1euro

ROM N°I avril 2010. Rome : 1 euro - Kolomyaghi : 40 roubles - San Juan de Arama & La Gorgona : 3500 pesos

s’égarer, d’un élan elle se portait au delà de toute leschoses existantes ; c’est alors que j’habitais des vais-seaux» (Jean Potocki Voyage en Turquie et enEgypte, José Corti, Col. romantique n°71).

The Association des Amis de Clémen-tine proposes a gazette for readers who hesitatebetween the whirlwind of the world and thedust of books; for those who prefer furtive con-tact with the real to the mirage of virtual en-counters, sensitive to the attitude of gypsiesand travelers who prefer to enjoy without ac-cumulating rather than to possess withouttruly seeing.

The choice of period printsRecognizing that since their invention,

photographs have found their place among themost faithful material witnesses to our culturalhistory, the review supports initiatives that in-crease access to original documents and favorstudy of their material qualities. ROM describesphotographic prints, including those that haveescaped destruction or been found after longperiods in the shadows.

“Le 8 novembre 1784, en mer. Enfin, noussommes devant Venise, les matelots poussent des crisde joie, je partage leurs transports, et comme eux peut-être je regretterai bientôt le vaisseau que j’aime àquitter aujourd’hui ; car l’attrait que j’ai pour lamer va au delà de tout ce qu’on imagine.

Je puis en faire l’aveu, et non pas en assignerles causes, car enfin s’il est vrai que la vue de cet élé-ment me rappelle aux premières années de ma jeunesse,il ne l’est pas moins que cette époque de la vie doit of-frir aux souvenirs des repos plus agréables ; ou plutôtce qui est vrai pour d’autres, ne l’est pas pour moi.En effet, si je regarde en arrière sur quelques annéespassées entre la poussière des in-folio, le tourbillon dumonde et les bourrasques de la mer, ce n’est pas surdes instants de dissipation, d’illusion même, que jeme plais à arrêter ma vue ; je leur préfère encore ceslongues nuits consacrées à l’étude dans le silence ducabinet.

Mais qu’avec bien plus de délices ma penséese rapporte au temps où étonnée de la force naissante,elle m’était jamais plus active que lorsqu’elle ne s’oc-cupait d’aucun objet en particulier, et que facile à

editorial

2 editorialR.O.M.

april 2010

rom: a new review

contents - n°i- Editorial n° I, and webmaster’s corner- The Life of Clémentine, page 4- Gypsy news, 5- Photographic Evidence, thoughts on methodsfor showing original documents, 6-7- Guest of Honnor, 8-9- The World Around Us, correspondence, 10-11- Clémentine’s Journal, 12-13- Big and Little Annoucements, calendar ofsales, expos and fairs, 14- Europe, Year One, series, 15The French edition of ROM is distributed in twoprinted versions by the Association des Amis deClémentitne and is available for consultation on ourweb site:

www.clementine.org

R.O.M.april 2010 editorial 3

While agencies manage large banks ofnegatives, whose commercial value is based ontheir associated printing and reproductionrights, ROM gives notice to expositions andpublications that privilege the study and de-scription of period prints rather than negatives.

The three-number coordinates preced-ing certain articles and captions reference thegeneral photograph classification system using19 zones and 9 large periods, which will be ex-plained in detail in ROM II. Clémentine’s col-lection of period photographs is organized andcataloged using this method. Selected worksfrom each class (corresponding to one period

and one geographic zone) will be published.Our review receives contributions in the

form of columns and articles from its corre-spondents and readers around the world.

1989, a turning pointThis first issue honors a series of dazzlingportraits made by Rossella Bellusci en 1989.At the beginning of this project, the stronglighting that the portraits demanded ledseveral models to renounce their particpation.A young, West-Indian woman eventually metthe challege, agreeing to be flooded with lightuntil the camera would record only the subtleoutline of her neck. In 1991, the Bibliothèquenationale de France presented these Lignes-portraits, a final spectacle of material photog-raphy. Rossella is the guest of honor for theversion “Grand Papier” of our review.

That same year, the Berlin Wall fell.GPS became operational with a new series ofsatellites. Photoshop 1.0 received its finishingtouches and was marketed beginning in Feb-ruary 1990. All of these reasons encourage usto propose the year 1989 as a turning point forthe history of photography, and to proposeRossella’s portraits as possible representationsof this key moment ◾

Serge Plantureux

metadataIn the beginning was the word, then

the letter, the line, the photograph, the digitalimage, and, now, lastly, the metadata. Thelanguage of Google is composed of rootslinking knowledge and images, but theseinformation structures describe resourceswithout regard to visible text. Have wereturned to the terror of the invisible? Are weready to think in metadata? Is it time to trainourselves to recognize and utilize theseresources? ROM is committed to trying totame and make clear the metadata used for itson-line publications.

Etienne de Fontainieu et Bruno Flaven

Follow this debate at : http://3wdoc.com/fr

05.8. Peter Bock-Schroeder, Berlin,final moments before construction of the wall

R.O.M.april 20104 clémentine

Clémentine de Talleyrand-Périgord(1841-1881) is the meta element that marksall of our projects. Her life situated her in theright place at the right time to allow us, acentury and a half later, a portal to 19thcentury European cultural history, not unlikeUrsula Hirschmann of the 20th century orJean Potocki for the 18th. A happy coinci-dence had it that we discovered the accompa-nying portrait of Clémentine at the momentof the Association’s creation.

Clémentine’s grandmother wasDorothée, duchess of Courland (anindependent duchy until annexation by theRussian Empire in 1795, today Latvia). In1809, she married the nephew of Talleyrand.This alliance is considered to have been thecompensation for the support Talleyrand gaveto the Tsar against Napoleon at Erfurt inOctober of 1808, a “treason” calculated in thename of European equilibrium. Several yearslater, Dorothée and Talleyrand would partic-ipate in the Congress of Vienna to ensure a 50-year period of prosperity for Europe.

Clémentine was raised by her grand-mother at Zagan in Lower Silesia (todayPoland), where Dorothée had purchased asevere, 130 room château from her cousins in1843. At 18, she made her debut in society atthe home of Ludmille de Beauvau-Craon.There, she met Alexandre Orlowski (1816-1893), an elegant polish widower; they weremarried in February of 1860.

01.3. Clémentine photographed with her sonsXavier et Micislas. Portrait rediscovered in the

album of the Princess of Sagan, 1870

russian voyageIn the spirit of the year France-Rus-

sia, the Amis de Clémentine will participate ina week of workshops and conferences relatingto the earliest years of photography at theROSPHOTO center in St. Petersburg, July 25-29. Alexandre Pozin will open his sculpturestudio to the public with an exhibit of bronzepotatoes dedicated to Peter the Great. Addi-tional information will be made available onour website ◾

clémentineThe climate of Malejowce in

Transcarpathian Ukraine, where her husband’schâteau was located was not favorable for herhealth, and would prove fatal, despite a longconvalescence in Tuscany. Clémentine isburied in Florence.

She spoke German since childhood,Polish with her husband, French in society,English avec her children’s’ governess, andItalian in the sun ◾

Consuelo de Fontainieu

Twelve models for twelve potatoes in bronze

gypsy news

gypsy news 5R.O.M.april 2010

The Amis de Clémentine are preparinga publication that will bring together earlyphotographs by Lucien Clergue and the poemsof Alexandre Romanès, director of the epony-mous circus, whose acrobats and musicians willperform at the first ball hosted by Clémentineon April 16th.

Lucien Clergue (elected in 2006) beganhis career with several dazzling photo-docu-mentaries, such as that following the pilgrim-age of the Gypsy community toSaintes-Maries-de-la-Mer the 24th and 25th ofMay, 1955. These were quickly followed byother visits with the gypsies in the region ofArles, at the Pont-de-Crau aqueduct ◾

Arnold Chassagnon

Each edition of ROM contains apoem or story about the perceptions that thegypsies have about things’ worth and thehanding down of their heritage.

“A huit ans, je suis resté quelques moisdans une école religieuse. Le curé : “Les enfants,demain il y a confession. Écrivez tous vos péchés

sur une feuille.” J’entre dans le confessionnal. Ma feuille est blanche.“Mon garçon, il n’y a riensur ta feuille, tu n’as donc rien fait de mal ? Simon père, j’ai volé de la confiture. Alors,pourquoi ne pas l’avoir écrit sur ta feuille ?Parce que Dieu ne s’intéresse pas au vol de confi-tures.” ◾ Alexandre Romanès

01.8 Lucien Clergue. Women on the pilgrimage

01.8 L. Clergue. Portrait of the gypsy Lalaouperiod prints on single weight paper

01.8 L. Clergue. Gypsy feeding a bird

gypsies’ friend at the académie des beaux-arts

la valeur des choses

Security worries have radicallychanged the priorities and logic of exhibit-ing original documents. Under pressure frominsurers, questionnaires sent by museums in-terrogate lenders about, among other details,the amount of light that the works in ques-tion have already received.

This print by Le Gray dating from1856-8 had, until its recent ‘discovery’, hungin the dim corridor of a medieval castle in itsoriginal frame for over 150 years. It appearsthat this long and unchanging exposure tolight had little effect on the print, but per-haps it had been particularly well prepared.

A friend of Clémentine, Mme RoxaneDebuisson, confirmed, with the help of herarchive of receipts from the period, that theframer, Delarue and Hivert, had changed itsname and label near the end of 1863 ◾

6 photographic observationsR.O.M.

april 2010

photographic observations

01.2 Le Gray. Brick au clair de lune, verso,lable of the establishment Aux Deux Créoles,

MM. Delarue et Hyvert

who’s afraid of the light?

01.2 Gustave Le Gray. Brick au clair de lune.Print in its original mount and frame

photographic observations 7

the shadow’s edge01.2. During this time, at the TEFAF inMaastricht, where several galleries were pre-senting early photographs, Sylvie Aubenasexplained a useful connoisseurs’ secret fordistinguishing between a print made usinga paper negative and one made using a glassnegative: check particularly the sharpnessof the vertical shadows ◾

luminous effects01.2. March 2010, Aipad, New York. Ap-pearance of an interesting photographic studyfrom the now famous wooden crates of JohnC. Bancroft (cf. Sotheby’s N08308) at thestand of William Schaeffer. The crates contai-ned a collection of photographs, includingprints by Cuvelier and Le Gray that the pain-ter probably brought back to New Englandfrom Barbizon in the 1860s.

The study is in fact a band of albumenpaper seemingly cut from a print of the viewof the Mediterranean sea at Cap d’Agde, nearSète, that one sometimes recognizes with dif-ferent skies, but here is reduced to a simplewave study, happily with its original mount.

In this collection, only one other LeGray had an uncommon presentation: a viewof “La Plage de Sainte Adresse” with very lit-tle sky (cf. plate 120 of the catalogue rai-sonné) ◾

Jean-Mathieu Martini

01.2 Le Gray. Effet d’onde, original mount

01.2 Le Gray. Cap d’Agde, circa 1859

Vertical shodow lines can be read as clues leftby the light: softened by paper fibers or sharp

when printed through glass (details).

R.O.M.april 2010

Behind each photograph, there is timeand reflection, a great deal of it: each onedemands of its observer a bit of time, silenceand attention in order to begin to “feel” thework. The solitary road followed by Rossella isrigorous and unwavering: it is the path of thelight, from its source to the eye that, in no waypassively, constructs the image.

This blinding light – for it is mostoften frontal (“Frontale” was the title of a 1991series) – creates a visual chock.

From the first works with the body –self-portraits and male nudes that wereexposed in 1981 and 1983 at the galleryTexbraun – to Fluorescenze of 2009, now ondisplay at the Pompidou Center (elles@centre-pompidou), the light shapes, cuts, erases anddissolves a form, whether it be human orobject, leaving only its essential traces. Therare portraits that mark this journey confrontthe challenge of recognition a minima, givingthem a presence all the more intense.

With the Lignes-portraits (“Lineportraits” or “Portrait lines”) contained in thisnew review, one finds oneself at the limitbetween form constructed by light andblindness: all begins from and leads to thisplace.

It is a real female model who offeredthe pure oval of her face and the tender curvesof her neck: the light kept just enough ofthem to allow the eye to see and be filled. Aloving eye ◾

Sylvain Laveissière

* Rossella Bellusci is represented by the gallery Gros-setti Arte Contemporanea in Milan, directed by BrunoGrossetti, since 2005.

R.O.M.april 20108 guest

Rossella Bellusci’s work as aphotographer spans thirty years. Born inCalabria, where she passed her childhood,then living in Milan, she settled in Paris in1981, following a stay in the United States.Life brought us together – that’s an understa-tement – shortly after, and being myself,modestly but for some time, well-versed inphotography’s alchemy, I followed her workwith the eye of an amateur – and a little more.Invited to write about Rossella, and givencarte blanche, how could I refuse, but howcould I do it?

Let’s take it literally this carte blanche,but in Italian: carta bianca, white paper. Agreat many of Rossella’s works offer, at firstglance, only white. One saw in 1991, duringthe exhibition organized by Jean-ClaudeLemagny (author of the preface to theluminous catalog edited by Alain Macaire),prospective visitors enter the gallery Colbertand turn back around, thinking that the showhad yet to be hung. People in a hurry, stayyour course, there is nothing for you to see.These images reveal themselves little by little,like in the dark room, under the red light,silver salts in the developer.

carte blanche

Rossella Bellusci

guest 9R.O.M.april 2010

R.O.M.april 201010 the world over

chronicles of the new world

Clémentine is currenly preparing a se-ries of publications concerning the work ofmasters of ethnographic photography. Follow-ing the debates raised by the film Avatar, a researchproject, publication and possible exhibition con-cerning the Koguis and Nukak-Makú peoples willbe proposed to the students in the Master programin 2010-11. The Luis Angel Arango library is part-nering with Clémentine in this endeavor, with aconference planned for the spring of 2011.

The first book to broach the subject ofsouth American peoples living removed from thedominant civilization was the Llanto sagrado de laAmérica meridional, written by an Augustinian friar,Francisco Romero, and published in Milan in1693. In it, Romero describes “nègres marrons recon-stituant des communautés, des palenque”, “des indiensKoguis retrouvant leurs divinités”, “des créatures veluesà forme humaine vivant silencieuses et nues dans des ar-bres”. In 1974, a German researcher working in thestorerooms of the Vatican identified the idols thatRomero brought back to the Sacred Congregationof Propaganda Fide.

The fruits of Romero’s trip to Columbiapermit us to link the Pre-Columbian Tairona civi-lization and today’s Arhuacos and Koguis ◾

Jaime Rueda

12.0 Romero. Idolatria de los Indios de NaçionAruacos, que habita en las Sierras de S. Martha

Illustration from Llanto Sacrado, 1693

the world over

12.6. Henri Lehmann (1901-1991). YoungKokonukos with the camera. Popayan, 1941

the serfs. Beginning March 3rd, however, themovement was repressed by an army coalitionof the three occupying forces: Prussia, Russiaand Austria. The last independent city inPoland was annexed by Austria ◾

Nicolas Provoyeur

the world over 11R.O.M.april 2010

nasce, inoltre, dalla banale constatazione che con ilpassare del tempo è sempre più diffuso il rifiuto deidirettori dei musei, pubblici e privati, di cedere adaltri musei, sebbene temporaneamente, le loro opere,anche per i costi sempre più proibitivi delle assicu-razioni.” The full text can be found at :www.caravaggio.rai.it ◾

In direct competition with the beau-tiful exhibit “Caravage du Quirinale”, andalso with president Berlusconi’s sponsorship, aselection of life-size transparent color reproduc-tions of Caravaggio’s works are hung in Trajan’sMarket and presented as a flattering and pop-ulist alternative to the conventional reality ofmuseums: “LE MOSTRE IMPOSSIBILI, unprogetto di Renato Parascandolo. Premessa : L’ideadi allestire un insieme di ‘mostre impossibili’ nasceda un’attenta riflessione sulla crisi strutturale cheinveste i musei di tutto il mondo e dalla consider-azione che, nell’epoca della riproducibilità digitaledell’opera d’arte, la riproduzione dev’essere tutelatae valorizzata quanto l’originale, non solo per motivieconomici ma, prima di tutto, perché una diffusioneveramente capillare e di massa delle opere d'arte puòessere garantita soltanto dalle riproduzioni: un’is-tanza di democrazia culturale che ha in Walter Ben-jamin e André Malraux i suoi precursori. L’idea

Clémentine has just received a giftof a collection of papers blackened not bythe sun but by censure: February 1846,Russian authorities exert their power on theonly copy Parisian newspaper La Presse in War-saw, blacking out articles relating to the recentKraków Uprising. Led by Dembowski and Tys-sowski, 300 bold Kraków inhabitants drove2800 Austrian mounted- and foot soldiers fromthe city, then emancipated the Jews and freed

caravaggio in rome: unexpected competition

The anonymous entry pass and simpleprospectus of this catalogue-less show

bitumen-blackened papers

R.O.M.april 201012 publications

- 01.6 & 10.2. Lost? Photographes jaloux, couplesdéchirés, by François Cheval and Jean-MathieuMartini.- 01.1. Articles 3 and 4 of the contract Nièpce-Daguerre: chronology by J. Roquencourt.- 13.1. Goupil-Fesquet or the first photographfrom the Orient, November 1839.- 05.8. Peter Bock-Schroeder, a German photo-reporter after the war.- 10.4. Voyage en Kodak, by the finalists from theMaster’s program 2008.- Cyanotypes, Master’s program 2008.- 01.2. Fortuné Petiot Groffier, calotypist, Mas-ter’s program 2009.- 06.8. Drahotin Sulla, Slovak photographer,Master’s program 2009.Further information can be found on our site ◾

The Amis de Clémentine have takenover the publication of the series of bookspublished since 2003 under the names Rhino-céros jr, Venti or United Pirates. Collection Clémen-tine will further develop the ideas and methodsof its predecessors. Upcoming projects include:- 17.4. Jacques de Rohan-Chabot’s mission toAngola, 1913: ethnographic portraits presen-ted by Mamady Touré.- 05.7. Werner Moesle (1886-1953), an emi-grant to Argentina returns to Europe in 1938and 1945, presentation by Diran Sinirian.- 06.6. Portraits by Max Brod (including unpu-blished images of his friend Kafka that he chosenot to destroy).- 01.1. The architect Eugène Hubert and theinvention of photography, by Russell Lord.

06.6. Portrait of Max Brod,Kafka’s disobediant friend

Now Available! Several collections of 55 of our experimentations, from the story of Ultimo Libro tothat of Herbarius, can be purchased through the Association des Amis de Clémentine for 250 euros.

clémentine’s notebooks

17.4. Portrait of a porter,Rohan-Chabot mission

10.2. Lost?, american da-guerreotype, circa 1860

R.O.M.april 2010

Clémentine’s journal

clémentine’s journal 13

exposition au salon :In conjunction with the conference

organized by the INHA on April 11, “Patri-moine photographié - Patrimoine photographique ?”and the release of the 3rd, augmented editionof the reference book Man Ray Stamps by StevenManford, the Salon Clémentine is hosting anexhibition of photographs seen from the backfrom April 15 through May 15, 4 galerie Vi-vienne ◾

signature :Francesca Bonnetti wil present her

catalog of the first Italian and French pho-tographers in Persia: Antonio Giannuzzi(1819-1876), Alberto Pasini (1826-1899,Luigi Pesce (1827-1864), Luigi Montabone(1827 ca.1877), Prosper Bourée (1855-1856)... Conceived as a veritable catalogueraisonné, it contains all of their known andprints. The catalog is published in conjunc-tion with the exhibit La Persia Qajar at theIstituto Nazionale per la Grafica in Rome,by Peliti editore. 40 euros ◾

ROM belongs to the same field of studyas the printed book and benefits from the tra-dition of study and description of the materialbibliography maintanined by five centuries ofpassion for books. It is, therefore, a happy co-incidence that the launch of this new reviewoccur during our Salon ◾

Alain Nicolas, President,Syndicat de la librairie ancienne et moderne

salon du livre ancien at the grand palais: This year the exposition that has, for

three years now, brought together autograph,rare book and print dealers at the Grand Palais,opens its doors to dealers in two related fieldsthat also take an interest in the cultural her-itage of paper-based expression, its analysis andits transmission: rare drawing dealers and pe-riod photography dealers gathered around aphotography pavilion.

Covers of the two volumes of Man Ray Stamps

Cover of the new catalog edited byFrancesca Bonetti

Les amis de Clémentineont le plaisir de vous inviter

au premier bal de ClémentineVendredi 16 avril 2010 à 19 h

Orchestre tzigane, jongleurs et acrobates

Jambon, vin des Corbières et fruits de circonstance

Salons Clémentine4 Galerie Vivienne, Paris 2e

Métro Palais-Royal

invitation for all your friends inquiries : www.clementine.org

L’agence Magnum de NYC, qui

commercialise aux USA des droits de

tirage, a vendu en bloc des épreuves

anciennes, — correspondant souvent

aux premiers tirages de lecture des

nombreuses œuvres devenues célèbres

des cinq fondateurs, Robert Capa,

Henri Cartier-Bresson, David (Chim)

Seymour, George Rodger et William

Vandivert, et des photographes les

ayant rejoints — à un prix unitaire

de 80 euros, relativement modeste en

regard des droits perçus pour n’im-

porte quel usage numérique.

big and little announcements

14 announcementsR.O.M.

april 2010

A Bogotá, Colombie

un jeune éditeur

distribue ROM dans

une ruelle pavée :

Carrera 3 No.8-62

La Candelaria

+ 571-3411114

John Jairo Martinez

www.antiquus.org

Recherche des boîtes de daguerréotypes

s’adresser au journal sous le n°7458

calendrier des ventesVentes à venir auxquelles participent lesAmis de Clémentine, dont le catalogue décritles épreuves positives et non des images parnégatif :

20 avril 2010Tajan : Photographie de voyage

23 juin 2010Binoche Renaud Giquello : Photographie

20 novembre 2010Binoche Renaud Giquello : Russie

foires et salons8-11 avril 2010

Vieux Papiers15-18 avril 2010

Salon du livre ancien, de l’autographe, de l’estampe, du dessin au Grand Palais

5-6 juin 2010Foire de Bièvres

Sudoku irrégulier symétrique (débutant)

ROM I April 2010 (issn en cours)Material history of photography

Publication director:Association des Amis de Clementine

Administration: 4 galerie Vivienne, 75002 Paris

English edition: Magdalena ZopfFrench edition: Nicolas Provoyeur

Annoncements: Chourouk Soummer

The review is available on-line on the site:www.clementine.org

Suggested contribution for the regular edition: 1 euro6 numbers sent by mail: 30 euros

55 numbered copies were printed “en grand papier”, with two original signed

silver prints from the series Lignes-portraits by Rossella Bellusci

Correspondents :Russia: Alexandre Pozin, Timur Gaïnoutdinov

USA: Flo Lunn, Leonard HelicherItaly: David Secchiaroli, Piero Casacchia

Colombia: John-Jairo Martinez, Jaime Rueda

Cover photo: Mack Sennett’s Bathing Beauty with camera

Recherche épreuves albuminées de Caravage

s’adresser au journal sous le n°7457

Les œuvres récentes de Rossella

sont exposées au Centre Pompidou

jusqu’en septembre 2010, salle 26,

section des immatérielles.

Ventotene, April 1943. It is on this is-land, transformed into a fascist penal colony, thatAltiero Spinello, overcome with love for UrsulaHirshmann, a beautiful German prisoner, wrotehis Manifeste de Ventotene. In it, he established thepolitical and cultural foundation for a Europe freefrom nationalisms.

1943, year zero for Europe, was alsomarked by the Battle of Stalingrad. Paul Huf tooka moving portrait of his newly liberated friendTon Raateland (below). Travelling to Germany, anSTO volunteer, composed the journal that we willpublish serially.

Part One:“20 juillet 1943 - 14 heures. Nous avons dé-

jeuné près de la gare de l’Est (déjeuner ? poireaux phar-maceutiques qui nous laisseront un arrière goût jusqu’àStuttgart). Sommes dans le hall – peur de manquer letrain. Rien à dire. Très calme.

Grande foule plus fleurs et grincements de dents.Atmosphère départ multipliée par cent, par mille. Aiadmiré, examiné une ancienne locomotive 1830 exposéedans le hall – bu des bocks à la buvette, rien à dire. Jesuis presque joyeux. Je sens l’odieux de ma conduite et jevoudrais parler, être affectueux. Je le voudrais par rai-son. Rien ne vient. Sincèrement je voudrais voir l’heureavancer. Rien en moi si ce n’est une immense curiosité deconnaître l’Allemagne. Je me sens effroyablement calme.Guy parle avec volubilité. Le trac ?

20 juillet 1943 - 15 heures. Je viens de passersur le quai. Donné au guichet mes papiers et reçu unnuméro qui doit m’envoyer jusqu’à Münich. Je parcoursle train et remonte en tête pour trouver une place.Dernières illusions perdues. Partout vinasseries, saucis-sons, filles, sinistres gueules, les sales petites gueules pâlesde l’ouvrier parisien, rasées de près, blafardes, des têtesde condamnés à mort avec leur cheveux longs coupés rasdans le cou et leurs yeux sombres enfoncés et cernés. En-foncés par quatre années de privation et par des généra-tions d’alcooliques, cernés par le vice. Autour du cou lefoulard de couleur plié avec soins. La casquette biendroite. Partout ces sales petites têtes d’apache que je de-vrais voir si fier durant des mois. Mais alors je ne veuxpas voir, je veux croire, je crois que ce sont des exceptions,des souteneurs, des maquereaux quelconques...(to be continued)

R.O.M.april 2010 serial 15

05.7. Portrait of the anonymous STO volunteerwho would recodrd his experiences in 1943 in a

journal that we will publish serially.

05.7. Portrait of the painter Ton Raatelandtaken in 1943 by his friend Paul Huf followinghis return from the Amersfoort camp (Leusden).

(prov. Mattie Boom)

1943 : europe year zero

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