{"id":5900,"date":"2022-08-29T19:52:00","date_gmt":"2022-08-29T17:52:00","guid":{"rendered":"https:\/\/chateaudeau.toulouse.fr\/from-xavier-barral-editions-to-atelier-exb\/"},"modified":"2022-11-04T09:58:16","modified_gmt":"2022-11-04T08:58:16","slug":"from-xavier-barral-editions-to-atelier-exb","status":"publish","type":"post","link":"https:\/\/chateaudeau.toulouse.fr\/en\/from-xavier-barral-editions-to-atelier-exb\/","title":{"rendered":"From Xavier Barral Editions to Atelier EXB"},"content":{"rendered":"<section class=\"section-group\"><div class=\"container\"><div class=\"pure-g\">\n<div class=\"wp-block-group is-layout-flow wp-block-group-is-layout-flow\">\n<h2 class=\"wp-block-heading\">Presentation of <strong>the publisher<\/strong><\/h2>\n\n\n\n<p><a href=\"https:\/\/exb.fr\/\" target=\"_blank\" rel=\"noreferrer noopener\">Atelier EXB<\/a>&nbsp;\/ Xavier Barral Editions was founded&nbsp;in 2002 by Xavier Barral, and taken over by the five members of the team (Jordan Alves, Nathalie Chapuis, Yseult&nbsp;Chehata, Charlotte&nbsp;Debiolles&nbsp;et Perrine Somma). The independent publishing house publishes works that address &#8221;&nbsp;&#8220;new forms of photography contemporary art and science&#8221;.&nbsp;Their&nbsp;catalogue counts more than 200 works to date.&nbsp;<\/p>\n\n\n\n<p>Graphic designer by training,&nbsp;&nbsp;Xavier Barral (1955-2019)&nbsp; worked in the press as art director (magazine &#8220;Impact M\u00e9decin&#8221;), then collaborated with the magazine&nbsp;&nbsp;&#8220;Photographie&#8221;, and &#8220;L\u2019Autre Journal&#8221;, and &#8220;L\u2019Ev\u00e9nement du jeudi&#8221;. In 1992, he co-founded&nbsp;with his wife Annette Lucas, the visual creation and cultural communication agency Atalante, then in 2002 the publishing house Xavier Barral.&nbsp;&nbsp;The first book published is by &nbsp;Luc Delahaye, &#8220;A city&#8221;. Then followed many names of photography such as&nbsp;Jane Evelyn Atwood, Antoine d\u2019Agata, Raymond Depardon, Josef&nbsp;Koudelka, Sergio&nbsp;Larrain, Martin Parr, Bernard&nbsp;Plossu, le collectif Tendance floue, etc.&nbsp;&nbsp;<\/p>\n\n\n\n<p>But EXB also offers works by contemporary artists such as&nbsp;Sophie Calle, Annette Messager, as well as works by photographic specialists such as Cl\u00e9ment&nbsp;Ch\u00e9roux&nbsp;ou Diane Dufour.&nbsp;<\/p>\n<\/div>\n<\/div><\/div><\/section>\n\n<section class=\"section-group\"><div class=\"container\"><div class=\"pure-g\">\n<div class=\"wp-block-group is-layout-flow wp-block-group-is-layout-flow\">\n\n<div class=\"accordion-title\" tabindex=\"-1\">\n    <button type=\"button\" class=\"accordion-titleButton\">\n        \n\n<h2 class=\"wp-block-heading\">Books in the library<\/h2>\n\n\n    <\/button>\n<\/div>\n\n\n\n<div class=\"accordion-content\">\n    \n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<ul class=\"wp-block-list\"><li>Mathieu Pernot, La ruine de sa demeure, 2022&nbsp;<\/li><li>Matthieu Pernot, Les&nbsp;Gorgan&nbsp;1995-2015, 2017&nbsp;&nbsp;<\/li><li>Nicholas Nixon, Une infime distance, 2021&nbsp;<\/li><li>Atlas&nbsp;Taddao&nbsp;Ando, 2021&nbsp;<\/li><li>Michael&nbsp;Ackerman,&nbsp;End time city, 2021&nbsp;<\/li><li>Masahisa&nbsp;Fukase, Sasuke, 2021&nbsp;<\/li><li>Masahisa&nbsp;Fukase, 2018&nbsp;&nbsp;<\/li><li>Patrick&nbsp;Zachmann, Voyages de m\u00e9moire, 2021&nbsp;<\/li><li>Patrick&nbsp;Zachmann, So long China, 2016&nbsp;<\/li><li>Patrick&nbsp;Zachmann,&nbsp;Ma proche banlieue, 2009&nbsp;<\/li><li>Matt Black,&nbsp;American&nbsp;geography, 2021&nbsp;<\/li><li>Pentti&nbsp;Sammallahti, Me&nbsp;Kasi, 2021&nbsp;&nbsp;<\/li><li>Terri&nbsp;Weifencbach,&nbsp;&nbsp;Cloud&nbsp;Physics, 2021&nbsp;<\/li><li>Marie Bovo,&nbsp;Nocturnes, 2020&nbsp;<\/li><li>Jon Cazenave,&nbsp;Galerna, 2020&nbsp;<\/li><li>Franck&nbsp;Horvat,&nbsp;Side&nbsp;walk, 2020&nbsp;<\/li><li>William&nbsp;Kentridge,&nbsp;The&nbsp;head&nbsp;and the&nbsp;load, 2020&nbsp;<\/li><li>Sergio&nbsp;Larrain, Londres 1959, 2020&nbsp;<\/li><li>Sergio&nbsp;Larrain,&nbsp;El&nbsp;rectangulo&nbsp;en la&nbsp;mano, 2018&nbsp;<\/li><li>Sergio&nbsp;Larrain, 2013&nbsp;<\/li><li>Collectif :&nbsp;&nbsp;Libert\u00e9s int\u00e9rieures : photographie Est-allemande, 2019&nbsp;<\/li><li>Nuno Andrade,&nbsp;Ginjal, 2019&nbsp;<\/li><li>Matthias&nbsp;Bruggmann,&nbsp;Un acte d&#8217;une indicible violence, 2019&nbsp;<\/li><li>Ludovic&nbsp;Car\u00e8me, Br\u00e9sils Sao Paulo, 2019&nbsp;<\/li><li>Ludovic&nbsp;Car\u00e8me, Br\u00e9sils Amazonie, 2019&nbsp;<\/li><li>Cl\u00e9ment&nbsp;Ch\u00e9roux,&nbsp;La voix du voir, 2019&nbsp;<\/li><li>Cl\u00e9ment&nbsp;Cheroux, Qu&#8217;est-ce que la photographie ?, 2015&nbsp;&nbsp;<\/li><li>Pierre-Elie de Pibrac,&nbsp;Desmemoria, 2019&nbsp;<\/li><li>Rodrigo Gomez&nbsp;Rovira,&nbsp;Ultimor&nbsp;Sur, 2019&nbsp;<\/li><li>Louise&nbsp;Hon\u00e9e,&nbsp;We&nbsp;love&nbsp;where&nbsp;we&nbsp;live, 2019&nbsp;<\/li><li>S\u00e9bastien&nbsp;Lifshitz,&nbsp;L&#8217;Inventaire infini, 2019&nbsp;<\/li><li>Sally Mann,&nbsp;Mille et un passage, 2019&nbsp;<\/li><li>Charlotte Mano,&nbsp;Thank&nbsp;you&nbsp;mum, 2019&nbsp;<\/li><li>Wright Morris,&nbsp;L&#8217;essence du visible, 2019&nbsp;<\/li><li>Dominique Teufen,&nbsp;My&nbsp;travels&nbsp;through&nbsp;the world on&nbsp;my&nbsp;copy machine, 2019&nbsp;<\/li><li>Alain&nbsp;Wuillaume,&nbsp;Coordonn\u00e9es 72\/18, 2019&nbsp;<\/li><li>Akihito Yoshida,&nbsp;Une Double Absence, 2019&nbsp;<\/li><li>Antoine&nbsp;Bruy,&nbsp;Scrublands, 2018&nbsp;<\/li><li>Tina Dassault, Michel&nbsp;Trehet,&nbsp;Archisable, 2018&nbsp;<\/li><li>Raymond Depardon, USA, 2018&nbsp;<\/li><li>Raymond Depardon,&nbsp;M\u00e9diterran\u00e9e, 2014&nbsp;<\/li><li>Zbigniew&nbsp;Dlubak,&nbsp;Un h\u00e9ritier des avant-gardes, 2018&nbsp;<\/li><\/ul>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<ul class=\"wp-block-list\"><li>Petros&nbsp;Efstathiadis,&nbsp;Liparo, 2018&nbsp;<\/li><li>Jean-Luc&nbsp;Monterosso,&nbsp;La photographie fran\u00e7aise existe&#8230; Je l&#8217;ai rencontr\u00e9e, 2018&nbsp;<\/li><li>Cas&nbsp;Oorthuys,&nbsp;Cas&nbsp;Oorthuys, 2018&nbsp;<\/li><li>Xavier Barral, Philippe&nbsp;S\u00e9clier, Auto photo, de 1900 \u00e0 nos jours, 2017&nbsp;<\/li><li>Kate Barry,&nbsp;The habit of&nbsp;being, 2017&nbsp;<\/li><li>Rinko&nbsp;Kawauchi,&nbsp;Halo, 2017&nbsp;<\/li><li>Rinko&nbsp;Kawauchi,&nbsp;Illuminance, 2011&nbsp;<\/li><li>Josef&nbsp;Koudelka,&nbsp;La fabrique d&#8217;exils, 2017&nbsp;<\/li><li>Josef&nbsp;Koudelka,&nbsp;Wall : Isra\u00ebl Palestine paysage, 2013&nbsp;<\/li><li>Susan&nbsp;Meiselas,&nbsp;En premi\u00e8re ligne, 2017&nbsp;<\/li><li>Steven Pippin,&nbsp;Aberration optique, 2017&nbsp;<\/li><li>Edward&nbsp;Burtynsky,&nbsp;El\u00e9ments essentiels, 2016&nbsp;<\/li><li>Sophie Calle,&nbsp;Ainsi de suite, 2016&nbsp;<\/li><li>Sophie Calle,&nbsp;M&#8217;as-tu vue, 2003&nbsp;<\/li><li>Mark Cohen, Mexico, 2016&nbsp;<\/li><li>Mark Cohen,&nbsp;Dark&nbsp;knees, 2013&nbsp;&nbsp;&nbsp;<\/li><li>Diane Dufour (sous la direction de),&nbsp;Images \u00e0 charge: La construction de la preuve par l&#8217;image, 2015&nbsp;<\/li><li>St\u00e9phane Couturier, 2016&nbsp;<\/li><li>Rapha\u00ebl&nbsp;Dallaporta,&nbsp;Chauvet-Pont-d&#8217;Arc&nbsp;L&#8217;inappropriable, 2016&nbsp;<\/li><li>Rapha\u00ebl&nbsp;Dallaporta,&nbsp;Antipersonnel, 2010&nbsp;<\/li><li>G\u00e9rard Petrus&nbsp;Fieret, 2016&nbsp;<\/li><li>Louis&nbsp;Stettner,&nbsp;Ici Ailleurs, 2016&nbsp;<\/li><li>Francesca&nbsp;Woodman,&nbsp;devenir un ange, 2016&nbsp;<\/li><li>Jean-Christophe Bailly,&nbsp;L&#8217;Int\u00e9rieur de la nuit, 2015&nbsp;<\/li><li>Anna et Bernhard&nbsp;Blume,&nbsp;La photographie transcendantale, 2015&nbsp;<\/li><li>Anton&nbsp;Corbjin,&nbsp;Anton&nbsp;Corbijn&nbsp;1-2-3-4, 2015&nbsp;<\/li><li>Olivier&nbsp;Culmann, The&nbsp;others, 2015&nbsp;<\/li><li>Pierre de&nbsp;Feno\u00ffl<em>,&nbsp;<\/em>Une g\u00e9ographie imaginaire, 2015&nbsp;<\/li><li>Martin&nbsp;Gusinde,&nbsp;L&#8217;Esprit des hommes de la terre de feu, 2015&nbsp;<\/li><li>Bernard&nbsp;Plossu,&nbsp;Voyages italiens, 2015&nbsp;<\/li><li>Agnes&nbsp;Varda,&nbsp;Varda Cuba, 2015&nbsp;<\/li><li>Lendert&nbsp;Blok,&nbsp;Les extravagantes, 2014&nbsp;<\/li><li>C\u00e9dric&nbsp;Delsaux,&nbsp;Zone de repli, 2014&nbsp;<\/li><li>C\u00e9dric&nbsp;Delsaux,&nbsp;Dark&nbsp;Lens, 2011&nbsp;<\/li><li>Patrick&nbsp;Faigenbaum,&nbsp;L&#8217;\u00e9clairement, 2014&nbsp;<\/li><li>Martin Parr,&nbsp;Grand Paris, 2014&nbsp;<\/li><\/ul>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<ul class=\"wp-block-list\"><li>Jean-Claude&nbsp;Pondevine, Ainsi, 2014&nbsp;<\/li><li>Philippe&nbsp;Seclier,&nbsp;Pier Paolo Pasolini : La longue route de sable, 2014&nbsp;<\/li><li>Stephen Shore, 2014&nbsp;<\/li><li>Yuriko&nbsp;Takagi,&nbsp;Sei, 2014&nbsp;<\/li><li>Antoine d&#8217;Agata,&nbsp;Anticorps, 2013&nbsp;<\/li><li>Emmet&nbsp;Gowin, 2013&nbsp;<\/li><li>Fran\u00e7ois&nbsp;Hebel&nbsp;et John Fleetwood,&nbsp;Transition paysages d&#8217;une soci\u00e9t\u00e9, 2013&nbsp;<\/li><li>Marloes&nbsp;Krijnen,&nbsp;Le regardeur, 2013&nbsp;<\/li><li>Fran\u00e7is&nbsp;Rocard,&nbsp;Mars : une exploration photographique, 2013&nbsp;<\/li><li>Harry&nbsp;Gruyaert,&nbsp;Roots, 2012&nbsp;<\/li><li>Irene Kung,&nbsp;La ville invisible, 2012&nbsp;<\/li><li>Marc Riboud,&nbsp;Vers l&#8217;Orient, 2012&nbsp;<\/li><li>Jane Evelyn Atwood,&nbsp;Rue des lombards, 2011&nbsp;<\/li><li>Dominique&nbsp;Isserman, Laeticia&nbsp;Casta, 2011&nbsp;<\/li><li>Watabe&nbsp;Yukichi,&nbsp;A&nbsp;criminal&nbsp;investigation, 2011&nbsp;<\/li><li>Philippe Chancel,&nbsp;Desert&nbsp;spirit:&nbsp;Definitely&nbsp;Dubai, 2010&nbsp;<\/li><li>Jean&nbsp;Gaumy,&nbsp;D&#8217;apr\u00e8s nature, 2010&nbsp;<\/li><li>Guy Bourdin, Polaroids, 2009&nbsp;<\/li><li>Patrick&nbsp;Faigenbaum,&nbsp;Santulussurgiu, 2008&nbsp;<\/li><li>Patrick Gries,&nbsp;Evolution, 2008&nbsp;<\/li><li>D\u00e9sir\u00e9e&nbsp;Dolron,&nbsp;Exalation&nbsp;: Gaze :&nbsp;Xteriors, 2006&nbsp;<\/li><li>Annette Messager, Casino, 2005&nbsp;<\/li><li>Dominique&nbsp;Darbois, Terre d&#8217;enfants, 2004&nbsp;<\/li><li>Luc Delahaye,&nbsp;Une ville : Le quartier du Mirail \u00e0 Toulouse, 2003&nbsp;<\/li><\/ul>\n\n\n\n<p><strong>Collection &#8220;Des Oiseaux&#8221;<\/strong>&nbsp;<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Roger&nbsp;Ballen, 2022&nbsp;<\/li><li>Paolo Pellegrin, 2021&nbsp;<\/li><li>Rinko&nbsp;Kawauchi, 2021&nbsp;<\/li><li>Albaran&nbsp;Cabrera, 2020&nbsp;<\/li><li>Yoshinori&nbsp;Mizutani, 2019&nbsp;<\/li><li>Byung-Hun Min,2019&nbsp;<\/li><li>Leila&nbsp;Jeffreys, 2019&nbsp;<\/li><li>Terri&nbsp;Weifenbach, 2019&nbsp;<\/li><li>Graciela&nbsp;Iturbide, 2019&nbsp;<\/li><li>Penti&nbsp;Sammallahti, 2019&nbsp;<\/li><li>Michael&nbsp;Kenna, 2019&nbsp;<\/li><\/ul>\n<\/div>\n<\/div>\n\n\n<\/div>\n\n\n<\/div>\n<\/div><\/div><\/section>\n\n<section class=\"section-group\"><div class=\"container\"><div class=\"pure-g\">\n<div class=\"wp-block-group is-layout-flow wp-block-group-is-layout-flow\">\n<h2 class=\"wp-block-heading\">Three books to enter the world of EXB&nbsp;<\/h2>\n\n\n<section class=\"section-group\"><div class=\"container\"><div class=\"pure-g\">\n<div class=\"wp-block-group alignwide is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile\" style=\"grid-template-columns:25% auto\"><figure class=\"wp-block-media-text__media\" role=\"group\" aria-label=\"Luc Delahaye \u00a9 Atelier EXB\" \"><img decoding=\"async\" src=\"https:\/\/chateaudeau.toulouse.fr\/wp-content\/uploads\/sites\/2\/2022\/10\/Capture-de%CC%81cran-2022-10-29-a%CC%80-19.46.01.png\" alt=\"\" class=\"wp-image-5605 size-full\"\/><figcaption>Luc Delahaye \u00a9 Atelier EXB<\/figcaption><\/figure><div class=\"wp-block-media-text__content\">\n<h3 class=\"wp-block-heading\"><strong>Luc Delahaye,\u00a0une ville: le quartier du Mirail \u00e0 Toulouse, 2003<\/strong>\u00a0<\/h3>\n\n\n\n<p>In this book, the author questions the urbanist utopia &nbsp;that was the Mirail district in Toulouse at the beginning, described in the 1960s by the city&#8217;s mayor as &#8216;&nbsp;an avant-garde highly humanistic operation&#8221; His photographic corpus, accompanied by interviews with the inhabitants of this now underprivileged suburban neighbourhood, was made in 2001, and reflects the failure of the project. The book features images of interiors and the concrete environment that has decayed over the years, punctuated by the words of the residents, and enhanced by archives of the urban planning competition that led to the construction.&nbsp;&nbsp;<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text alignwide has-media-on-the-right is-stacked-on-mobile has-grey-light-background-color has-background\" style=\"grid-template-columns:auto 25%\"><figure class=\"wp-block-media-text__media\" role=\"group\" aria-label=\"Patrick Zachmann \u00a9 Atelier EXB\" \"><img decoding=\"async\" src=\"https:\/\/chateaudeau.toulouse.fr\/wp-content\/uploads\/sites\/2\/2022\/10\/Capture-de%CC%81cran-2022-10-29-a%CC%80-19.48.38.png\" alt=\"\" class=\"wp-image-5608 size-full\"\/><figcaption>Patrick Zachmann \u00a9 Atelier EXB<\/figcaption><\/figure><div class=\"wp-block-media-text__content\">\n<h3 class=\"wp-block-heading\"><strong>Patrick&nbsp;Zachmann, Voyages de m\u00e9moire, 2021&nbsp;<\/strong>&nbsp;<\/h3>\n\n\n\n<p>This monograph summarising the artistic career ofPatrick&nbsp;Zachmann&nbsp;(born 1955) was published on the occasion of the eponymous exhibition at the Museum of Jewish Art and History in Paris in 2021.&nbsp;The book retraces his artistic period between&nbsp;1970 and 2015, through a dozen series: on Judaism (&#8220;investigation of identity&#8221;), then comes &#8220;investigations of memory&#8221;, with in particular a trip made to Auschwitz in 2000 (but also to Hungary or Ukraine,&nbsp;etc). The book ends with the &#8220;journey backwards&#8221;, a quest to retrace the past of his mother, born in Oujda, Morocco. A form of introspection which at the same time speaks of our collective history.&nbsp;<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile has-white-background-color has-background\" style=\"grid-template-columns:40% auto\"><figure class=\"wp-block-media-text__media\" role=\"group\" aria-label=\"Mathieu Pernot \u00a9 Atelier EXB\" \"><img loading=\"lazy\" decoding=\"async\" width=\"246\" height=\"205\" src=\"https:\/\/chateaudeau.toulouse.fr\/wp-content\/uploads\/sites\/2\/2022\/10\/pernot.jpg\" alt=\"\" class=\"wp-image-5610 size-full\"\/><figcaption>Mathieu Pernot \u00a9 Atelier EXB<\/figcaption><\/figure><div class=\"wp-block-media-text__content\">\n<h3 class=\"wp-block-heading\"><strong>Mathieu Pernot, La ruine de sa demeure, 2022<\/strong>&nbsp;<\/h3>\n\n\n\n<p><a href=\"https:\/\/www.mathieupernot.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">Mathieu Pernot<\/a>&nbsp;(b. 1970), winner of the 2019 HCB Prize, proposes a journey to&nbsp;Lebanon, Syria and Iraq, inspired by his grandfather&#8217;s travel album (which can be seen at the beginning of the book). In 1926, the latter had made his &#8220;Grand Tour&#8221; to the Middle East, an episode symbolising a&nbsp; long journey made in the 18th and 19th centuries by the upper classes of European society to further their education. Mathieu Pernot develops a form of documentary photography in the image of these three countries ravaged by modern wars, and offers an aesthetic of ruin, affecting both contemporary buildings and thousand-year-old edifices.&nbsp;The book ends with photographs of his family found in the ruins of Mosul.&nbsp;<\/p>\n<\/div><\/div>\n<\/div>\n<\/div><\/div><\/section><\/div>\n<\/div><\/div><\/section>","protected":false},"excerpt":{"rendered":"<p>Discover one of the major publishers of photography books in France with over 200 titles.<\/p>\n","protected":false},"author":17,"featured_media":5585,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[76],"tags":[79],"class_list":["post-5900","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-library","tag-publishing-house"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.0 - 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