In 2001, at the age of 20, I spent a year in Paris, studying French and working as an au-pair. I was already deeply interested in photography, especially fashion photography – I was fascinated by the visual language of magazines like i-D and THE FACE. I took a lot of photos and worked rather intuitively as I hadn't yet started to study photography. Around fifteen years later, I rediscovered the pictures I took of Léa, who had been 13 at the time: I was touched by their quality and immediacy and decided to make a book out of them.
In 2016 I published a first edition of fifty books (the one you can see in the video) independently and am now able to publish the book in a larger edition (500 books) with Distanz Verlag, Berlin.
The new edition comes with a new cover design (by graphic designer Gina Mönch) and an essay written by art theorist Madoka Yuki (English and French versions).
To cover the productions costs and the crowdfunding fee, I need to raise €9 500 and would be very pleased if you could help me realize this project by participating in the funding drive.
To get an idea how the book will look, you can find the self-published version here: http://www.anne-lena-michel.com/projects/13 (the cover will be different, but the layout for the images will remain the same)
The specifications of the new edition of the book are as follows:
Size: 27cm x 20 cm
Cover: 4 pages, 300g/m2 Metapaper Gloss, film laminated (with structure)
Body: 68 pages in total, 60 pages (images) on Metapaper Gloss, 8 pages (text) on 120g/m2 Munken Polar 1.13
Binding: thread stitching
"Thirteen years old: at the beginning of the adolescent phase everyone passes through. Children at this age are not really kids any more, nor are they yet adults. It is the in-between phase. 13 was a collaborative creation involving a thirteen-year-old girl, Léa, and a young photographer, Anne-Lena Michel.
The photographer got to know the model while she was working as an au pair in Paris in 2001. She took care of Léa after school at her apartment in Saint-Germain-des-Prés. Léa had her afternoon snack, the goûter, and did her homework with Anne-Lena. If they had free time after that, they would do a photo session. It started as a kind of game or free-time activity. They’d use the clothes, cosmetics, accessories, etc., they found around the home, belonging to Léa, her mother, or the photographer. In what they referred to as “self-staging,” Léa chose her own costumes and came up with the poses herself. Sometimes she simply wore her costumes without makeup; sometimes she’d sit on a sofa in the living room, in heavy makeup. During one photo session, they choreographed a certain scene that was like summer vacation, staging a beach situation with a towel and sunglasses in the living room.
It looks a little outré when Léa dons an oversized dress and wears heavy makeup. It tells us that she is still teenager and emphasizes her childishness. In another picture she looks like a woman in her twenties, even if she is in the same costume. When she plays with her cat in her nightgown or when she eats her goûter in the kitchen, she is pretty much like a child. How old she looks in photographs depends on her facial expressions and gestures, which appear and then vanish in an instant. In this way Léa plays different female-connoted roles consciously or unconsciously—marked by what she’s observed herself in the media or on the street. It is one of the marks of her age that she can show diverse facets of herself with such fluid ease. The photographer documented a thirteen-year-old girl’s changeable appearance and everyday life over nine months.
This process of developing and changing was one that affected not only the model but also the photographer. At that time Anne-Lena was neither a professional photographer nor an amateur; she was also in-between. This characterizes the work 13.“ (extract of the essay written by Madoka Yuki)
I would be very happy to see this book being printed in a larger edition with your help.
Whatever amount you choose to support this bookproject, THANK YOU SO MUCH!
Risks and challenges
The risk in funding this project is actually minimal because most of the work has already been done. I have a contract with the publishing house "Distanz", and the book will get printed as soon as I have the money to cover the production costs. The only risk might be a delay in the delivery of the new edition because I don't know how long the production will actually take.Learn about accountability on Kickstarter
- (30 days)