Tschann bookstore
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Yves Léonard, Tschann bookstore
© Béatrice Hatala
Direct sound by Ludovic Morillon
LUMIÈRE D’AVRIL, PORTUGAL 1974
Photographs by Alécio de Andrade.
Text by Yves Léonard.
Éditions Chandeigne, Paris, France, 2023.
144 pages, 56 ill.
A young but seasoned photographer, a Carioca living in Paris since 1964, Alécio arrived in a turbulent Lisbon with a Leica slung over his shoulder, sent by the Magnum agency. Some of his photos have become part of posterity, immortalizing this or that famous figure of the Carnation Revolution. Others wait to be rediscovered, always shot from a man or a woman’s perspective, often in the thick of daily life, to seize those nameless faces that have become icons of the lively and fertile mythology of « the 25 April. » To make out a future tinted with hope, and a present heavy with permanence. To astonish and move us, half a century later. To show us a Portugal nothing like the image we have of it today. To seize the fleeting complicity of chance and necessity.
This selection is in dialogue with a recollection of the 25 April by historian Yves Léonard.
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RFI Adriana Brandão Reportagem, 22 November 2023
Cartas de Almir de Andrade, Carlos Drummond de Andrade, Antonio Bulhões, Ismael Cardim, Roberto Alvim Corrêa, Marco Aurélio Matos, Elza Proença, Marques Rebelo, Otto Lara Resende, Fernando Sabino a Alécio de Andrade
Conception and editorial coordination : Patricia Newcomer.
Editorial assistance : Antonio Bulhões and Ana Maria de Bulhões-Carvalho.
Editorial coordination : Sergio Burgi and Samuel Titan Jr.
Organised by Patricia Newcomer. Instituto Moreira Salles, São Paulo, Brazil, 2018. 360 pages, 11 ill.
Chiens Cachorros Dogs
Photographs by Alécio de Andrade.
Text by Marie Nimier.
Trilingual : French, Portuguese (Brazil), English.
Translation : Portuguese (Brazil) Sergio Flaksman.
Translation : English Chloé Baker.
Somogy éditions d’Art, Paris, France, 2017.
72 pages, 48 ill.
An inspired text by Marie Nimier echoing the photographs of Alécio de Andrade, all of which feature dogs in various situations in Brazil (1964, 1973), London (1969), New York (1973), and especially Paris (1965-1994). Most of these 48 pictures (1964-1994) have never been exhibited or published before.
The Louvre and its Visitors
Photographs by Alécio de Andrade.
« The imaginary realms of the Louvre », foreword by Edgar Morin.
« Louvre blinds », essay by Adrian Harding.
Translations :
Richard Crevier and Paul Lequesne : French
Sergio Flaksman : Portuguese (Brazil)
Philippa Richmond : English
Éditions Le Passage, Paris, France, 2009.
184 pages, 62 ill.
The Brazilian photographer Alécio de Andrade (1938-2003) was also a poet, pianist and friend of writers and musicians the world over. He settled in Paris in 1964 and for the next 39 years returned time and again to the collections of the Louvre Museum. From these wanderings he has left 12,000 photographs. Each frame is like a scene from a play, with us as spectators looking over the artist’s shoulder at the actors, the visitors to the Museum. They show a poetic vision full of humor and poignancy, which allows us to understand the ways in which people appropriate public spaces and the variety of relationships, sometimes quite unexpected, that they establish with the works of art. The book conjures up the various stages of a visit like a scenario, consciously avoiding a chronological approach or documenting the museum’s transformations over the years.
Alécio de Andrade
Photographs by Alécio de Andrade.
« Alécio de Andrade : um monumento de fraternidade », essay by Pedro de Souza.
Instituto Moreira Salles, São Paulo, Brazil, 2008.
208 pages, 165 ill.
The photographer’s moment precedes and accompanies looking, capturing others’ moments and, in Alécio’s case, he teaches us that nothing is necessarily as we see it. But the art of capturing the fleeting moment, which became indispensable to photography throughout the 20th century, is also a homage to life, and, in that, Alécio was a master.
Pedro de Souza
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Enfances
Photographs by Alécio de Andrade.
« Les yeux ronds », text by Françoise Dolto.
Éditions du Seuil, Paris, France, 1986.
144 pages, 56 ill.
The introduction to this book is a long conversation between the psychoanalyst Françoise Dolto and her daughter Catherine, in which she looks back on her childhood memories and especially her relationship with her parents, her brothers and her sister. Alécio de Andrade’s photographs of children slot naturally into this « impromptu evocation » as Françoise Dolto refers to it, accompanying it by making it more topical. From the early photographs taken in Brazil (1963-64) to those in London (1970-72), New York (1973) and Paris (1965-85), the Brazilian photographer wholeheartedly captures the sense of mischief and amazement that constitute the endearing naivety of childhood.
ENFANCES – ERINNERUNGEN IN DIE KINDHEIT
Photographien von Alécio de Andrade.
« Runde Augen », text von Françoise Dolto.
Aus dem Französischen von Sylvia Koch.
Quadriga Verlag, Weinheim and Berlin, Germany, 1987.
147 pages, 56 ill.
Françoise Dolto 1908-1988
On 8 October 2018, the French post office paid tribute to Françoise Dolto by issuing a stamp to mark the one hundred and tenth anniversary of her birth.
Design by Sarah Bougault based on a photograph (Paris, 1985) by Alécio de Andrade.
Printing method : photogravure. Size of stamp : 30 x 40.85 mm. Print run : 500,010.
Denomination : 0,95€.
Françoise Dolto, 1985, photograph by Alécio de Andrade.
Paris – Essence of an Image
Photographs by Alécio de Andrade.
Essay by Julio Cortázar.
Translated from the Spanish by Gregory Rabassa, New York.
RotoVision, Geneva, Switzerland, 1981.
148 pages, 127 ill.
Julio Cortázar wrote in his essay that « Every city invents its own vocabulary, lets drop in everyday speech those expressions that can only have meaning for it, in it. » In this work, Alécio de Andrade succeeds in capturing atmospheres and arresting fleeting passing moments, catching hold of or stealing the piquancy of a particular instant. With him, Paris lives through its pores, both day and night, enjoying itself, getting married, watching, waiting and loving. The photographer’s oneness with Paris is no accident. The subtlety of the photographs in this book lies in their creator’s sensitivity for these everyday moments that, while often fleeting, are nonetheless essential, vital.
PARIS OU LA VOCATION DE L’IMAGE
Photographies de Alécio de Andrade.
Essai de Julio Cortázar.
Traduit de l’espagnol par Françoise Campo-Timal, Paris.
RotoVision, Genève, Suisse, 1981.
148 pages, 127 ill.
PARÍS – RITMOS DE UNA CIUDAD
Fotografías de Alécio de Andrade.
Texto de Julio Cortázar.
Edhasa, Barcelona, Spain, 1981.
148 pages, 127 ill.
PARIS – BILDER EINES POETSICHEN ALLTAG
Photographien von Alécio de Andrade.
Essay von Julio Cortázar.
Übersetzung aus dem Spanischen von Wolfgang Promies.
Verlag C.J. Bucher GmbH, Munich, Germany and Lucern, Switzerland, 1981.
148 pages, 127 ill.
Alécio de Andrade – Fotografias
« O que Alécio vê », poem by Carlos Drummond de Andrade.
Fundação Nacional de Arte, Ministério de Educação e Cultura, Rio de Janeiro, Brazil, 1979.
50 pages, 41 ill.
WHAT ALÉCIO SEES
The voice said to him (a secret voice):
— Go, Alécio, and see.
See and show what you see, that everyone may capture
through your eyes the feeling of forms
which is the first — and last — feeling of life.
And Alécio goes and sees
the nature of things and of people,
the day, in its unknown newness,
unveiling itself each morning,
the dog, the park, the trace of the passage
of people in the street, the idyll
never extinguished beneath ideologies,
the umbilical grace of the female nude,
conversations over coffee, images
in which life flows like the Seine or the São Francisco
to deposit itself on the surface of a leaf
on the stone of the pier
or to smile in classical canvases in museums
that know they are being contemplated
by the visitors’ timid (or arrogant) disinformation,
or perhaps
to disperse and converge
in the eternal game of children.
Ah, the children… For them,
there is a belvedere illuminated in Alécio’s eye
and his lens.
(But is Alécio’s lyrical gaze not the better lens?)
It all comes down to a fountain
and the three naked little girls who complete it,
superb, radiant, a pure photo-sculpture by Alécio de Andrade,
a matinal hymn to creation
and to the world’s continuation in hope.
CARLOS DRUMMOND DE ANDRADE
“As fotos de Alécio”, Jornal do Brasil, 21 April 1979, Rio de Janeiro, Brazil.
Translated by Daniel Levin Becker.