valérie belin black

On the cover:
Phlox New Hybrid (with Dalhia Redskin), 2010
Pigment print on paper mounted on aluminum
Edition of 3 and 1 artist’s proof
164 x 130 cm
© Valérie Belin. Courtesy Galerie Jérôme de Noirmont, Paris.
VALÉRIE BELIN
BLACK-EYED SUSAN
ST
DECEMBER 1 , 2010
/
JANUARY 27, 2011
SUMMARY
Where women and flowers merge together...
Biography
Solo exhibitions
Group exhibitions
Literature
Institutional collections
Pages
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PRESS CONTACT: Emmanuelle de Noirmont / Anaïs Ferrier
E-mail: [email protected]
Website: www.denoirmont.com
ILLUSTRATIONS
300 dpi illustrations available on our website www.denoirmont.com
in « Coming soon / Valérie Belin / Press release and images »
passwords : user : vb12 / password : fleur
The use of these illustrations is strictly limited to 3 images at most, for the sole illustration of papers or
reviews devoted to the exhibition that will be published before February 28, 2011 and with the
compulsory credit lines. All illustrations for Internet are limited to 72 dpi. For any further request, please
contact the gallery.
GALLERY HOURS: Monday - Saturday / 11am – 7pm.
Christmas holidays: gallery closed from December 24, 1pm through January 2, 2011.
OPENING: Tuesday, November 30, 6 – 9pm. (by invitation)
VALÉRIE BELIN – EXHIBITIONS OUT OF THE WALLS
De leur temps (3), 10 ans de création en France : le prix Marcel Duchamp
(Of their times (3), 10 years of creation in France : The Marcel Duchamp Prize)
Museum of Modern and Contemporary Art, Strasbourg, France
November 6, 2010 – February 13, 2011
Steidl, quand la photographie devient livre, de Robert Franck à Karl Lagerfeld
(Steidl, when photography becomes book, from Robert Franck to Karl Lagerfeld)
Monnaie de Paris
November 9– December 19, 2010
Autour de l’Extrême
(Around the extreme)
Maison Européenne de la Photographie, Paris
November 10, 2010 – January 30, 2011
WHERE WOMEN AND FLOWERS MERGE TOGETHER...
Photography is currently undergoing an upheaval which is similar to the one that
affected painting when photography first appeared on the scene; since painting no longer
needed to reproduce reality, it became abstract…1
Valérie Belin continues her investigations into the hybrid nature of photography, offering
us the fruit of her latest experiments in an exhibition that will be held at the gallery from
December 1 to January 27. In this new series, feminine faces are mixed in a nearly
inseparable way with bouquets of flowers…
The birth of photography at the end of the nineteenth century brought a new liberty to painting
by freeing it from the role of representing reality and transcribing truth. Photography opened
new doors by obliging painting to question the fundamental significance of the subject.
In turn, Valérie Belin’s new work calls the photographic medium into question. Initially
designed to reproduce reality – in particular for portraiture – photography currently opens up
new creative horizons through new image technologies that eliminate its analogical specificities
and enable it to become virtual, abstract and timeless.
Like electronic music, which appeared with new instruments and new musical techniques, the
artist is now able to elaborate a new visual vocabulary by using familiar digital technologies in
an innovative way. Well beyond their initial role in correcting and retouching, these technologies
now open the doors to new approaches, with the possibility of creating totally unreal images.
Here, Valérie Belin works in two stages, and creates two different images: first, one of an
elegant woman in a very fifties aesthetics, and next, a bouquet of flowers that will be combined
with the portrait to create the final composition by “inlaying” the two images inside each other.
The result of this interweaving is a surprising image that evokes a particularly sophisticated form
of overlay.
The women chosen for this series are elegant women who were selected for their formal and
plastic beauty. Their style recalls the aesthetic codes of the fifties, with rigid shapes that are
artificially “heightened” as in conventional icons of that era. The artist has “decorated” them
with jewelry, makeup and hairdos so that they relate with the baroque shapes of the flowers1.
The waves and curls of the hair, the round shapes of the beaded necklaces and the colors of the
makeup create a dialog with the flowers and leaves, which take on the appear like ornaments
added to the face and skin.
In a similar formalistic concern, the artist has chosen flowers with a simple, precise outline used
here for its purely graphic qualities, to create a sort of decorative vegetal framework with
bouquets of flowers in which the woman’s face is inscribed as part of a whole, as in wallpaper.
Colors are limited to two or three shades with a predominance of black, which recalls the
simplified coloring of comics and appears here like makeup added onto the surface of things.
1
All quotes in italics are from the artist.
1 In each image of this series, Valérie Belin has attempted to equate women and flowers by
simultaneously adding shapes and subtracting information. In this way, women and flowers are
equally important and both acquire the status of pure decoration. This excessive
decorativeness seems to place the image within a totally formalistic aesthetics, where the
subject disappears behind the effects of style.
Throughout her career, the artist has questioned the border between real and virtual, from the
Crystal glasses (1993) and mirrors of Venice I and II (1997) to Mannequins (2003), Models II
and Black Women (2006), within a global investigation into the limits of photography. Her
photographic works have always had a “beyond the real” character, which is obtained by using
optical effects or through an oversizing of the subject. In recent series, such as Lido (2007) or the
Crowned Heads (2009), the artist chose subjects with a strong image and a strong
representational power, and these qualities were highlighted by a totally dreamlike treatment of
the portrait, using new and different technologies for each series.
Today, Valérie Belin continues her “surrealistic” exploration of this new photographic
hybridization by once more pushing back the frontiers of creation, where technique itself become
the subject of her creation. Isn’t it also interesting to note that she has rediscovered here a certain
kind of “transparency” that recalls the visual investigations carried out at the beginning of the
twentieth century by Picabia, an artist who has always inspired Belin in her perpetual
questioning of the essence of painting ?
EXHIBITED WORKS
11 works dated 2010
Each image: 164 x 130 cm
Pigment print on paper mounted on aluminum Edition of 3 copies and 1 artist’s proof
2 BIOGRAPHY
Born in 1964 in Boulogne-Billancourt, France. Lives and works in Paris.
Valérie Belin undertook her art education at the Ecole des Beaux Arts in Bourges from 1983 to
1988. She also studied Philosophy of Art at the Paris-Panthéon-Sorbonne University, where she
obtained a DEA qualification in 1989.
When studying at the Ecole des Beaux-Arts, Valérie Belin has quickly applied her artistic
research towards the practice of photography, with her work distinguished by a marked
awareness of the medium which drives her to offer real depth to its aesthetic potential; she
compares her approach with that of some american minimalists such as Robert Morris or the
painter Robert Ryman.
Her early work concerned the photographing of light sources which have the appearance of Xrays or pure imprints left by the light.
In 1994, Valérie Belin exhibited her work for the first time in Paris. She displayed a series of
black and white photographs of crystal objects. This series is governed by a photographic
protocol which is both strict and minimal (on-site shooting, ambient lighting, no staging).
Paradoxically, out of it came an aesthetics of presence, of which the vehicle is an imprint,
existing as a trace, or a memory of the object.
The end of the 1990s was a turning point for the artist. Valérie Belin asserted her style through
the experiment of the series, which allowed a truthfulness of the object to emerge by casting
aside its anecdotal background or any expressionism associated with individuality. The object is
subject to a process of objectification without compromise, where representation seems to turn
back on itself through over insistence – the philosophical subject it presides over is held at a
distance, defused, stripped of its drama ; dissolving in the photography.
In 1999, The Union Centrale des Arts Décoratifs exhibited the Bodybuilders series which
introduced the human form in the artist’s iconography. The dented, metallic bodies of the
Bodybuilders bear witness to an ambivalence which is always present in the work of Valérie
Belin: things and beings are photographed as though beyond themselves, and for their power in
converting their image into a form which evokes a feeling of absence.
At the start of the new millennium, the HSBC Foundation for Photography published the first
monograph devoted to the artist.
Valérie Belin began a research linked to questions regarding the existentialism and identity of
the human being, and produced a series of large-scale black and white portraits between 2000
and 2003 of transsexuals which illustrate the grey areas around the boundaries of identity, linked
to the question of gender. The series of black women, whose faces are almost sculptural,
questions the cultural filter and its projections. The culmination of this work on the face is
completed by the series of shop window mannequins who, paradoxically, appear more animated
with emotion than ‘real’ human beings. Nonetheless, we find no spectacular effects in these
photographs; rather, a feeling of abstraction comes from them which contrasts oddly with the
subject. If there really is a question of identity here, it is in its most imperceptible form.
3
In the middle of the 2000s, Valérie Belin’s approach to photography was expressed through a
specific treatment of human beings and things which marked her, both dramatic and simple,
giving no narrative or documentary leeway.
The series of images are based on a subtle game of repetitions and variations which participate in
an interest in an abstract form of photography. The absolute full-frontalness of the point of view,
the radical bi-dimensionality, the absence of context and the large-scale formats give an iconic
value to the various subjects chosen for their power to evoke the incertitudes and paradoxes of
the ‘living’.
As from 2006 on, her photographic approach began to steadily attract the interest of institutions
at the heart of contemporary photography in Europe, and important American and French
museums acquired some of her works (MoMA in New York, MoMA in San Francisco, the
Musée National d’Art Moderne-Centre Pompidou, the Palais Galliera, and the Musée d’Art
Moderne de la Ville de Paris in Paris).
Colour began to appear in work by Valérie Belin and introduced ambiguity regarding what was
real and what was virtual. The medium of photography made itself technological, interfering in
the shaping of the being. The 2006 colour portraits are distinguished by the quasi-technological
appearance of their beauty, evoking the aesthetics of the avatar.
In 2007, a retrospective exhibition is dedicated to the artist by three photography museums: the
Huis Marseille Foundation in Amsterdam, the Maison Européenne de la Photographie in Paris
and the Musée de l’Elysée in Lausanne. A second monograph of the artist was published by the
German publisher Steidl.
In her most recent works, the artist has detached herself from an indexed concept of photography,
and her style has evolved towards a form of magical realism. Valérie Belin now positions her
topic at the heart of its era’s evolution. Her new works display a hybrid character which places
the subject between the organic and the sublime.
The huge photographs of fruit baskets with their vivid colours which were displayed at the
Musée d’Orsay in 2008, as well as three series of black and white works exhibited for the first
time at Galerie Jérôme de Noirmont the same year, bear witness to the evolution of the artist’s
style towards a form of magical realism. At the same time, the Norton Museum of Art in Palm
Beach exhibited her work alongside those of Bill Viola and Hiroshi Sugimoto.
In 2009, the Peabody Essex Museum hosted her first personal exhibition in an American
museum.
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SOLO EXHIBITIONS
2011 - O ser e o aparecer, Casa Françia Brazil, Rio de Janeiro, Brazil, August – October
2010 - Valérie Belin, Galerie Jérôme de Noirmont, Paris, 1er décembre – 27 janvier 2011
(catalogue)
- Valérie Belin, Sikkema Jenkins & Co Gallery, New York, May 21– July 2.
2009 - Valérie Belin: Made Up, Peabody Essex Museum, Salem, USA, October 17 – April
4, 2010.
2008 - Valérie Belin, Galerie Jérôme de Noirmont, Paris, November 7 – January 8, 2009
(catalogue)
- Correspondances Musée d’Orsay/Art Contemporain, Belin/Manet, Musée d’Orsay,
Paris, October 7 – February 1st (catalogue)
- Musée de l’Élysée, Lausanne, Switzerland, November 7 – January 18, 2009.
- Maison Européenne de la Photographie, Paris, France, April 9 – June 8.
2007 - Valérie Belin, Huis Marseille, Amsterdam, Netherlands.
- Valérie Belin, Brancolini Grimaldi Artecontemporanea, Rome, Italy.
2006 - Valérie Belin, Galerie Xippas, Paris, France, December 16 – February17, 2007.
- Valérie Belin, Sikkema Jenkins & Co. Gallery, New York, USA, November 4 –
December 2.
- Valérie Belin, Michael Hoppen Gallery, London, United Kingdom.
2005 - Valérie Belin, Fiedler contemporary, Cologne, Germany.
- Valérie Belin, Brent Sikkema Gallery, New York, USA.
2004 - Valérie Belin, Galerie Xippas, Paris, France, December 11 – February 19, 2005.
- Valérie Belin, Domus Artium 2002, Centro de Arte de Salamanca, Salamanca, Spain.
- Valérie Belin, Xippas Gallery, Athens, Greece, February 5 – March 20.
2003 - Valérie Belin, Koldo Mitxelena Kulturunea, Donostia-San Sebastián, Spain.
2002 - Valérie Belin, Sikkema Jenkins & Co. Gallery, New York, USA.
- Valérie Belin, Fiedler contemporary, Cologne, Germany.
- Valérie Belin, Patrick De Brock Gallery, Knokke, Belgium, April 6 – April 29.
2001 - Valérie Belin, Galerie Fotohof, Salzburg, Austria, August 3 – September 15.
- Valérie Belin, Galerie Xippas, Paris, France, February 10 – March 17.
2000 - Valérie Belin, Galerie de l’Aquarium, école des beaux-arts, Valenciennes, France.
- Valérie Belin, Galerie Vox, Montreal, Canada.
- Valérie Belin, Institut français, Dresden, Germany.
1999 - Valérie Belin, Union centrale des arts décoratifs, Paris, France.
- Valérie Belin, Musée de Picardie, Amiens, France.
- Valérie Belin, Centre d’art contemporain de Vassivière en Limousin, Beaumont-du-Lac,
France.
1998 - Valérie Belin, Galerie Xippas, Paris, France.
- Valérie Belin, Galerie Prinz, Kyoto, Japan.
1996 - Valérie Belin, Galerie municipale Édouard-Manet, Gennevilliers, France.
- Valérie Belin, Des séances, Crédac, Ivry-sur-Seine, France.
1994 - Valérie Belin, Galerie Alain Gutharc, Paris, France.
- Valérie Belin, École nationale d’arts, Cergy-Pontoise, France.
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GROUP EXHIBITIONS
2011 - The Truth is Not in the Mirror, Haggerty Museum of Art, Milwaukee, USA, January 12
– May 27
- French Window : Looking at Contemporary Art trough the Marcel Duchamp Prize,
Mori Art Museum, Tokyo, March 17– July 3
2010 - De leur temps (3), 10 ans de création en France, le prix Marcel Duchamp, Musée d’art
moderne et contemporain de la ville de Strasbourg, Strasbourg, France, November 6 –
February 13, 2011 (catalogue).
- STEIDL, Quand la photographie devient livre, de Robert Frank à Karl Lagerfeld,
Monnaie de Paris, Paris, November 9 – December 19.
- Autour de l’Extrême, Maison Européenne de la Photographie, Paris, November 10 –
January 30, 2011 (catalogue)
- Summer loves, Huis Marseille, Amsterdam, The Netherlands, June 5 – August 29.
- Au-delà du réel, Galerie Jérôme de Noirmont, Paris, February 5 – March 23
- Photograph(e)s, Les collections du FNAC, Musée Nicéphore Niépce, Chalon sur Saône,
France, February 27 – May 30.
- Pictures by women : A History of Modern Photography, MOMA, Robert and Joyce
Gallery, New York, January 28 – August 31.
- Esprit Lingerie, Cité de la Dentelle et de la Mode, Calais, France, June 11 –November
7.
2009 - Influence Pop, Galerie Jérôme de Noirmont, Paris, February 6 - March 28
Das Porträt, Fotografie Als Bühne / The Portrait, Photography As Stage, Kunsthalle
Wien, Vienna, Austria, July 3 – October 18. (catalogue)
- Demi-Vérités / Meias Verdades, Oi Futuro, Rio de Janeiro, Brazil, April 28 – June 28.
(catalogue)
- Auto.Sueno y Materia, touring exhibition: Laboral, Gijon, Spain, May 15 – September
21; Dos de Mayo Art Center, Madrid, October 2 – January 10, 2010. (catalogue)
- Elles@centrepompidou, Centre Pompidou, Paris, May 27 – February 21, 2011.
- Dress Code: Third International Center of Photography Triennial of Photography and
Video, ICP, New York, October 2 – January 3, 2010.
- Les Rencontres d’Arles, Arles, France, July 7 – September 13.
- DARKSIDE II – Photographic Power and Violence, Disease and Death Photographed,
Fotomuseum Winterthur, Winterthur, Switzerland, September 5 – November 15
(catalogue).
- Le sort probable de l’homme qui avait avalé le fantôme, new Centre Pompidou outside
the walls festival, La Conciergerie, Paris, October 21 – December 12.
- NYPH, New York Photo Festival, New York, USA
2008 - Striking Resemblance: The portrait as Muse: Belin-Sugimoto-Viola, Norton Museum of
Art, West Palm Beach, Miami, USA, November 22 – February 15, 2009 (catalogue)
- Portraits et paysages du XXIè siècle, Espace Culturel ING, Brussels, Belgium, July 3 –
August 10 (catalogue).
- La grande Traversée, horizons photographiques – Au-delà des frontières : surfaces
liquides et apparences trompeuses, Musée du Nouveau Monde, La Rochelle, France,
May 7 – September 21
- Women to Watch 2008, National Museum of Women in the Arts, Washington DC
6
2007 - A New Reality : Black and White Photography in Contemporary Art. The Jane
Voorhees Zimmerli Art Museum, New Brunswick, New Jersey, USA, September 1st –
January 27, 2008.
- Kopf an Kopf, Serielle Portraitfotografie. Kunsthalle Tübingen, Tübingen, Germany,
September 15 – November 25.
- Pour l’art : paroles de collectionneurs, Musée des Beaux-Arts de Montréal, Canada,
December 6 – February 24, 2008.
- Collection Photographies, la Collection du Centre Pompidou/Musée D’art Moderne,
Centre Pompidou, Paris.
2006 - Eldorado. Mudam Luxembourg, musée d’Art moderne grand-duc Jean, Luxembourg.
- La Région humaine. Musée d’Art contemporain, Lyon, France, September 24 –
December 31.
- A Curator’s Eye: The Visual Legacy of Robert A. Sobieszek. Los Angeles County
Museum of Art, Los Angeles, USA, May 11 – August 20.
- Photo Show 1010. Gana Art Center, Seoul, Korea.
- Réinventer le visible. Kunsthalle Erfurt, Erfurt, Germany.
- Beyond Real: Surrealist Photography and the Sculpture from Bay Area Collections. San
Francisco MoMa, San Francisco, USA.
- UK JACK, O.K. !. Colette, Paris, France. Dover street market, London, United
Kingdom. Isetan, Tokyo, Japan (August-September, 2006).
- Month of Photography Bangkok 3, Bangkok, Thailand, June 24 – July 30 (catalogue).
2005 - Star Star: Toward the Center of Attention. Contemporary Arts Center, Cincinnati, USA,
January 10 – January 1st, 2006.
- Contenance, Fassung Bewahren. Württembergischer Kunstverein Stuttgart, Stuttgart,
Germany, September 17 – November 13.
- (my private) HEROES. Marta Herford Museum, Herford, Germany, May 7 – August 21.
- Women by Women in Photography. Cook Fine Art, New York, USA.
- Paris à Shanghai, trois générations de photographes français. Musée des Beaux-Arts,
Shanghai, China, March 17 – April 17.
- Suddenly Older. Clifford Art Gallery, Colgate University, Hamilton, USA.
- Confrontation. FOAM, Amsterdam, Netherlands, February 12 – March 20.
2004 - Kurzdavordanach. Gegenwart als Zwischenraum. Die Photographische Sammlung/SK
Stiftung Kultur, Cologne, Germany, October 22 – January 9, 2005.
- Histoire(s) parallèle(s). Institut néerlandais, Paris, France.
- Je t’envisage, la disparition du portrait. Musée de l’Élysée, Lausanne, Switzerland,
February 4 – May 30.
- Making Faces: the Death of the Portrait. Hayward Gallery, London, United Kingdom.
2003 - Cara a Cara. Culturgest, Lisbon, Portugal
- Table Top Sculpture. Gorney Bravin + Lee Gallery, New York, USA.
- Fables de l’identité, œuvres photographiques et vidéos de la collection
NSM Vie/ABN AMRO. Centre national de la photographie, Paris, France.
- Upon Reflection. Sean Kelly Gallery, New York, USA, January 10 - February 15.
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2002 - Face to Face. Portraits in Contemporary Photography. Fotohof Gallery, Salzburg,
Austria September 17 – October 31; Landesgalerie am Oberösterreichischen
Landesmuseum, Linz, Austria.
- Regard captif. Photographies de la collection Ordóñez-Falcón. Rencontres
internationales de la photographie, Arles, France.
- La mirada ajena. El retrato en la colección Ordóñez-Falcón de fotografía. Artium,
Centro-Museo Vasco de Arte Contemporáneo de Vitoria-Gasteiz, Vitoria-Gasteiz, Spain.
- Augenblick. Sammlung Essl – Kunst der Gegenwart, Vienna, Austria.
- Trade. Nederlands Foto Instituut, Rotterdam, Netherlands.
2001 - La natura della natura morta – Fotografia. Galleria d’Arte Moderna, Bologna, Italy.
- Arrêt sur image – Zeitgenössische Kunst aus Frankreich. Kunst-Werke, Berlin,
Germany.
- Trade – Waren, Wege und Werte im Welthandel heute. Fotomuseum, Winterthur,
Switzerland.
- Oublier l’exposition – Actuele fotografie uit Frankrijk. Huis Marseille, Amsterdam,
Netherlands.
- Altadis Prize. Durand-Dessert Gallery, Paris, France ; Helga de Alvear Gallery, Madrid,
Spain.
2000 - Le Siècle du corps, le triomphe de la chair. Musée de l’Élysée, Lausanne, Switzerland,
October 12 – January 14, 2001.
- Cultures physiques : record et performance. Soirées nomades, Fondation Cartier, Paris,
France.
- Mutations//mode 1960-2000. Musée Galliera, Paris, France, April 9 – July 30.
- Collection Agnès B. Centre national de la photographie, Paris, France, June 14 – August
28.
- Partage d’exotismes – 5e Biennale d’art contemporain de Lyon. Lyon, France.
1999 - Un monde irréel. Thaddaeus Ropac Gallery, Paris, France.
1998 - L’Envers du décor, dimensions décoratives dans l’art du XXe siècle. Musée d’Art
moderne de Lille Métropole, Villeneuve-d’Ascq, France.
- Zeitgenossische Fotokunst aus Frankreich. Neuer Berliner Kunstverein, Berlin,
Germany ; Städtische Gallery, Göppingen, Germany ; Städtisches Museum, Zwickau,
Germany ; Hallescher Kunstverein, Halle, Germany.
1997 - État des choses, état des lieux. Musée des Beaux-Arts et de la Dentelle, Calais, France.
1996 - Passions privées. Collections particulières d’art moderne et contemporain en France.
Musée d’Art moderne de la Ville de Paris, Paris, France.
1995 - Printemps de Cahors. Cahors, France.
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LITERATURE
2010
- Valérie Belin, text by Tobia Bezzola, JRP Ringier Kunstverlag AG, Zurich.
- Comprendre l’art contemporain, Jean-Luc Chalumeau, Editions du Chêne/Hachette Livre,
Paris.
2009
- Das Porträt, Fotografie Als Bühne / The Portrait, Photography As Stage, Ulrich Polhmann and
Peter Weiermair, Kunsthalle Wien & Verlag für Moderne Kunst Nürnberg, Nüremberg.
- Demi-Vérités / Meias Verdades, texts by Ligia Canongia, foreword by Yves Saint Geours,
Danilo Santos de Miranda and Anne Louyot, introduction by Maria Arlete Gonçalves, glossary
by Adon Peres, Oi Futuro, Rio de Janeiro, Brazil.
- Les Cahiers du Musée National d’Art Moderne, Printemps 2009, n°107, Editions du Centre
Pompidou, Paris.
- Auto. Sueno y Materia, Dream and Matter, Laboral, Centro de Arte y Creacion Industrial,
Madrid, Ed. Laboral and Centro de Arte Dos de Mayo, Spain.
- DARKSIDE II – Fotografische Macht und fotografierte Gewalt, Krankheit und Tod –
Photographic Power and Violence, Disease and Death Photographed -, Fotomuseum
Winterthur, Steidl, Germany.
- Qu’est-ce que l’art aujourd’hui ?, Marie Bonnet, Fabrice Bousteau, Beaux Arts Editions/TTM
Editions, Paris.
2008
- La Photographie en France – Des origines à nos jours, text by Claude Nori, Editions
Flammarion, Paris. (p.285-286)
- Valérie Belin, text by Larisa Dryansky, Galerie Jérôme de Noirmont, Paris.
- Valérie Belin, Edouard Manet, Quentin Bajac, Sylvie Patry, Editions Musée d’Orsay/Argol,
Paris.
2007
- Valérie Belin, text by Régis Durand : « Valérie Belin, ou la peau des choses » and interview by
Nathalie Herschdorfer, Editions Steidl, Göttingen, Germany.
- Qu’est-ce que la photographie aujourd’hui ?, Fabrice Bousteau, Jean-Louis Moulin,
Dominique Baqué, Editions Beaux-Arts, Boulogne.
- Pour l’art : paroles de collectionneurs, texts by Rémi Marcoux, Nathalie Bondil et alt., Musée
des Beaux-Arts de Montréal, Canada.
2006
- Vitamin Ph, New Perspectives in Photography, text by Brian Sholis : « Valérie Belin »,
Editions Phaidon, London. (p. 30-31)
- Eldorado, text by Paul Di Felice : « Regards distanciés sur le Luxembourg », MUDAM–Musée
d’Art Moderne Grand-Duc Jean, Editions Herausgeber, Luxembourg. (p. 60-63)
- Réinventer le visible – 20 ans de photographie contemporaine en France dans la collection de
la Maison Européenne de la Photographie, text by Pascal Hoël, Kunsthalle Erfurt, Kerber,
Bielefeld, Germany. (p. 17-23)
- Month of Photography Bangkok 3, text by Ark Fongsmut, published by Alliance française,
Bangkok & French Embassy, Bangkok, Thailand.
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- Theatre of Fashion, œuvres du Fonds National d’Art Contemporain, Month of Photography
Bangkok 3, text by Agnès de Gouvion Saint Cyr, published by Eleven colours, Bangkok,
Thailand.
2005
- Les Vanités dans l’art contemporain, under the Anne-Marie Charbonneaux’s direction,
Editions Flammarion, Paris. (p. 80-81, 164-165)
- (my private) HEROES, Marta Herford Museum, Kerber, Bielefeld, Germany. (Ill. p. 104)
- Paris à Shanghai, trois générations de photographes français, Jean-Luc Monterosso, Sophie
Schmit, Fine Art Museum of Shanghai, Editions Actes Sud, Arles. (Ill. p. 98-103)
2004
- Valérie Belin, text by Michel Poivert : « Morbidezza », Fundación Salamanca Ciudad de
Cultura, Domus Artium 2002, Salamanca.
- Fondation Cartier pour l’art contemporain, Editions Actes Sud (coll. Fondation Cartier pour
l’art contemporain), Arles. (p. 100-101, 139 ; portfolio : p. 224-225, 247)
- MUDAM 2000-2004 [almanach], MUDAM – Musée d’Art Moderne Grand-Duc Jean,
Luxembourg. (Ill. p. 70-73)
- Kurzdavordanach. Gegenwart als Zwischenraum, Wilhelm Schürmann, Susanne Lange, Die
Photographische Sammlung/SK Stiftung Kultur, Cologne ; Revolver, Frankfurt. (Ill. p. 129)
- Le Prix Marcel Duchamp 2004, text by Régis Durand, Un, Deux… Quatre Éditions, ClermontFerrand. (p. 6-13)
- About Face. Photography and the Death of the Portrait, Hayward Gallery Publishing, London.
(Ill. p. 34, 66-67)
- Histoire(s) parallèle(s), Dutch Institute, Paris, FOAM, Amsterdam, Éditions Filigranes, Paris.
(Ill. p. 11-13)
2003
- Valérie Belin, texts by Hasier Etxeberria : « Le Compartiment » and Javier San Martin :
« Noir », Koldo Mitxelena Kulturunea, San-Sébastian, Spain.
2002
- Valérie Belin, Galerie Xippas, Paris.
- La Photographie Contemporaine, Michel Poivert, Editions Flammarion, Paris. (Ill. p 99)
- Face to Face. Portraits in Contemporary Photography, Landesgalerie am Oberösterreichischen
Landesmuseum, Linz. Galerie Fotohof, Salzburg. (Ill. p. 22-27)
- Regard captif, collection Ordóñez-Falcón, Sam Stourdzé, Rencontres Internationales de la
Photographie, Arles/Editions Léo Scheer, Paris. (Ill. p. 148)
2001
- Valérie Belin 1999-2001, Galerie Xippas, Paris.
- Valérie Belin, text by Philippe Piguet, introduction by Guy Boyer : « Réflexions sur images »,
artist’s texts, Editions Actes Sud (coll. Altadis), Arles.
- The Nature of Still Life – From Fox Talbot to the Present Day, Galleria d’Arte Moderna,
Bologna, Editions Electa, Milan. (Ill. p 153)
- Augenblick – Foto/Kunst, Sammlung Essl Kunst der Gegenwart, Sammlung Essl, Vienna.
(Ill. p. 20-23)
- Trade – Waren, Wege und Werte im Welthandel heute, Thomas Seelig, Urs Stahel, Martin
Jäggi, Fotomuseum, Winterthur, Scalo Verlag, Zurich. (Ill. p. 79-81)
2000
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- Valérie Belin, text by Régis Durand : « La Cérémonie des objets », Editions Actes Sud (coll.
Fondation CCF pour la photographie), Arles.
- Partage d’exotismes – 5e Biennale d’art contemporain de Lyon, Editions de la Réunion des
Musées Nationaux, Paris. (Vol. 2 : p. 90-91)
1999
- Valérie Belin, photographies 1997-1998, text by Pierre Wat : « Memento mori », Centre d’art
contemporain de Vassivière en Limousin, Beaumont-du-Lac, Galerie Xippas, Paris.
- 1 monde réel, Fondation Cartier pour l’art contemporain, Editions Actes Sud (coll. Fondation
Cartier pour l’art contemporain), Arles. (portfolio p. 118-125)
- Robots, collection Rolf Fehlbaum, Dan Simmons, Editions Actes Sud (coll. Fondation Cartier
pour l’art contemporain), Arles. (portfolio : 16 black and white p. / Valérie Belin’s photographs:
29 colour p.)
1998
- Zeitgenossische Fotokunst aus Frankreich, Manfred Schmalriede, Régis Durand, Neuer
Berliner Kunstverein, Berlin. Umschau / Braus Verlag, Heidelberg. (Ill. p. 38-43)
- L’Envers du décor, dimensions décoratives dans l’art du XXe siècle, Musée d’Art Moderne Lille
métropole, Villeneuve-d’Ascq.
1997
- État des choses, état des lieux, text by Charlotte Coupaye : « L’Art de l’entre-deux », Musée
des Beaux-Arts et de la Dentelle, Calais. (p. 11-27)
1996
- Valérie Belin photographe, Fabien Durand couturier, text by Daniel Dobbels, le Crédac, Ivrysur-Seine.
- Valérie Belin, text by Christine Buci-Glucksmann : « Les Allégories animalières du cristal »,
Galerie municipale Édouard-Manet, Gennevilliers.
1995
- Le Printemps de Cahors 1995 – Photographie et arts visuels, text by Régis Durand : « Valérie
Belin », Fragments Éditions, Paris. (p. 20-21)
- Passions privées. Collections particulières d’art moderne et contemporain en France, Suzanne
Pagé, Musée d’Art Moderne de la Ville de Paris, Editions Paris Musées.
1994
- Valérie Belin, Galerie Alain Gutharc, Paris.
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INSTITUTIONAL COLLECTIONS
Bibliothèque Nationale de France, Paris, France.
CCF (HSBC) Foundation for Photography, Paris, France.
Collection E.ON AG, Düsseldorf, Germany.
Collection Société Générale d’art contemporain, Paris, France.
Fondation Cartier pour l’art contemporain, Paris, France.
Fondation Daniel et Florence Guerlain, Les Mesnuls, France.
Fondation NSM Vie/ABN-AMRO, Paris, France.
Fondation Ordóñez-Falcón, Donostia-San Sebastián, Spain.
Fonds National d’Art Contemporain, Paris, France.
Groupe Altadis, Paris, France.
Groupe Lhoist, Limelette, Belgium.
Huis Marseille, Amsterdam, The Netherlands.
JP Morgan Chase Art Program, New York, USA.
La Maison Rouge, Fondation Antoine-de-Galbert, Paris, France.
Los Angeles County Museum of Art, Los Angeles, USA.
Maison Européenne de la Photographie, Paris, France.
Mandalay Bay Resort, Las Vegas, USA.
Mudam Luxembourg, Musée d’Art Moderne Grand-Duc Jean, Luxembourg.
Musée d’Art Contemporain du Val-de-Marne, Vitry-sur-Seine, France.
Musée d’Art Moderne de la Ville de Paris, Paris, France.
Musée de l’Élysée, Lausanne, Switzerland.
Musée des Beaux-Arts et de la Dentelle, Calais, France.
Musée Galliera, Paris, France.
Musée National d’Art Moderne, Centre Georges-Pompidou, Paris, France.
Museum of Modern Art, New York, USA.
National Gallery of Australia, Parkes ACT, Canberra, Australia.
Neuberger Berman Inc., New York, USA.
Norton Museum of Art, West Palm Beach, USA.
Pilara Family Foundation, San Francisco, USA.
Progressive Corp., Mayfield Village, USA.
Sammlung Essl, Kunst Der Gegenwart, Klosterneuburg,Vienna, Austria.
San Francisco Museum of Modern Art, San Francisco, USA.
The Capital Group Companies Inc., Los Angeles, USA
UBS Art Collection, Luxembourg.
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