Born in 1973 and based in New York City, Nikola Tamindzic established his reputation when he started shooting nightlife reportage for Nick Denton’s notorious Gawker in 2004. The photo galleries fused Gawker’s irreverent editorial vision with Tamindzic’s photographic talents to present the faces of the time in a less mediated way. Today, he lives and takes pictures in the Lower East Side, and his distinctive style has breathed much needed life into the somewhat jaded genre of nightlife photography.

Using his nightlife past as a springboard, Tamindzic’s current work revolves around the portrait. His approach creates scenes which reflect a fascination with the theatrical, the extreme, and that which is differently beautiful; if art ultimately deals with our individual relationships to each other and to the world, the fundamentals of how we see each other, and how our bodies coexist with one another and the objects around us, then this is perfectly embodied in Nikola Tamindzic’s portraiture, where the degree of intimacy established between the author and the subject – and the tensions such intimacy provokes – might be considered to be the true subject of his work.

À 30 ans, Jean Paul Riopelle (1923-2002) est devenu une figure familière de la bohème parisienne de l’après-guerre. Vieillard, il s’est retiré sur son île, au cœur du fleuve Saint-Laurent, peignant à la bombe aérosol, toujours moderne, en accord avec son époque. Une vie passionnante vécue jusqu’à la lie pour noyer la mémoire et fuir le temps.

Riopelle n’a ni Dieu, ni maître, et n’a d’autre passion que celle de peindre et de vivre pleinement, libre, entouré de ses amis. Pour cerner toute la démesure du personnage et la force d’évocation de son œuvre — peintures, dessins, sculptures et collages, entre autres -, le réalisateur Pierre Houle a entremêlé, tel un collage, les époques, les événements et les œuvres, véritable explosion d’énergie créatrice.