Café du rêve
Marc Camille Chaimowicz
1985
Café du rêve
Café du rêve
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Chaimowicz’s oniric artist’s book is conceived as an imaginary journey: a personal psychogeography consisting of journal entries, personal photographs, letters, postcards from Milan, Tunis, and Algiers, quotations from André Gide and Marcel Proust, and lyrics ...
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Café du rêve
Marc Camille Chaimowicz
1985
Paris and London: Editions du Regard-Galerie de France and Thames and Hudson
186 pages
25.7 × 21 cm

Chaimowicz’s oniric artist’s book is conceived as an imaginary journey: a personal psychogeography consisting of journal entries, personal photographs, letters, postcards from Milan, Tunis, and Algiers, quotations from André Gide and Marcel Proust, and lyrics by Lou Reed. The narrative is fragmentary, yet a certain story emerges from these shifting landscapes. Reflecting on this “voyage épistolaire”, Lise Lerichomme remarks:


 


“It seems that the artist is drawn to travel for the wandering it enables, for drifting through streets without any real purpose. Yet, paradoxically, Marc-Camille Chaimowicz also enjoys making use of his interior spaces, whether they are truly his own (as in “Approach Road”) or borrowed (as can be the case with the hotel rooms he is so fond of). Here, travel is conceived as the passage from one place to another rather than as a journey or even an end in itself. Nothing compares to the imagined, dreamed, fantasised journey, in which one moves freely through places still unknown, while imagining a return to places that are dear to us. For the artist, it is a matter of preserving the thrill inherent to travel and remaining in a state of constant transit.” (Correspondances d’artistes : du brouillon à la lettre ouverte, 2012)


 


Extending the reverie and montage themes in “Dream: An Anecdote” (1977), this artist’s book concludes with a selected biography and bibliography.

Paris and London: Editions du Regard-Galerie de France and Thames and Hudson
186 pages
25.7 × 21 cm

Chaimowicz’s oniric artist’s book is conceived as an imaginary journey: a personal psychogeography consisting of journal entries, personal photographs, letters, postcards from Milan, Tunis, and Algiers, quotations from André Gide and Marcel Proust, and lyrics by Lou Reed. The narrative is fragmentary, yet a certain story emerges from these shifting landscapes. Reflecting on this “voyage épistolaire”, Lise Lerichomme remarks:

 

“It seems that the artist is drawn to travel for the wandering it enables, for drifting through streets without any real purpose. Yet, paradoxically, Marc-Camille Chaimowicz also enjoys making use of his interior spaces, whether they are truly his own (as in “Approach Road”) or borrowed (as can be the case with the hotel rooms he is so fond of). Here, travel is conceived as the passage from one place to another rather than as a journey or even an end in itself. Nothing compares to the imagined, dreamed, fantasised journey, in which one moves freely through places still unknown, while imagining a return to places that are dear to us. For the artist, it is a matter of preserving the thrill inherent to travel and remaining in a state of constant transit.” (Correspondances d’artistes : du brouillon à la lettre ouverte, 2012)

 

Extending the reverie and montage themes in “Dream: An Anecdote” (1977), this artist’s book concludes with a selected biography and bibliography.

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Chaimowicz’s oniric artist’s book is conceived as an imaginary journey: a personal psychogeography consisting of journal entries, personal photographs, letters, postcards from Milan, Tunis, and Algiers, quotations from André Gide and Marcel Proust, and lyrics by Lou Reed. The narrative is fragmentary, yet a certain story emerges from these shifting landscapes. Reflecting on this “voyage épistolaire”, Lise Lerichomme remarks:

 

“It seems that the artist is drawn to travel for the wandering it enables, for drifting through streets without any real purpose. Yet, paradoxically, Marc-Camille Chaimowicz also enjoys making use of his interior spaces, whether they are truly his own (as in “Approach Road”) or borrowed (as can be the case with the hotel rooms he is so fond of). Here, travel is conceived as the passage from one place to another rather than as a journey or even an end in itself. Nothing compares to the imagined, dreamed, fantasised journey, in which one moves freely through places still unknown, while imagining a return to places that are dear to us. For the artist, it is a matter of preserving the thrill inherent to travel and remaining in a state of constant transit.” (Correspondances d’artistes : du brouillon à la lettre ouverte, 2012)

 

Extending the reverie and montage themes in “Dream: An Anecdote” (1977), this artist’s book concludes with a selected biography and bibliography.

Paris and London: Editions du Regard-Galerie de France and Thames and Hudson
186 pages
25.7 × 21 cm

Chaimowicz’s oniric artist’s book is conceived as an imaginary journey: a personal psychogeography consisting of journal entries, personal photographs, letters, postcards from Milan, Tunis, and Algiers, quotations from André Gide and Marcel Proust, and lyrics by Lou Reed. The narrative is fragmentary, yet a certain story emerges from these shifting landscapes. Reflecting on this “voyage épistolaire”, Lise Lerichomme remarks:

 

“It seems that the artist is drawn to travel for the wandering it enables, for drifting through streets without any real purpose. Yet, paradoxically, Marc-Camille Chaimowicz also enjoys making use of his interior spaces, whether they are truly his own (as in “Approach Road”) or borrowed (as can be the case with the hotel rooms he is so fond of). Here, travel is conceived as the passage from one place to another rather than as a journey or even an end in itself. Nothing compares to the imagined, dreamed, fantasised journey, in which one moves freely through places still unknown, while imagining a return to places that are dear to us. For the artist, it is a matter of preserving the thrill inherent to travel and remaining in a state of constant transit.” (Correspondances d’artistes : du brouillon à la lettre ouverte, 2012)

 

Extending the reverie and montage themes in “Dream: An Anecdote” (1977), this artist’s book concludes with a selected biography and bibliography.

MORE BOOKS

Chaimowicz’s oniric artist’s book is conceived as an imaginary journey: a personal psychogeography consisting of journal entries, personal photographs, letters, postcards from Milan, Tunis, and Algiers, quotations from André Gide and Marcel Proust, and lyrics by Lou Reed. The narrative is fragmentary, yet a certain story emerges from these shifting landscapes. Reflecting on this “voyage épistolaire”, Lise Lerichomme remarks:

 

“It seems that the artist is drawn to travel for the wandering it enables, for drifting through streets without any real purpose. Yet, paradoxically, Marc-Camille Chaimowicz also enjoys making use of his interior spaces, whether they are truly his own (as in “Approach Road”) or borrowed (as can be the case with the hotel rooms he is so fond of). Here, travel is conceived as the passage from one place to another rather than as a journey or even an end in itself. Nothing compares to the imagined, dreamed, fantasised journey, in which one moves freely through places still unknown, while imagining a return to places that are dear to us. For the artist, it is a matter of preserving the thrill inherent to travel and remaining in a state of constant transit.” (Correspondances d’artistes : du brouillon à la lettre ouverte, 2012)

 

Extending the reverie and montage themes in “Dream: An Anecdote” (1977), this artist’s book concludes with a selected biography and bibliography.

MORE BOOKS