01.16.10-02.25.10 Galerie Karsten Greve, Paris, review written by Julia Langbein...

<p> ­­­­­­­­By the last decades of the nineteenth century, an obscuring perplex of ideas regarding dust hung above the inhabitants of the European city like overlapping clouds, variously threatening or inspiring with the weight of knowledge, quantity of filth, or degree of infection they contained. London, especially—having only lately escaped a mid-century cholera season that had devastated parts of the inner city—seemed to exist in a miasmic haze of dirt, disease, and curiously aestheticized industrial pollution. As early as 1661, in th­e pages of his <em>Fumifugium: Or, The Inconvenience of the Aer and Smoake of London Dissipated</em>, the diarist and polymath John Evelyn had complained that citizens breathed “nothing but an impure and thick Mist, accompanied by a fuliginous and filthy vapour,” which concoction scoured their lungs and disordered the entire body, so that coughs, catarrhs, and consumption raged more in London alone than in the whole of the rest of the world. The poison fug was partly attributable to domestic fires, but Evelyn blames brewers, dyers, lime-burners, and salt- and soap-boilers for the most noxious emanations:</p>...

A long-time director of photography, Xavier Pérez Grobet has quietly become of of cinema's most intelligent and reliable cinematographers. With his newest movie, Mother and Child, screening in the "Spotlight" section at the 2010 Sundance Film Festival Grobet spoke with MM....

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