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	<title> INDOCHINA CARTACARO.COM &lt;br&gt; Postcards, Photographs &lt;br&gt; Vietnam, Laos, Cambodia </title>
	<link>https://www.cartacaro.com/</link>
	<description>Postcards from Indochina: Tonkin, Annam, Cochinchina, Laos, Cambodia. Walks in the Indochina of yesteryear from postcards. Historical explanations of life scenes. Postcards sought purchase - sale. Remarkable philatelic postage lists. Cartophilic works by the author Caroline REQUET, for sale France, Europe, America USA, Asia.</description>
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		<title> INDOCHINA CARTACARO.COM &lt;br&gt; Postcards, Photographs &lt;br&gt; Vietnam, Laos, Cambodia </title>
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		<title>Watanabe, the Japanese Photographer in Hanoi 1910-1915</title>
		<link>https://cartacaro.com/spip.php?article2293</link>
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		<dc:date>2025-10-09T13:52:21Z</dc:date>
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&lt;p&gt;Watanabe, the Japanese Photographer in Hanoi: A Historical Enigma &lt;br class='autobr' /&gt;
A Mysterious Figure Emerges &lt;br class='autobr' /&gt;
From 1910 onward, a Japanese photographer named Watanabe operated in Hanoi. His name appeared in the Annuaire g&#233;n&#233;ral de l'Indochine until 1914, always listed with the initial H. before his surname. Yet, another Watanabe&#8212;this time with a first name starting with S.&#8212;was credited on studio portraits. &lt;br class='autobr' /&gt;
Was this the same individual? A relative? Or simply an error in the directory, which often (&#8230;)&lt;/p&gt;


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		<title>Ha&#239;kus, Michael Kenna </title>
		<link>https://cartacaro.com/spip.php?article2198</link>
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		<dc:date>2025-09-29T05:00:00Z</dc:date>
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&lt;p&gt;Born in 1953 in Widnes, an industrial town in northwest England, Michael Kenna grew up in a working-class Catholic family. After seven years at a minor seminary, hoping to become a priest, the young man discovered a passion for art. He chose to study photography at the Banbury School of Art and then at the London College of Printing, from which he graduated in 1976. He moved to the United States the following year and in San Francisco met photographer Ruth Bernhard, whose printer he would be (&#8230;)&lt;/p&gt;


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		<title>Haikus, The return to the motif</title>
		<link>https://cartacaro.com/spip.php?article2197</link>
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		<dc:date>2025-09-24T05:00:00Z</dc:date>
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		<description>
&lt;p&gt;During his travels in Asia, Michael Kenna developed a fondness for certain places and patterns, to the point of rephotographing them periodically. The series thus created have become essential milestones in his work. &lt;br class='autobr' /&gt;
Composed of female nudes taken in Japan since 2008, the series Rafu is situated on the fringes of the artist's usual work. Like his landscapes, however, it harnesses the interpretive power of photography to question the relationship between the body and space. The organic (&#8230;)&lt;/p&gt;


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		<title>Haikus, The Image Factory</title>
		<link>https://cartacaro.com/spip.php?article2196</link>
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		<dc:date>2025-09-17T05:00:00Z</dc:date>
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		<dc:subject>2025</dc:subject>
		<dc:subject>Michael Kenna</dc:subject>
		<dc:subject>Photography</dc:subject>

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&lt;p&gt;Although Michael Kenna now uses digital technology, preparing his compositions with a smartphone and sharing his work online, his photographs are all produced using traditional film techniques, which rely on the light sensitivity of silver halides. In silver halide photography, the shot produces a negative on film, which is then used as a matrix for printing on paper. The final work is only the visible part of a multitude of images produced at different stages (instant prints and digital (&#8230;)&lt;/p&gt;


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&lt;a href="https://cartacaro.com/spip.php?mot272" rel="tag"&gt;2025&lt;/a&gt;, 
&lt;a href="https://cartacaro.com/spip.php?mot293" rel="tag"&gt;Michael Kenna&lt;/a&gt;, 
&lt;a href="https://cartacaro.com/spip.php?mot307" rel="tag"&gt;Photography&lt;/a&gt;

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		<title>Haikus, Calligraphing the real, Abstractions</title>
		<link>https://cartacaro.com/spip.php?article2195</link>
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		<dc:date>2025-09-10T05:00:00Z</dc:date>
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		<dc:subject>2025</dc:subject>
		<dc:subject>Michael Kenna</dc:subject>
		<dc:subject>Photography</dc:subject>

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&lt;p&gt;Calligraphing the Real
&lt;br class='autobr' /&gt;
Some photographs by Michael Kenna exist at the boundary between figuration and abstraction. In these compositions, plants or structures (poles, barriers, and others) are arranged against a uniformly white background like musical notes or enigmatic characters. This ambiguity between the sign and meaning is found in Japanese cursive calligraphy, where the monumentality of the stroke can transform a character into a landscape. &lt;br class='autobr' /&gt;
It is in the snow-covered valleys of (&#8230;)&lt;/p&gt;


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&lt;a href="https://cartacaro.com/spip.php?mot272" rel="tag"&gt;2025&lt;/a&gt;, 
&lt;a href="https://cartacaro.com/spip.php?mot293" rel="tag"&gt;Michael Kenna&lt;/a&gt;, 
&lt;a href="https://cartacaro.com/spip.php?mot307" rel="tag"&gt;Photography&lt;/a&gt;

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		<title>Photographer, Yon Tchuong, Hanoi</title>
		<link>https://cartacaro.com/spip.php?article2133</link>
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		<dc:date>2025-09-06T05:00:00Z</dc:date>
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&lt;p&gt;At 89 Paniers Street in Hanoi, the photography studio belongs to Yon Tchuong, a local photographer, possibly of Chinese descent. The photograph was taken in this studio. It depicts a Vietnamese man sitting, with a landscape backdrop. This landscape consists of a road lined with a wooden fence and bushy trees, all set in a misty and cloudy atmosphere. The photograph is mounted on cardboard and designed as a souvenir intended to be placed on a wall or a piece of furniture for display. The (&#8230;)&lt;/p&gt;


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		<title>Haikus, Capturing the Invisible </title>
		<link>https://cartacaro.com/spip.php?article2194</link>
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		<dc:date>2025-09-03T05:00:00Z</dc:date>
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		<dc:subject>2025</dc:subject>
		<dc:subject>musee</dc:subject>

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&lt;p&gt;Michael Kenna's choice to always interpret his subject rather than document it has led him to test the limits of photography by attempting to capture what he calls &#8216;the invisible'. In his work, this elusive material ranges from emotion (aroused by the interaction between two elements) to pure form (isolated by a compression of space). Halfway between figuration and abstraction, Michael Kenna also practises a form of photo-calligraphy in which the rhythm introduced by dark elements is (&#8230;)&lt;/p&gt;


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&lt;a href="https://cartacaro.com/spip.php?rubrique363" rel="directory"&gt;Silver Haikus 2025&lt;/a&gt;

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&lt;a href="https://cartacaro.com/spip.php?mot272" rel="tag"&gt;2025&lt;/a&gt;, 
&lt;a href="https://cartacaro.com/spip.php?mot294" rel="tag"&gt;musee&lt;/a&gt;

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		<title>Haikus, Devotion and Occupation</title>
		<link>https://cartacaro.com/spip.php?article2193</link>
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		<dc:date>2025-08-27T14:41:00Z</dc:date>
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		<description>
&lt;p&gt;Devotion The photographs taken by Michael Kenna in the temples and shrines of Asia showcase the devotion of women and men, which is evident both in the architecture and in the marks of piety. This subject is particularly dear to the photographer, who has also described shooting and printing as meditative activities, his photographs as prayers, and his formal vocabulary as the result of a spiritual understanding of existence. &lt;br class='autobr' /&gt;
Occupation If he often works in peaceful and quiet places, (&#8230;)&lt;/p&gt;


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		<title>Haikus, Living in the world</title>
		<link>https://cartacaro.com/spip.php?article2192</link>
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		<dc:date>2025-08-20T05:00:00Z</dc:date>
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		<dc:language>en</dc:language>
		


		<dc:subject>2025</dc:subject>
		<dc:subject>Michael Kenna</dc:subject>
		<dc:subject>musee</dc:subject>

		<description>
&lt;p&gt;Living in the World One would be hard-pressed to identify people in the photographs of Michael Kenna. Yet, humanity occupies a central place in his work through the traces of its activities left in the landscape. The photographer thus represents different ways of living in the world, ranging from a discreet presence in harmony with nature to a total occupation of space, including spiritual practice. Human activities hold an important place in the iconography of Asian arts. In Japan, while (&#8230;)&lt;/p&gt;


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&lt;a href="https://cartacaro.com/spip.php?rubrique363" rel="directory"&gt;Silver Haikus 2025&lt;/a&gt;

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&lt;a href="https://cartacaro.com/spip.php?mot272" rel="tag"&gt;2025&lt;/a&gt;, 
&lt;a href="https://cartacaro.com/spip.php?mot293" rel="tag"&gt;Michael Kenna&lt;/a&gt;, 
&lt;a href="https://cartacaro.com/spip.php?mot294" rel="tag"&gt;musee&lt;/a&gt;

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		<title>Haikus, Eternal Peaks and Venerable Trees</title>
		<link>https://cartacaro.com/spip.php?article2191</link>
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		<dc:date>2025-08-13T05:00:00Z</dc:date>
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		<dc:language>en</dc:language>
		


		<dc:subject>Agriculture</dc:subject>
		<dc:subject>2025</dc:subject>
		<dc:subject>Michael Kenna</dc:subject>
		<dc:subject>musee</dc:subject>

		<description>
&lt;p&gt;Eternal Peaks Provided one braves the rugged terrain and unpredictable weather, the mountains are a very fertile subject for photographers. The compositions of Michael Kenna eloquently testify to this, particularly those made since 2007 in the Huang Mountains (Huangshan) in eastern China. The fantastic silhouettes of granite peaks rising from an ocean of clouds echo the tradition of celebrating &#8220;mountains and waters&#8221; (shanshui) practiced by poets and later by Chinese Literati painters (&#8230;)&lt;/p&gt;


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&lt;a href="https://cartacaro.com/spip.php?mot164" rel="tag"&gt;Agriculture&lt;/a&gt;, 
&lt;a href="https://cartacaro.com/spip.php?mot272" rel="tag"&gt;2025&lt;/a&gt;, 
&lt;a href="https://cartacaro.com/spip.php?mot293" rel="tag"&gt;Michael Kenna&lt;/a&gt;, 
&lt;a href="https://cartacaro.com/spip.php?mot294" rel="tag"&gt;musee&lt;/a&gt;

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