JSBJ - FLAUNT MAGAZINE
Photography can serve as an empirical record of faces, objects, and groups, but the camera’s frame can also exclude and obsess, forming images of ethereal questions and subtle traces. With the Internet’s intense trafficking in disassociated photography, we are reaching a liminal point of curious enjoyment, an openness to wonder about the parallel magic of everyone’s banality, the stupendous visual monotony of the world’s mysteries. Operating in a refined capacity with the haunting unknown, Je Suis Une Bande Des Jeunes make small-run, intimate photo publications that say nothing overt with what they show but hint at everything in between. Founded by a group of four friends—Jérémie Egry (b. 1979), Aurélien Arbet (b. 1980), Marco Barrera (b. 1985) and Nicolas Poillot (b. 1978
—from France, Spain and New York, who bonded together over the course of several road trips, their collective aesthetic is one of romantic solemnity, petite love affairs with decay, and je ne sais quoi. Through Je Suis Une Bande De Jeunes’ weltanschauung, landscapes transform into vast reminders of human insignificance, love is a poem told through strippedoff clothes on the floor, and people become Us, we are Others, all of us united by the shrines and relics where we burn our alms. From his studio in New York, Jérémie Egry shares a few thoughts about his pictures.
What motivated you to start publishing?
We started to publish zines in 2006. We loved the simplicity behind the realization, and the possibilities of exchange and encounter due to this form of diffusion. A limited edition gives a certain character to each zine, it’s a way to experiment within the boundaries of its fabrication. Our continuing with zines, posters and other homemade creations through a rare and limited spread is an antipole to our contemporary digital world.
Do you publish these books as a way to bridge the disconnection between holding a photograph and looking at one on a computer screen?
Indeed, our publications are a balance between these two aspects. We have a wish that images are not just visible through the computer. It’s important for us to be able to restore that in a physical and concrete way.
Do you intentionally keep the sexy hints in your pictures kind of quiet?
We try not to be too “first degree” in our images. We naturally exclude all that has too much of a direct rapport or ratio with vulgarity and sensationalism. Evil is always seducing us, I think. Our images are, most of the time, rather simple, a little sad, and calm. This can be a certain romantic and adventurous point of view.
If every picture tells a story, does a group of pictures tell 1000 stories?
If all these images are more or less different, then we’re certain that the answer is yes. As an image essentially captures a moment of time, then that image speaks its own time and history. Juste une phrase, apercu sur un coin de table. “Just a sentence, seen on a corner of a table.”
FLAUNT - Issue 105
The Vagabond Issue: Permanent Vacation
Text By Drury Brennan
—from France, Spain and New York, who bonded together over the course of several road trips, their collective aesthetic is one of romantic solemnity, petite love affairs with decay, and je ne sais quoi. Through Je Suis Une Bande De Jeunes’ weltanschauung, landscapes transform into vast reminders of human insignificance, love is a poem told through strippedoff clothes on the floor, and people become Us, we are Others, all of us united by the shrines and relics where we burn our alms. From his studio in New York, Jérémie Egry shares a few thoughts about his pictures.
What motivated you to start publishing?
We started to publish zines in 2006. We loved the simplicity behind the realization, and the possibilities of exchange and encounter due to this form of diffusion. A limited edition gives a certain character to each zine, it’s a way to experiment within the boundaries of its fabrication. Our continuing with zines, posters and other homemade creations through a rare and limited spread is an antipole to our contemporary digital world.
Do you publish these books as a way to bridge the disconnection between holding a photograph and looking at one on a computer screen?
Indeed, our publications are a balance between these two aspects. We have a wish that images are not just visible through the computer. It’s important for us to be able to restore that in a physical and concrete way.
Do you intentionally keep the sexy hints in your pictures kind of quiet?
We try not to be too “first degree” in our images. We naturally exclude all that has too much of a direct rapport or ratio with vulgarity and sensationalism. Evil is always seducing us, I think. Our images are, most of the time, rather simple, a little sad, and calm. This can be a certain romantic and adventurous point of view.
If every picture tells a story, does a group of pictures tell 1000 stories?
If all these images are more or less different, then we’re certain that the answer is yes. As an image essentially captures a moment of time, then that image speaks its own time and history. Juste une phrase, apercu sur un coin de table. “Just a sentence, seen on a corner of a table.”
FLAUNT - Issue 105
The Vagabond Issue: Permanent Vacation
Text By Drury Brennan
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