst auszulöschen, die zwar über alle Informationen verfügt, um zu gegenwärtigen, was gerade geschieht, aber nichts unternimmt, um es aufzuhalten. Wir haben diesen Selbstmord dokumentiert, während einer Woche gemeinsamer Autofahrten und Nächten in heruntergekommenen Hotels, und dabei einen unbewohnbaren Ort zwischen zwei Welten kennengelernt: eine geisterhafte Wirklichkeit, und eine Welt, die von jeglicher Repräsentation ausgeschlossen ist, die nur noch in einem geisterhaften Zustand existiert«. Mehdi Belhaj Kacem

Bibliografie
  • Gemeinschaft
  • Fotografie
  • Soziale Bewegungen
  • Gegenwartskunst
  • Frankreich
  • Revolution