HOOLIGANS, WHY?

by ridlet

"He was a sweet and tender hooligan, hooligan 
And he said that he’d never, never do it again 
And of course he won’t (oh, not until the next time) 

[…]

Just will you free me?
Will you find me?”

- Sweet and Tenter Hooligan, The Smiths

PARC DES PRINCES / LES FOOTBALLEURS - oeuvres partielles et mêlées

by 

nicolas de staël

Nicolas de Staël à René Char

 Paris, 10 avril 1952

Très cher René,

Merci de ton mot, tu es un ange, comme les gars qui jouent au Parc des Princes la nuit. Je n’arrive pas à te joindre au téléphone, il y a une abeille asexuée qui bourdonne sur la langue de cette femme en sycomore qui s’intègre à ton hôtel. 

Je pense beaucoup à toi. Quand tu reviendras, on ira voir des matches ensemble, c’est absolument merveilleux, personne là-bas ne joue pour gagner si ce n’est à de rares moments de nerfs où l’on se blesse. 
Entre ciel et terre, sur l’herbe rouge ou bleue, une tonne de muscle voltige en plein oubli de soi, avec toute la présence que cela requiert en toute invraisemblance. Quelle joie, René, quelle joie ! 

Alors j’ai mis en chantier toute l’équipe de France, de Suède, et cela commence à se mouvoir un tant soit peu. Si je trouvais un local grand comme la rue Gauguet , je mettrais deux cents petits tableaux en route pour que la couleur sonne comme les affiches sur la nationale au départ de Paris. 

Mais voilà, place Saint-Michel, une fille de Marseille qui m’enlève tout le calme pour méditer à mes projets. Une vulgarité René, telle que cela devient sublime, et ronde comme une pierre tendre. Dieu sait si j’arrive à faire un nu avec ce phénomène mais j’ai jamais vu un volume pareil à vingt ans. 

Je te promets de ces rigolades à ton retour, tu n’as qu’à chasser les mirages. Écris-moi si tu as un peu de temps, je vends des pommes au Texas. 

Merci encore de ton accueil à mon tableautin.

À toi.

Nicolas”

—-

Vous pouvez lire la brève Au fait, France-Suède, c’était de l’art de Adrien Pécout à ce sujet, ainsi que cet article pour mieux saisir les concepts derrière son oeuvre. 

100 QUERER

by dan gifford and lorraine gallard

"The premiership. FIFA. Billion dollar deals, super-agents and match-fixing. Sometimes it’s worth remembering what football should really be about.

Check out this film about a grass-roots soccer club from the favelas of São Paulo. They play only for the love of the game, have been going for over forty years and have produced six Brazilian internationals. Not bad for a team with nowhere to play.”

SOCCER PLAYERS IN AGONY…

by jonathan twingley

Vous pouvez voir davantage de cet artiste américain sur son compte Behance, ainsi que sur son site Web

CORE DE ROMA

by invisible dog

"A film to understand Rome, its passion for AS Roma and the divide with SS Lazio. A trip to a place that is no more and that represented for decades the heart of the eternal city. A special documentary about special people: the Romans and Romanistas, and a sole Laziale, of the Testaccio Roma Club."

MAROKKO FOOTBALL

by fabian sommer

Vous pouvez visiter davantage de ce photographe allemand sur son site Web.

TIRO LIBRE

by leonardo funes

"Free Kick Football in La Pampa, Argentina. Casual scene that took place during the shooting of a documentary on rural schools around the country. Winner of the Weekend “One Minute” Challenge.”

KEEPERS

by hans van der meer

"In 2001 my Dutch publisher Fred Schmidt from De Verbeelding Publishers asked me if I had something in stock to publish. In the football archive I had those returning images from a solitary goalkeeper. They were the result of the way I worked, a kind of spin off you could say.

The location search for my football images always took me a lot of time. I used to select only football grounds where a world behind the pitch would appear in a descriptive way. My viewpoint was defined by that idea from the very beginning, as I started to photograph football in 1995. I needed that world outside the pitch to visualize that football was an important part of our culture.”

Voyez le reste de cette collection ICI, ainsi que le site Web de Hans van der Meer comportant tous ses autres projets photographiques. Ça en vaut le détour. Promis. 

FUTEBOL NO POSTER

by paulo junger

"Pôsteres criados com fotos de arquivo, frases e momentos marcantes ou pitorescos do futebol brasileiro."

Directeur artistique pour l’agence brésilienne DM9DDB, Paulo Junger nous offre cette collection d’affiches à partir de photos d’archive, de citations célèbres et de moments mémorables qu’il a rassemblés, glanés et assemblés en un objectif bien simple : raconter le football brésilien à travers son regard.

Vous pouvez voir le reste des ses réalisations ICI

THE LOST WORLD CUP

by lorenzo garzella & filippo macelloni

"This is the true, incredibile story of the forgotten World Cup of 1942 played in Patagonia.

As you may know, FIFA launched its World Cup in 1930 with the idea of playing a new one every four years. There was, however, a gap between 1938 and 1950, on account of World War II breaking out. Yet some believe that there was in fact a tournament in 1942, held in Patagonia, the southernmost region in both Argentina and Chile.

FIFA refused to recognise the competition, or so the story goes, and as a result there are no official records of it today.

The film kicks off with the discovery of some unknown human remains on the outskirts of a small town in Patagonia. The bones belong to a cameraman commissioned to film the tournament by the region’s Minister for Sport, and the tournament’s brainchild, Count Otz. Otz is painted as an intriguing character, a visionary ahead of his time. While FIFA seem to be put off by the idea of a World Cup at a time when a World War is raging, Otz is determined to prove that sport is capable of rising above evil.

He soon has his way as a 12-team tournament, complete with a replica Jules Rimet trophy, is set up. Competing nations include reigning world champions Italy, England (making their debut on the world stage), a Nazi Germany team, France, Brazil, Patagonia, and a side made up of the indigenous inhabitants of the region, the Mapuche.

Argentina, along with Chile, refuse to recognise the tournament as they are not prepared to enter into competition with the Mapuche, reflecting the political tensions over issues with land on the continent at the time.

The film is brought to life by rare footage that still exists today from the tournament, which does an excellent job of projecting the romanticism of football; that no matter from what period, or how poor such footage may be, it is a sport that anyone, anywhere is capable of relating to.

On top of the footage we are treated to a feast of talking heads. Legends of the game, such as Gary Linker and Roberto Baggio, air their views on the subject, helping to create a sense of just how important this tournament really was, and still is, in the history of football.

Alongside the more recognisable faces are the real heroes of the story: the players themselves. Most of the sides were made out of amateurs, barring Italy and Germany who paid for a few professionals to compete. And it these farmers, miners and fishermen who provide the real colour to the film, talking about their memories from all those years ago. There’s the Italian who points out that he and his team-mates had nothing to do with the fascism of Mussolini that was going on on the other side of the world; the German who insists that the Nazi players were not philosophers, but just soldiers doing their job; and the member of the Mapuche team, still full of as much energy and enthusiasm on his farm today as he was back on the pitch.

It is easy to harp on about the good old days such as these, when football was far purer without the Twitterati landscape of money and power that it finds itself suffocated by today. However, there are plenty of times in the film when corruption and politics threaten to bring down the good name of the 1942 World Cup: FIFA refusing to sanction the tournament, Argentina and Chile turning down the opportunity of participating, not to mention the odd example of bribery and match-fixing that draws plenty of parallels to the goings on of today. Perhaps one point the film is trying to make is that corruption has always tried to rear its ugly head, whether there is romanticism aplenty or not.

As well as the historical and political aspects of the film, it is also an entertaining romp from beginning to end. We hear, and see, tales of Butch Cassidy’s son - equipped with a cowboy hat and gun - being called in to referee the tournament, a member of the Italy team throwing l powder in an opponents’ eye, and the Mapuche goalkeeper who has never conceded a penalty in his career due to his hypnotic powers, just to name a few.

Writing this retrospectively, it is perhaps obvious that The Lost World Cup is a hoax. As funny as some of these moments are, they are surely just a little over the top to be true. If you are going to be cynical about it, then you could pick holes in the actual footage and ask how can so much of it, and of such high quality at that, still be around today. Yet that is what makes this film so special: it suspends your disbelief and makes you want to believe.

Without wanting to give too much of the story away, the final brings together the Mapuche and the Nazis: Good versus Evil. Due to an amazing circumstance of events that has something to do with some lost footage, decades later, the Mapuche are crowned world champions of the 1942 World Cup.”

FOOTBALL FIELD

a project by maider lópez

"A football field at the Sharjah Museum Square in which street furniture interferes with the game. Different ways of experiencing the public space coexist in this football field; it suggests new uses for the square and a new structure for the urban space.

9th Sharjah Biennial, 2007. Arab Emirates.”

FOOTBALL FIELD FILM

Pour davantage de Maider López, vous pouvez visiter son site et ses divers projets, ICI.

AMMOONINA CARDS 

by ammooina design studio

Vous pouvez suivre le travail de ce designer graphique italien sur son site Web, ainsi que sur son compte Twitter.


FOOTBALL PITTORESQUE
 - fragments de l’oeuvre 

de roger mayne

"My reason for photographing the poor streets is that I love them, and the life on them (I am here concerned with what I see: for the moment it is irrelevant that most of these houses have no baths, and that their structure is endangered by disrepair). Empty, the streets have their own kind of beauty, a kind of decaying splendour, and always great atmosphere — whether romantic, on a hazy winter day, or listless when the summer is hot; sometimes it is forbidding; or it may be warm and friendly on a sunny spring weekend when the street is swarming with children playing, and adults walking through or standing gossiping. I remember my excitement when I turned a corner into Southam Street, a street I have returned to again and again…

I think an artist must work intuitively, and let his attitudes be reflected by the kinds of things he likes or finds pictorial. Attitudes will be reflected because an artist is a kind of person who is deeply interested in people, and the forces that work in our society. This implies a humanist art, but not necessarily an interest in ‘politics’”.

Roger Mayne 

OEUVRE FOOTBALLISTIQUE 

by alvar sirlin

"Alvar creates closeup in your face portraits of politicians, authors and other celebrities, mostly in pen and ink. His artistic range includes abstract expressionistic oil painting, landscapes and street art. He resides in Brooklyn, NY."

Entre la virulence du coup de crayon de l’artiste et les visages défigurés par l’émotion se trouvent la beauté et la violence de l’instant footballistique, ses forces et ses failles, ses traits gras et ses lignes fines. 

Pour davantage, vous pouvez le suivre sur son compte Behance et son site Web

NAMELESS COLLECTION - football

by nicole reed

Cette courte collection, proposée en exclusivité au site Web Athletico Paper, est l’oeuvre du photographe australien Nicole Reed qui, à la tombée de la nuit, est allé prendre quelques clichés d’un vieux centre sportif, le Darebin International Sports Centre.

Mélangeant la subtile beauté de l’accalmie au puissant sentiment de vacuité, résultant en une sorte d’apothéose où la légèreté du match de football en soirée se fond à l’heureuse absence momentanée, Nicole Reed réussit, pour ainsi à dire, à photographier l’incessant mouvement de la culture foot tout y en échappant simultanément, la drapant alors d’un immobilisme serein. 

Vous pouvez le suivre sur Instagram et son site Web personnel pour davantage.