Chauvet – Pont-d’Arc, L’inappropriableRaphaël Dallaporta Édition Xavier Barral

New Book

Chauvet – Pont-d’Arc, L’inappropriable, R. Dallaporta, Editions Xavier Barral, 2016Vol I : B&W photographs, 280p.Vol II : Texts and illustrations, 80p.Design de Christophe Renard.French edition.2 books with a Japanese bookbinding 240 × 320 mm.

Texts : Marie Bardisa, Jean-Jacques Delannoye, Jean-Paul Curnier, Jean Clottes, Rémi Labrusse.

Invited to confront the heritage of the Cave Chauvet, Raphael Dallaporta imagined a photographic protocol that plunges us into the heart of the cave as if we returned physically and jostles our landmarks by decomposing to recompose its complex volumes in a very precise manner. The reading of the cave landscapes offered by the photographs of Raphaël Dallaporta allows to touch on its different temporalities, from its genesis to the crystals of calcite deposited at the moment by a drop of water, while going through the traces and the works of men from prehistory. One of the strengths we feel at the cave is the visual power of its different stories, so distended in time and so intimately linked in its landscapes.

Jean-Jacques Delannoye géomorphologuist

The elusive Chauvet – Pont-d’Arc CaveRaphaël Dallaporta KyotoGraphie, The Museum of Kyoto Annex 6K Video instalation 4 m x 12 m.

“A cave needs to be treated with infinite prudence; as a landscape, a natural area that awakens a deep sense of time immemorial.” (R. Dallaporta)

The elusive Chauvet – Pont-d’Arc Cave, is the result of a project developed by the artist Raphaël Dallaporta in the decorated cave of Pont-d’Arc, known as Grotte Chauvet. This geological site at the heart of the Ardèche department of southern France was untouched for more than 20 000 years, before being rediscovered in 1994. The access to its hundreds of cave paintings has been severely restricted to researchers and scientists. Thanks to the Association pour la Mise en Valeur de la Grotte Ornée du Pont-d’Arc and to the Ministry of Culture, Raphaël Dallaporta has taken panoramic views of the inside of the cave, which he presents

in the form of planispheres, following the model conceived by American inventor Richard Buckminster Fuller in 1946. Reproduced as a book, Raphaël Dallaporta’s work invites the reader to shift the way they look at the cave. He tilts their perception by creating an imbalance, in a metaphor of the world’s movements, of the rotation of the Earth and planets. The artist thus refers to the anthropological hypothesis according to which the caves and the universe are linked to one another.

Exhibition curated by Xavier Barral, in collaboration with On-situ studio Sound design by Marihiko Hara with the support of Sony PCL.

MonographyRaphaël Dallaporta

Antipersonnel, R. DallaportaEditions Xavier Barral, Musée Elysée, Lausanne. 201035 color photographs Captions by Tom RidgwayDesign by Kummer&Herrman.French and English edition.

Hardcover cloth - 88 p. 245 × 320 mm.

Domestic SlaveryR. Dallaporta, O. Millot Utrecht: Fotodok, 2009.12 color photographsDesign by Kummer&Herrman.French and English edition.Translation by Tom Ridgway

Flexible dossier - 24 p. 210 x 297 mm.

FragileR. DallaportaEditions GwinZegal, 2011. 23 color photographs Design by Kummer&Herrman. French and English edition. Translation by Tom Ridgway

Swiss binding - 96 p.240 x 340 mm.

RuinsR. DallaportaEditions GwinZegal, 2013. 12 color photographs,13 differently sized posters Design by Kummer&Herrman. English edition.

Archival box240 x 340 mm.

AntipersonnelRaphaël Dallaporta captions by Tom Ridgway

Dye destruction prints(Ilfochrome) 24 x 30 cm

One of photography’s great strength is its ability to catalogue and record the world in which we live. The simplicity and clarity that photography offers has both commercial and artistic possibilities. In more recent years there has been a trend towards documentary photographers isolating one particular aspect of society and exploring this in great detail. Raphaël Dallaporta presents the most chilling example of this genre by photographing antipersonnel landmines. These strange ugly objects also have a certain disturbing beauty to them. We hear about the damage that landmines inflict on innocent victims long after the purpose of their planting has lapsed. They of course are hidden underground before exploding.

I had never seen a landmine in real life or in a photograph until discovering Dallaporta’s images. It was a revelation. We now learn that hundreds of types of landmines exist and the variety of design, appearance, shape and design is incredible. Because Dallaporta has photographed these objects in the way an advertising photographer might render a shampoo bottle, he glorifies these objects and yet appears totally neutral in his approach. It is a most clever trick, so much so that we hardly notice he has done it.

Martin Parr. Introduction of ‘Antipersonnel’ Editions Xavier Barral, 2010.

Domestic SlaveryRaphaël Dallaporta text by Ondine Millot

Offset prints420 x 297 mm

“I’m not with the victims but with those making amends”, says Raphaël Dallaporta. The photographer has set up his camera where it happened. He has tried to go beyond the suffering of individual fates, his only certainty being his documentary conviction. If, at first sight, it seems that there’s little going on in Dallaporta’s photographs, that would be to forget the texts. Because ‘Domestic slavery’ is a work that creates a resonance between text and photography, the result of a collaboration between a journalist, Ondine Millot, and a photographer. Dallaporta thus joins a documentary tradition in which the attempt to create a dialogue between words and images has long given food for thought. From Walker Evans (‘Let us now praise famous men’, in collaboration with James Agee) and Dorothea Lange (‘An American Exodus’, in collaboration with Paul Taylor), the contributions to the history

of photography have been numerous. But Dallaporta’s documentary technique may seem disconcerting. He has chosen a silent image. He places us outside, he leaves us alone with our capacity to think. Thus our perception of the images is subtly altered. Though, at first glance, we may ask ourselves whether they are necessary – they seem overshadowed by the written accounts – Dallaporta’s photographs become more and more the anchor for the texts, making it possible to empathize, increasing the feeling of uneasiness. For, from this point in time, the reader is within and the viewer without.

Sam Stourdzé ‘The silent image, or the documentary conviction of Raphaël Dallaporta’

FragileRaphaël Dallaporta Fragile portfolio,8 Dye transfer prints 40 x 50 cm.

The first viewing can be unbearable, for it shows the inevitable imperatives of reality - especially those concerning our own death in a context defined by a terrifying, inflicted accident - in order to project it into a more aesthetic, philosophical realm. This is a body of work, coherent and complete, that exposes itself, leading the viewer towards a contemplative stance and a gazing inwards. The viewer, nonetheless, quickly understands that each of these prints, displayed like an anatomical plate, has a specific, terrifying story attached to it. In most of these images, natural death doesn’t exist ; rather death comes from an accident, a murder, or drama. There is an exception to the irreality of these photographs: the Four Humors in large scale format, Saturn’s rings or ellipses in space, a reference to Hippocrates,

and yet directly linked to human nature. However, this body of work also seeks to reveal the unexpected but fascinating relationship between human body parts, made objective and yet mysteriously transformed by Dallaporta’s vision, and exploration of a new system of seeing stretched to the limits to an almost formal abstractionism. For if his images seems outside of familiar contexts, they decompose the distress and solitude of the human predicament deceived by the system and close friends and/or family.

Françoise Docquiert Commissioner of the exhibition “Sciences: Berenice Abbott, Raphaël Dallaporta”

RuinsRaphaël Dallaporta Vol au dessus de Kafir Qalaprovince de Balkh, Afghanistan, 2010.

In 1863, with the help of Gustave Ponton d’Amércourt, who had invented a prototype helicopter, Nadar founded the Society for the Encouragement of Aerial Locomotion through the use of Machines Heavier than the Air. One and a half century later, in autumn 2010, Raphaël Dallaporta was flying his modern equivalent – a six-propeller drone – over northern Afghanistan. Using a drone he designed himself, he took aerial photographs of endangered or heretofore unknown archaeological sites in a country at war. Designed to give a French-Afghan archaeological team a new perspective on their fieldwork, the “pacifist drone” photographed from on high the historical palimpsest on the ground, capturing during this first mission Zoroastrian religious sites, Achaemenid Empire-era fortifications and the strategic passes.

Raphaël Dallaporta has worked on assembling the images. With their voluntarily asymmetrical contours they depict these inaccessible monuments and places at their best. The most cutting-edge technology reveals the artist’s themes — destruction, the precariousness of things. It brings to light that which was and is no longer: like all photography, these images don’t say anything; they record a shapeand document the invisible.

Angela LampeCommissioner of the exhibition ‘Views from above’

CovarianceRaphaël Dallaporta Alexandre Brouste

Instalation de 48 tirages 33x40 cmau platine-palladium cyanotypés.

It looks like a sky with clouds, cut into 48 small pieces, that make a dappled blue wall and in which slowly we become immersed in. In reality, it is a mathematical function. Photographer Dallaporta who likes to collaborate with scientists, has partnered with a mathematician, Alexander Brouste to generate forms from a function called covariance. For each image, only one parameter of the function varies, resulting in more or less dark spots.

A broken image for evanescent clouds ... and performed by mixing two former methods, cyanotype and platinum. Enough to keep the brain functioning. - yet without taking away enjoyment of the eye.

Claire GuillotLe Monde

Relique Avant-GardeRaphaël Dallaporta Observatoire de l’espace - Cnes

Instalation 19 tirages baytés format 350x135 cm.

In a project that started Raphaël Dallaporta strated with Cnes, the French Space Studies Centre, he has made a piece on the Symphony project, the joint Franco-German satellite programme. Dating from soon after the Second War (development was active since the early 1960s), the Symphony programme was a way for the two former rival nations to look determinedly forward together in the spirit of the Treaty of Rome. Symphony was a communications satellite system, the first one in Europe. For Dallaporta it has metaphorical weight, too: if the two nations could develop a comms system then they were surely developing actual communication between themselves at the same time.

Dallaporta’s views of the remaining satellite antennae are fractured. They underline how time has begun to dismantle our memory of these giant projects, controversial yet beneficial, public-spirited and privately advantageous.Between two of them, he recovers archival evidence of the early work going on: a lifetime away by now, ancient history. Symphony lives on in the little communications systems in the pockets of all of us: technology has become normal. It seems democratic. But it wasn’t always obvious that it was to be so. It may yet turn out not to be so in the end.

Francis Hodgson

CorrespondanceRaphaël Dallaporta Musée Nicéphore Niépce

Impression pigmentaire 180x275 cm.et tirages encadrées 21x30 et 15x 30 cm.

I am intimately convinced that secrecy is the sourceof every photographic image. What’s more, I saw intheir letters to each other that right from the verybeginning, around 1830, Niépce and Daguerre used anumerical code for the substances they were workingwith as a way of protecting their invention. So here asa contribution and a tribute to all the secrets photographykeeps hidden, I offer, symbolically, the hundredor so original mentions the code concealed.

Raphaël Dallaporta

Nicéphore Niépce’s legacy, an object with no antecedents, has made us a people of the image, the inhabitants of a new continent that he alone discerned. It is to him that we owe our spea-king of a single language. A Newspeak, maybe, but one that has established a shared groun-ding of references for a humanity at last disencumbered of literary description; one that can find expression in a host of different media. Looming so large in the uncertain landscapes of contemporary culture, Niépce’s contribution can be considered the very definition of mo-dernity. Its effects—and even more so, its strange consequences—still remain to be fully assessed. This open window is, in actuality, Pandora’s box.

François ChevalMusée Nicéphore Niépce’s Chief Curator

16: 9 video, 2min30s loop, and Polaroïd triptych 52 x 24 cmTroubleRaphaël Dallaporta

Jean-Kenta Gauthier - Paris

With ‘Trouble’ (2016), Raphaël Dallaporta again questions the relation between science and life, by inviting the fragment of Presocratic philosopher Heraclitus: ‘No man ever steps in the same river twice’. In December 2015, Raphaël Dallaporta visited the Pont-d’Arc site (France) where the Ardèche river runs under a geological arch that has been standing for thousands of years. There he realized the performance entitled ‘Trouble’ during which, entering the river on repeated occasions to photograph the Pont-d’Arc’s reflection, he aimed to verify Heraclitus’ allegorical statement. This work resulted in a video recording the artist’s action

and a series of Polaroids which each recorded a different image of the water surface and the waves produced by the artist’s movements. ‘Trouble’ manifests the allegorical dimension of Raphaël Dallaporta’s work. Using simple technical means, the artist recorded his own presence in the world and realized a metaphor of our own existences.

Raphaël Dallaporta, ‘Trouble [Plage du Pont-d’Arc, Ardèche, France]’ (2016). 16:9 video, 2min30s loop, and framed compositions of three 8,5 x 10,8 cm black & white instant-prints / 52 x 24 cm framed.

AzimuthRaphaël Dallaporta Philippe Vasset

Commande photographique Regards du Grand Paris - Cnap

Azimuth is an exploration of the «Grand Paris» through its urban summits. Led by Raphaël Dallaporta and writer Philippe Vasset, this rising exploration started with the Utrillo tower, in Clichy-Montfermeil, and kept going with the Lilas tower, moving from one summit to another, all around Paris, creating, by the exchange of points of view from one height to another, a semaphoric circle surrounding the city.The semaphores refer to the optical method of communication, that has disappeared from our landscape and our memory and finds its origins in Chappe’s telegraph, the ancestor of our modern telecomunications, with its brief life from French Revolution to the electricity’s advent.

We walk on this symbolical network of way stations, one after another and each one being in the visual field of the previous and of the following. In-between each point of view, a message, a mystery, is drawn. A narration, secretly relayed between the filled and the empty spaces above the city. A digital sensor is assembled to a telescope, replacing the spyglass used by the watchmen at the end of the XVIIIe century.Just like the aerial telegraph, the image capturing protocol will only be operational at daytime. Through the shifting of the gaze we are invited to follow by the ensemble- Paris takes the shape of a points of view’s constellation, where every star becomes an observatory.

Combinatorial WorldRaphaël DallaportaRaffaele Grimaldi

Théâtre des Expositions, Villa Médicis, French Academy in Rome, 2015.

In 1678 is published Romani Collegi Societatis Jesu Musaeum Celeberrimum, catalog of the collection of Athanasius Kircher at the Roman College, made up of more than 20,000 objects, and which was one of the public collections of antiques and curiosities among the most visited. The museum no longer exists, and the collection has been scattered in various museums in Rome. Raphael Dallaporta and Raffaele Grimaldi recreate the spirit of the Kircherian Museum with a visual and acoustic installation that pays homage to the great Baroque genius.

Publication‘Théâtre des Expositions’édition DRAGO

210 × 300 mm. 99 p.

Format‘Mundo combinatorio’instalation vidéo, 22 min.

‘Ars magna sciendi sive combinatoria’, Tirage Baryté, 180x120 cm.

Photographer Raphaël Dallaporta, born in France in 1980, has garnered international acclaim for his its rigorous protocols and documentary conviction. He is concerned with public issues addressing human rights as well as more symbolic subjects such as the fragility of life. His long term projects which combine text and images are a product of his collaborations with professionals from a wide range of fields. He has worked closely with a landmine clearer (Antipersonnel), a reporter who covers social work as it intersects with the law (Domestic Slavery), forensic pathologist (Fragile) and archeologists (Ruins). He recently join the art-science laboratory of the Cnes the French Space Studies Centre.

Fellow at the Villa Medici, the French Academy in Rome in 2014-2015. Raphael Dallaporta is the winner of the 2010 Young Photographer ICP Infinity Award and FOAM’s 2011 Paul Huf Award. Solo exhibitions include “Raphaël Dallaporta, Protocole” at Musée de l’Elysée, Lausanne, in 2010, ‘Antipersonnel’ selected by Martin Parr Rencontres d’Arles 2004 , among many others in Europe, Asia and USA.His work is included in the collections of the Musée de l’Elysée, Lausanne, ; Fond National d’Art Contemporain, Paris, the Maison Europeenne de la Photographie, Paris or the New York Public Librairy.

Portrait by Jerome Sother

BiographyRaphaël Dallaporta

Education

2014_2015 Académie de France à Rome - Villa Medici, It.2002_2003 Fabrica, Trévise, It. 2000_2002 Gobelins, l’Ecole de l’image, Paris, Fr. 1998_2000 Université Pantheon-Sorbonne, Paris, Fr.

Prizes

2011 Foam Paul Huf Award. Nl. 2010 Inifinity Award ICP New York. Usa. 2009 European Central Bank Prize. De.

Collections

New York Public Librairy, New York, Usa. Musée Nicéphore Niépce, Chalon-sur-Saône, Fr. Foam Fotografiemuseum, Amsterdam, Nl. Musée de l’Élysée, Lausanne, Ch. Fond National d’Art Contemporain, Paris, Fr. Maison Européenne de la Photographie, Paris, Fr.

Monography

2016 Chauvet – Pont-d’Arc, L’inappropriable, R. Dallaporta, Editions Xavier Barral.2013 Ruins, Dallaporta R. Editions GwinZegal. 2011 Fragile, Dallaporta R. Editions GwinZegal.2010 Antipersonnel, Dallaporta R. Editions Xavier Barral, Musée de l’Elysée, Lausanne. 2009 Domestic slavery [Esclavage domestique], Dallaporta R. Millot O. Fotodok. 2006 Esclavage domestique, Dallaporta R. Millot O. Filigranes Editions.2004 Front Toward Enemy, Dallaporta R. Filigranes Editions

Rome, Villa Médicis, pensionnaires 2014-2015.

cvRaphaël Dallaporta

cvRaphaël Dallaporta

Solo Exhibitions

2017 “Raphaël Dallaporta, Chauvet – Pont-d’Arc Cave, KyotoGraphy, The Museum of Kyoto Annex, Kyoto, Jp.2016 “Raphaël Dallaporta, Chauvet –Pont-d’Arc” Paris-Photo, Gare du Nord, Paris, Fr.2015 “Covariance”, Paris-Photo, Amana Salto, Grand-Palais Paris, Fr. 2014 “Raphaël Dallaporta, Observation.” Gallery of Photography Ireland, Dublin, Ir.2013 “Raphaël Dallaporta, Observation.” Alliance Ethio-Française Addis Abeba, Et.2013 “Raphaël Dallaporta, Ruins.” Skol, Le Mois de la photographie à Montréal, Ca.2013 “Raphaël Dallaporta.” Ecole des Beaux-Arts de Poitiers, Fr.2012 “Raphaël Dallaporta, Observation.” CNA Luxembourg, Lu.2012 “Raphaël Dallaporta, Observation.” Museum für Photographie Braunschweig, De.2012 “Raphaël Dallaporta, Observation.” Musée Nicéphore Niépce, Chalon-sur-Saône, Fr.2011 “Raphaël Dallaporta, Observation.” Foam Fotografiemuseum, Amsterdam, Nl.2011 “Ruins, Saison 1.” Prix découverte, Rencontres Internationales d’Arles, Fr.2010 “Raphaël Dallaporta, Protocole.” Musée de l’Elysee, Espace Arlaud, Lausanne, Ch.2010 “Raphaël Dallaporta.” Fotohof, Salzburg, Au.2010 “Raphaël Dallaporta, Domestic slavery.” New York Photo Festival, Usa.2008 “Raphaël Dallaporta, Autopsy.” New York Photo Festival, Usa.2008 “Raphaël Dallaporta, Esclavage domestique.” Imaginaid Galerie, Geneve, Ch.2008 “Raphaël Dallaporta, Esclavage domestique.” Fait & Cause Galerie, Paris, Fr.2007 “Raphaël Dallaporta, Domestic Slavery.” Langhans Galerie, Prague, Cz.2006 “Esclavage domestique.” Rencontres Internationales d’Arles, Fr.2006 “Antipersonnel.” Mois de la Photographie de Moscow, Ru.2005 “Raphaël Dallaporta, Antipersonnel.” Galleria Santa Cecilia, Rome, It.2004 “Antipersonel.” Rencontres Internationales d’Arles, Fr.

Group Exhibitions

2016 “Gelatin Silver Print Is Dead!”, Galerie Ernst Hilger, Vienne, At.2016 “Looking for the clouds. Contemporary Photography in Times of Conflict”, Musa, Vienne, At.2016 “Design and Violence”, Science Gallery Dublin, Ir. / MoMA New York, Usa. 2015 “Nicéphore Niépce en héritage” Musée Nicéphore Niépce, Chalon-sur-Saône, Fr.2014 “Contakt” Cnes - Observatoire de l’Espaces, Nuit Blanche, Paris, Fr.2014 “Luttes.” GetxoPhoto, Festival International de la Photographie, Bilbao Es.2014 “LGV Sur les rails de l’histoire.” Inrap, Musée archéologique de Jublains, Fr.2013 “L’œil Photographique.” FRAC Auvergne, Fr.2012 “Transition”, Rencontres Internationales d’Arles, Fr / Market Photo workshop, Johannesburg, Za.2013 “Vues d’en Haut.” Centre Pompidou Metz, Fr.2012 “Naratives and Narative Form.” Lianzhou Photo festival, Cn.2012 “Sciences: Berenice Abbott, Raphaël Dallaporta.” Galerie Les Douches, Paris, Fr.2012 “Survival Techniques.” MoCP Museum of Contemporary Photography, Chicago, Usa.2012 “Imaging History.” FoMu FotoMuseum, Antwerp Be.2011 “Autour de l’Extrême.” Maison Européenne de la Photographie, Paris Fr.2010 “Warzone.” Noorderlicht International Photofestival, Groningen, Nl.2009 “Esclavage domestique.” QPN festival photographie Nantes, Fr.2008 “Pour en finir avec l’esclavage.” Festival d’Aix-en-Provence, Fr.2006 “Réinventer le visible.” Maison Européenne de la Photographie, Kunsthalle Erfurt, De.

Gallery of Photography Ireland, Dublin, 2014

Musée Nicéphore Niepce, 2015photography by Alexandra Catière

“Münchausen.” artiste invité, ESA des Rocailles Biarritz. 2014

cvRaphaël Dallaporta

Teaching

2014-2015 Guest artist, Ecole Supérieure d’Art des Rocailles, Biarritz, Fr.2011-2012 Instructeur du Junior seminar, Parsons School of Art and Design, Paris, Fr.

Lectures

2017 “The Elusive Chauvet-Pont d’Arc Cave” R. Dallaporta, C. Minato, Kyoto, Jp.2016 “Chauvet –Pont-d’Arc : R.Dallaporta, R. Labrusse, C. Renard, LeBal, Paris, Fr.2016 “The relationship editor/author : J. Sother et R. Dallaporta”, ENSP, Arles, Fr.2014 “After photography”, University of Ulster, MFA Photography Belfast, Ir.2014 “Cara a cara/ Face to face.” OjodePez. IV Photo Meeting Barcelona, Es.2014 “In Eyes in the Sky.” Bard College, Aperture Foundation, New York, Usa. 2014 “Artist’s Talk.” University of Ulster, MFA Photography Belfast, Ir.2014 “Pratiques de l’image.” Ecole Supérieure d’Art d’Aix en Provence, Fr. 2013 “Représenter la mort.” Fondation Henri Cartier-Bresson Paris, Fr. 2013 “Dronology.” seminaire au MAI Arts Interculturels Montréal, Ca. 2013 “Narration.” Ecole Supérieure d’Art des Roucailles Biarritz. Fr. 2012 “Social Landscape.” Market Photo Workshop Johannesburg, Za. 2012 “New Documentary.” Foto 8 Host Gallery London, Uk. 2012 “Regards croisés.” Musée Nicéphore Niépce, Chalon-sur-Saône, Fr.2012 “La Photographie Sociale.” Ecole Nationale Supérieure des Arts, Nancy, Fr. 2011 “Conférence de la SFP.” Université Paris 1, Paris Fr. 2011 “Art Contemporain & Géo politique.” Science Po. NYU Paris, Fr. 2011 “Observation: Foam lecture.” Fotografiemuseum, Amsterdam, Nl. 2010 “The Photographers Lecture Series.” ICP School, New York, Usa. 2009 “Guest lecture.” Parsons School of Art and Design Paris, Fr.2009 “Plat(t)form.” Fotomuseum Winterthur, Ch. 2008 “The documentary conviction.” New York Photo Festival, Usa.

Workshops

2017 “Carambolage” high school workshop Guingamps / GwinZegal, Fr.2016 “Espace.” scolar workshop, with le Musée Nicéphore Niépce, Chalon-sur-Saône, Fr. 2014 “Terre Lune” Primairy school Quemper Guézennec / GwinZegal, Fr.2013 “Traffic light.” workshop,.” DFA, Alliance Ethio-Française Addis Abeba, Et. 2012 “Figures Impossibles.”, masterclass, Gobelins l’ecole de l’Image, Paris, Fr. 2009 “Mobilité.” scolar workshop, with the help of Ministère de l’Education Nationale, Fr. 2008 “Alter Ego.” high school workshop Naples and Saint-Denis, supported by the regions, Fr./It. 2006 “Clic et Classes.” scolar workshop, with the help of Ministère de l’Education Nationale, Fr. 2005 “Masterclass.” The Arles Photography Festival, Fr. 2004 “Documents.” workshop of the centre Photographique d’Iles de France, Fr.

BLU-44/BÉtats-Unis

A-200Allemagne

Mine artisanale Bosnie

Mine artisanale-

PMA-2Ex-Yougoslavie

PPMINA-1 République tchèque

TYPE 72B Chine

PFM-1 Fédération de Russie

No. 4 Israël

MI AP DV 59 France

M-16 États-Unis

VS-50 Italie

V-69 Italie

SB-33 Italie

P-5 Espagne

M-966/B Portugal

PDM-57 Union soviétique

MI AP DV 61 France

KB1 Ex-Yougoslavie

M-18/A1 États-Unis

GMMI-43 Allemagne

M-18/A1 Iran

B-40 États-Unis/Vietnam

R2M2 Afrique du Sud

MI AP 51 France

MAUS-1Italie

M-39 États-Unis

BLU-77/B États-Unis

ZAB-500 Fédération de Russie

F1 France

AO-2.5RTM Fédération de Russie

BLU-3/B États-Unis

BLU-97/B États-Unis

BLU-24/B États-Unis

BLU-26/B États-Unis

AntipersonnelRaphaël Dallaporta légendes de Tom Ridgway

Aquisition- Fond National d'Art Contemporain, Paris.- Maison Européenne de la photographie, Paris. - Musée Elysée, Lausanne.

Edition35 prints and captions.Dye destruction prints(Ilfochrome) 24 x 30 cm Edition 10+2AP

Esclavage DomestiqueRaphaël Dallaporta textes de Ondine Millot

Aquisition- Fond National d’Art Contemporain, Paris.- Musée Nicéphore Niépce, Chalon-sur-Saône.- Musée Elysée, Lausanne.

Linkswww.domesticslavery.com

Download the pdf. of the publication(available translations : French, English, German, Italian).

Edition12 Offset prints(images and text)420 x 297 mm

Bile jauneSang Bile noire Flegme

Planche I a. Moelle épinière

Planche VII a. Cerveau congestif Planche XII a. Dure-mère Planche XIV a. Bloc cardio-pulmonaire Planche XIV b. Pace-maker

Planche I b. Voûte crânienne Planche II a. Plastron Planche II b. Bloc cardio-pulmonaire

FragileRaphaël Dallaporta

Acquisition- New York Public Library New York.- Foam Fotografiemuseum, Amsterdam. - Musée Nicéphore Niépce, Chalon-sur-Saône.

Publication- Fragile portfolio : 8 Dye transfer prints and silkscreen captions40 x 50 cm. Edition 03- Four Humors : 4 Dye destruction print (Ilfochrome) 120 x 150 cmEdition 04 + 2A.P.

RuinsRaphaël Dallaporta

Exhibition: - “Views from above”Centre Pompidou, Metz - “Drone: the automated image”Month of photography, Montréal - “Imaging History”FoMu Foto Museum, Antwerp

Format:- Ruins (Season 1)12 Pigment prints on Dibond 120 x 150 cm - Check-point Tangui Video installation, 8’45 min.

Exhibition: - KyotoGraphy 2017, The elusive Chauvet – Pont-d’Arc Cave, The Museum of Kyoto Annex, curated by Xavier Barral.

Format:- Pigment lines above trichromie prints on wall.- Video installation by On-situ studio.- Sound design by Marihiko Hara.

Chauvet – Pont-d’Arc CaveRaphaël Dallaporta

Raphaël Dallaporta Monographie

Chauvet – Pont-d’Arc, L’inappropriable, R. Dallaporta, Editions Xavier Barral, 2016Vol I : B&W photographs, 280p.Vol II : Texts and illustrations, 80p.Design by Christophe Renard.French edition.2 books with a Japanese bookbinding 240 × 320 mm.

Antipersonnel, R. DallaportaEditions Xavier Barral, Musée Elysée, Lausanne. 201035 color photographs Captions by Tom RidgwayDesign by Kummer&Herrman.French and English edition.Hardcover cloth - 88 p. 245 × 320 mm.

Domestic SlaveryR. Dallaporta, O. Millot Utrecht: Fotodok, 200912 color photographsDesign by Kummer&Herrman.French and English edition.Translation by Tom RidgwayFlexible dossier - 24 p. 210 x 297 mm.

FragileR. DallaportaEditions GwinZegal, 201123 color photographs Design by Kummer&Herrman. French and English edition. Translation by Tom RidgwaySwiss binding - 96 p.240 x 340 mm.

RuinsR. DallaportaEditions GwinZegal, 201312 color photographs,13 differently sized posters Design by Kummer&Herrman. English edition.Archival box240 x 340 mm.

Format:12 u.v. pigment prints43 x 30 cm

AzimuthRaphaël Dallaporta Philippe Vasset

Collection: - Fond National d’Art ContemporainCnap - Paris, France