Bellamy / Bellamy. A name, two people? Three? Four?
The BELLAMY / BELLAMY editorial project is part of the line of tales, mythologies, stories in which family secrets are omnipresent. A recurrent and exciting human problem. Stories where each protagonist has his vision, his “version” of history.
Bellamy / Bellamy It’s a story. Photographic. Artistic. Graphic. Editorial. This is, therefore, a point of view story.
Indeed, this project is first of all the photographic work of Alexandra Bellamy around its family secret around Claude, Dieter and Mother. But also carine and others.
After a long personal and photographic journey, Alexandra Bellamy gathered in a file, the photographs of the places of his childhood, portraits and archives. Some media are therefore photographic and others come from video and sound captures also taken by it. The archives are various: letters, Polaroids from families or drawings out of cartons …
Here each “object” collected has a meaning, a value, with or without apparent link. And this is where another story begins, the meeting with the graphic designer Marion Kueny.
Together they decide to gather this artistic work in an edition. Thus, the graphic approach makes it possible to create an articulation between the images, to make evidence, to tell this family myth. The numbering of the pages becomes dates. The chronology is jostled. Points of view follow one another as in a play. Reality becomes a little fiction, friction.
An editorial work that through this object-book gives a tangible existence to the unspeakable, incommunicado, to the strange.
And to leave the other, the reader, the freedom to seize the stakes of this project. Free to seize these images, of these archives and to create its own interpretation of history.
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Alexandra Bellamy
Photographe
Alexandra Bellamy, after studying modern letters in Paris VII and a photography school in Paris, share in New York in 2000 and produces a series of “NewYork, NY 10007” photographs.
On his return in 2007, this work will be exposed to the America Festival.
In 2009, his meeting with a journalist of Figaro, will lead her to the realization of a short film
“Above the ashes” and a series of photographs “the absent” on the Nazi extermination camps in Poland. Work explained in 2012 at the Auschwitz-Birkenau Memorial in Poland and Friders in Paris.
From Moldova to Ukraine via India, Nazi extermination camps at the house of his childhood, she seeks backside of decor, steps. She feels the different strata of past and present stories, their density. The series “tomorrow I leave” made in the Post Soviet space and India is emblematic of a constantly worn look at photographic narrative but with the visceral need of the world around it and that of giving shape to its inner experience, Footprint of the history of a family secret. There is reality as it appears since childhood and behind these appearances, another reality.
Marie Robert
Conservatrice
Born in 1974 in Lyon, France. Lives and works in Paris, France.
Marie Robert is Chief Conservative at the Musée d’Orsay, in charge of photography. Author of a dozen clashes from the collection marked by the social sciences, it was also co-commissioner of exhibitions Misia, Queen of Paris, splendors and miseries. Images of prostitution and who is afraid of women photographers? With Luce Lebart, she has co-examined in 2020 a global history of women photographers with textual editions. His current research focuses on cross-relationships between photography and other media. After reintroduced in 2019 the cinema of the first time in the permanent journey of the museum, it prepares with Dominique Païni and Paul Perrin an exhibition which will be presented in September 2021, strongly the cinema!