Paris Photo 2024
Magnum Gallery, Booth C02
Garden I. Minneapolis, Minnesota, USA, 2023, by Alec Soth. Archival pigment print, 114 x 140 cm /45 x 55 in (paper size)
Booth C02
Grand Palais
75008 Paris
France
November 7–10
We are excited to be returning to the Grand Palais for this year's Paris Photo where we will present a selection of works by Werner Bischof, Antoine d'Agata, Elliott Erwitt, Harry Gruyaert, Chris Killip, Sergio Larrain, Herbert List, Cristina de Middel, Alessandra Sanguinetti, Alec Soth, Newsha Tavakolian, and Alex Webb.
Explore a selection of highlights from our booth below.
Philippe Halsman
J. Robert Oppenheimer. Princeton, New Jersey, USA, 1958
Early gelatin silver, printed by Halsman, 35,5 x 28 cm / 14 x 11 in (paper size)
When Philippe Halsman met J. Robert Oppenheimer in 1958, it was to take his portrait for a commission for The Saturday Evening Post.
'I was almost trembling with excitement, not because I was going to meet a fascinating and controversial man, but because I was about to face one of the most highly developed brains of our time.' - Philippe Halsman
Sergio Larrain
Valparaiso, Chile, 1978
Vintage gelatin silver print, 39,5 x 30 cm / 15.5 x 12 in (paper size)
Many of Larrain’s most recognizable images were shot in his home country, particularly in Valparaiso, a port city in Chile, where he experimented with unique vantage points and unconventional framing, simultaneously establishing and expanding his visual vocabulary.
Chris Killip
Cookie in the snow. Lynemouth, Northumberland, England, U.K., 1984
Lifetime gelatin silver print, 40 x 50 cm / 16 x 20 in (paper size)
Grounded in sustained immersion and participation in the communities he photographed, Killip’s keenly observed work chronicled ordinary people’s lives in stark, yet sympathetic, detail. His photographs are recognized as some of the most important visual records of 1980s Britain.
Alex Webb
Tehuantepec, Oaxaca, Mexico, 1985
Vintage cibachrome, 40,5 x 50,5 cm / 16 x 20 in (paper size)
Alex Webb began his career as a photographer in the 1970s, making pictures of the American social landscape in the streets of New England and New York, working exclusively in black-and-white. Webb turned to color several years after his first trips to Haiti and Mexico, finding that black-and-white was far too restrictive a medium to capture the emotional vibrancy and intensity of these cultures.
Alessandra Sanguinetti
Camilla. Buenos Aires, Argentina, 1999
C-print, 78 x 78 cm / 31 x 31 in (paper size)
For more than two decades, Sanguinetti has been photographing the lives of Guillermina and Belinda, two cousins living in rural Argentina, as they move through childhood and youth toward womanhood. Sanguinetti’s images portray a childhood that is both familiar and exceptional. Sanguinetti's body of work is portrait of rural childhood at once quiet and poetic, in which the fantastic and the mundane are intimately entwined.
Cristina de Middel
Una Piedra en el Camino. San Isidro RoaguĂa, Oaxaca, Mexico, 2018
Archival pigment print
100 x 124 cm / 39.4 x 48.8 in (paper size)
"Journey to the Center" reimagines the Central American migration route through Mexico as a heroic, adventurous quest, inspired by Jules Verne's Journey to the Center of the Earth. The journey begins in Tapachula, on Mexico's southern border with Guatemala, and ends in Felicity, California—the "Center of the World," a quirky landmark near the border fence. This ironic endpoint adds a dystopian twist, casting the final destination as little more than a roadside attraction.
Blending documentary photography with constructed images and archival material, the series offers a nuanced, multi-layered narrative that challenges the simplistic view often seen in media and official reports on migration.
Newsha Tavakolian
Girl Smelling a Rose, 2023
Archival pigment print, 163,5 x 110 cm / 64.4 x 43.3 in (paper size)
The images within this piece are part of Tavakolian’s recent series “And They Laughed at Me,” in which she critically examines photographs she took during the first three years of her career, from 1996 to 1999.
The interplay between past and present emerges through a succession of altered images that urge viewers to look again, mirroring Tavakolian’s perspective shift from external observation toward self-reflection.