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Svenska Folket Stockholm

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Horric Lingenheld

Svenska Folket Stockholm

Editions Destin Sensible

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Svenska Folket Den här porträttserien gjorde jag under åren 2011-2012 i Stockholm. Jag hade precis bosatt mig i Sverige och ville upptäcka staden, vilket för mig även innebar att komma i kontakt med dess invånare. Utomlands finns alltid något exotiskt som lockar till fotografi, som om man ville få sina fördomar bekräftade. Min syn på staden förändrades dock under arbetets gång i och med att jag så smaningom inte längre kände mig som en turist på tillfälligt besök utan hade blivit permanent förankrad i Stockholm. Det bör sägas att jag påbörjade projektet flera månader efter att jag bosatt mig och efter att ha flyttat två gånger, upplevt såväl sommar som vinter, snö och - framför allt – den svenska vårsolen i mars och sommarljuset i juni. Det visade sig tidigt vilka stadsdelar, torg, holmar (en specifik företeelse för staden), ja till och med slänter i solljus... som särskilt tilltalade mig. Jag lärde mig även att känna igen en speciell klädstilskod som gjorde det möjligt att skilja en Södermalmsbo från en Stockholmare bosatt på Kungsholmen eller Östermalm. Jag kan inte säga att mitt arbete utförts med etnologens noggrannhet, men jag följde trots allt en viss procedur för att utröna vad som verkligen fascinerade mig i staden. Jag har gått i August Sanders och Eugène Atgets fotspår i det att jag ville uppnå ett frontalt möte, i helbild, med personerna jag fotograferade, såsom man fotograferar arkitektur, där valet av stort format rimmar med långsamhet och hög precision. Därmed var inte mitt syfte att göra de här porträtten till monument utan snarare att tillåta mig den långsamma arbetstakt som krävdes för att porträttera staden. Jag behövde mycket tid för att omsorgsfullt välja ut platserna jag fotograferade, liksom tidpunkten på dagen, beroende på årstiden. Jag var också noga med att byta gata för varje tagning. Således tar det här projektet plats i ett dokumentärt tillvägagångssätt inom samtidsfotografi där subjektiv tolkning och sökande efter mening samverkar, utan att för den skull falla för frestelsen att fotografera det

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förskönande eller pikanta som ofta betecknar kommersiella porträtt. Eftersom jag valt att arbeta med en stor kamera (4x5) pa stativ, med svart slöja och en enda tagning per plåt, var jag mycket behjälpt av Guillaume Delcourt som från projektets första början hjälpte till med tolkning och modellurval, som ställde upp som provdocka under kamerainställningarna och som tog på sig att be varje modell om tillåtelse att sprida deras bilder. När gatan väl valts ut, kameran installerats, inställningarna gjorts, var det bara att vänta på ”rätt modell” : man, kvinna, ung, gammal, och helst av allt den invånare som just det kvarteret, just den lilla gatan väntade på, därför att klädseln, skorna eller personligheten stämde bäst överens med dem. Om man anser att porträttfotografi handlar om möten, tagna i stor skala ute på stan, förutsätter det denna långsamma process. Ibland var vi tvungna att vänta i två timmar på samma plats för att ta ett enda fotografi, med risk för att solen under tiden hunnit förflytta sig pa himlen eller att natten hunnit falla, vilket sker redan vid tolvtiden på vintern. Men tänk vilken belöning när personen vi väntat på dök upp runt hörnet som om det vore en självklarhet ! Det hände bara två gånger att vi fick nöja oss med en enda tagning, ytterst få sade nej, vi mötte mycket vänlighet och kände av den stolthet som modellerna upplevde av att ha blivit utvalda av oss med samma omsorg som de själva valt ut sina kläder just den dagen. Ifall en typiskt nordisk stilskola faktiskt existerar, kommer ni att stöta på dess aktörer om ni flanerar omkring på Stockholms gator. Ett urval av det hundratal porträtt jag gjort under detta år återfinns annars i denna lilla katalog. En liten portfolio, med medelstora bilder som tagits under samma period kompletterar denna serie då vissa byggnader upplevs som riktiga personligheter. Horric Lingenheld preview exhibition catalog "svenska folket" d'horric lingenheld swedish_people_2012.indd 5

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Swedish People This series of portraits was taken over a period of a year in Stockholm, between 2011 and 2012. To me moving to Sweden meant discovering the city as much as meeting the people living there. There is always something peculiar about taking pictures abroad, as if we wanted to prove ourselves that we already knew the place. Yet, through my work, I gradually changed the way I saw things because I was not there as a simple tourist. I lived there. Indeed this project only came to life a few months after I had settled down, and already moved twice, while experiencing summer and winter, night and snow, and above all March sun and June summer light. I quickly showed more affection for certain districts and squares, and one may say certain islands here in Stockholm, or even certain sunny hillsides. From the way people dressed I was soon able to know if they came from Söderlman, Kungsholmen, or even Östermalm islands. Not wishing to go through an ethnological study of the city, I nonetheless decided to follow a certain protocol so as to gather what fascinated me about that city. In reference to the work of August Sander and Eugène Atget, my purpose was to build a real frontal relationship with standing people, as you can find in architectural photography where large format rhymes with slow precision. I didn´t mean to make these portraits look like monuments but I took my time to get an accurate portrait of the city, carefully choosing the shooting scenes, and the best time of the day depending on the season, and paying special attention to change streets for each new shot. This production is therefore directly in line with the documentary approach of contemporary photography, where subjectivity leads to true meaning, leaving aside the anecdotal esthetics of ordered portraits.

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As I was working with this 4x5 camera on a tripod, under a black veil and shooting single frames without any artificial lighting, I was lucky enough to get support by Guillaume Delcourt who from the start played as many roles as interpret, model hunter or model himself to set the framing while asking people for permission to use their image. Indeed, once the street had been chosen, the camera installed and the framing done, we still had to wait for “the right model� – male, female, young, old, or better yet the one person whose clothes, shoes or looks best matched this particular neighbourhood, this particular street. If making portraits is about meeting the right people, to do so on a large scale in the street requires patience. Sometimes we had to wait for two hours at the same place to get one single shot, with the sun that might go down any minute or the night fall by midday in the winter. But it was such a reward when the right person showed up at the corner of a street, as if by magic. Two unique shots each time. The people were very rarely reluctant. They showed a lot of kindness and in the end we were very proud they selected us with probably as much care as they had picked their clothes on that very day. If there is such a thing as a school of Scandinavian design, you will find it in the streets, and meet its people there. Here, in this small catalog, I offer you a sample of the hundreds of portraits I did in one year. A small medium format portfolio of the city done over the same period of time completes this series, as some buildings are real characters. Horric Lingenheld

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Portrait Suèdois Cette série de portraits a été réalisée sur une période d´un an, à Stockholm, entre 2011 et 2012. En venant vivre en Suède, découvrir la ville c’était aussi vouloir rencontrer ses habitants. Il existe toujours quelque chose d’exotique à photographier à l’étranger comme si l’on voulait vérifier ses préjugés. Ceci dit, sans aller jusqu´à devenir Suédois, mon regard sur la ville de Stockholm a peu à peu changé car je n’étais plus simplement de passage : J´y résidais. Ce projet est venu d’ailleurs plusieurs mois après mon installation, après deux déménagements, après avoir connu l’été comme l’hiver, la nuit comme la neige et surtout ce soleil de mars ou la lumière de l’été en juin. Très vite, mon affection s´est portée plus particulièrement sur certains quartiers, certaines places, certaines îles ou même certains versants exposés plein sud. Une typologie vestimentaire, aussi, m´est apparue et m’ a permis de reconnaître les gens habitant l’île de Södermalm, de Kungsholmen ou plus encore d’Östermalm. Sans entreprendre un travail aussi méticuleux que le travail d’un ethnologue, je me suis fixé un certain protocole afin de confirmer ce qui me fascinait dans cette ville. En me référant au travail d’August Sander et à celui d’Eugène Atget, je souhaitais installer un vrai rapport frontal, en pied, avec les personnes, comme on peut le faire en photographie d’architecture où le grand format rime avec lenteur et précision. Non pas que j´aspirais à faire de ces portraits des monuments mais je souhaitais prendre le temps de dresser le portrait d’une ville, en choisissant méticuleusement les lieux de prises de vue, l’heure de la journée en fonction des saisons, tout en prenant le soin de changer de rue à chaque prise de vue. Ainsi, cette production s’inscrit pleinement dans la démarche documentaire d’une photographie contemporaine, où la subjectivité

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participe à la quête de sens, sans toutefois chercher l’anecdote et l’esthétisme d’un portrait de commande. En voulant travailler ainsi avec cette chambre 4x5 inches sur pied, voile noire et photo à l’unité en argentique, sans éclairage artificiel, j’ai eu la chance d’être accompagné dès le début par Guillaume Delcourt. Guillaume a joué tour à tour, avec talent, les interprètes, les rabatteurs, le modèle pour préparer les cadrages, tout en se chargeant de demander l’autorisation à chacune de personnes de diffuser leur image. En effet, une fois la rue choisie, la chambre installée, le cadrage effectué, il fallait attendre le « bon modèle », homme, femme, jeune, vieux et -plus encore- celui que ce quartier, cette petite rue attendait parce que son vêtement, ses chaussures ou son allure correspondait le plus. Si le portrait est une rencontre, le faire à grande échelle et dans la rue, impose ce rapport assez lent. Il fallait attendre parfois deux heures au même endroit pour ne réaliser qu’une vue avec le risque que le soleil ne tourne ou que la nuit ne tombe dès midi, en plein hiver. Mais quelle récompense, quand la personne surgissait au détour d’un croisement comme une évidence. Deux prises vues uniques, très peu de refus, beaucoup de gentillesse, et finalement une fierté d’avoir été choisi avec le même soin qu’ils avaient pris à s’habiller, ce jour-là. S’il existe bien une école du design scandinave, baladez-vous dans les rues de Stockholm, vous y rencontrerez ses acteurs, dont je vous livre dans ce petit catalogue, un petit extrait de la centaine de portraits réalisée en un an. Un petit portfolio de la ville complète cette série, réalisé en moyen format durant cette même période, car certains bâtiments sont eux aussi de vrais personnages. Horric Lingenheld preview exhibition catalog "svenska folket" d'horric lingenheld swedish_people_2012.indd 9

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Horric Lingenheld Né en 1973 à Bur s a ( Tur qui e ), vi t e t tr ava ille à St o c k ho lm , Su èd e E tudes scien ti fi que s US TL l i l l e I – L i c e nc e B io lo g ie / Sc ien c es d e la T erre E c ole de ph o to gr aph i e Image O uve r te E n 1995, en mar ge de s e s é tude s de s c i e n t if iq u es , il p a rt ic ip e a u x a t eliers m is en place par l e C e n t r e R é g i o n a l d e l a P h o t og r a p h i e q u i l u i f e r o n t r e n c o n t r e r , e n autre, Marc Tr i vi e r . D è s l o r s , l e po r tr ai t s e ra le t hèm e c en t ra l d e s es in v es t ig a tions photog r a p h i q u e s . D e p u i s l e m é t r o , l a r u e , e n s t u d i o o u c h e z l ’ h a b i t a n t , s e s recherches l e p o r t e n t à e x p l o r e r l a q u e s t i o n d e l a d i s t a n c e a v e c l e m o d è l e , d a n s différentes s é r i e s de l ’œ uvr e un i que , à l ’i ns t a lla t io n it in éra n t e. L es d if f éren t es formes de r e s t i t u t i o n s q u ’ e x p l o i t e n t Ho r r i c L i n g e n h e l d , l ’ a m è n e à s ’ i n t é r e s s e r également à l ’ e n v i r o n n e m e n t , a u x l i e u x d e v i e d e s p e r s o n n e s p h o t o g r a p h i é e s . S a renc ontre ave c J ac que l i n e Sal mo n , s c e l l e r a s a f a s c in a t io n p o u r le p o rt ra it et l’arch itecture o u c o mme nt fai r e de c h aque p ho t o g ra p hie u n p o rt ra it q u ' il s o it une personn e , un l i e u o u un b âti me n t. L ’i nten t io n d o c u m en t a ire le g u id e d a n s d e toutes ses p h o t o g r a p h i e s , i n t e r r o g e a n t l e q u o t i d i e n d e p u i s l ’ h o m m e d e l a r u e aux espaces de vi e dan s l e s vi l l e s qu’ i l tr ave rs e.

Ex p o s i t i o n s p erson n elles U n d e r Wa t e r , Z eela n d , P a ys B a s, 2 010 P e o p l e Ho us i ng , V . d ’ Ascq , Fra n ce, 2009 TR A N S, G a l e r ie R osen d a el, Dun k erq ue, Fra n ce, 2008 C h a n t i e r d ’ un e ma ison Folie, Ferme d ’ en Ha ut , V . d'A s c q, Franc e, 2007 Ré c i t s d e v i e , Ma ison d e retra ite, Wa sq ueha l, Franc e, 2007 Ré s i d e n c e , I n stitut culturel f ra n ça is, An k a ra , T urqu i e, 2006 F a u x F u y a n t s , I UFM, Lille, Fra n ce, 2005 I d e n t i t é , E R O A , Liev in , Fra n ce, 2 005 I d e n t i t é , A t e l i e r 2, Group e V a uba n , Lille, Fra n ce, 2005 P o r t r a i t d ’ u n e ma ison Folie, Ferme d ’ en Ha ut , V . A sc q, Franc e, 2004 TR A N S, G a l e r ie d u Dôme, Arra s, Fra n ce, 2 001 P o r t r a i t s d e B ra d eux, Lille, Fra n ce, 2 000 2 0 0 0 p o r t r a i t s en 2 000, V . d ’ Ascq , Fra n ce, 2 000 F a u x F u y a n t s , in sta lla tion , R ouen , Le Ha v re, Dij on , Pari s , M et z, Bo rdeau x , 1999 D e s t o m b e s , G a lerie Nicép hore, Lille, Fra n ce, 1998 F a u x F u y a n t s , in sta lla tion , Lille, V . Ascq , Dun k erq ue, A rras, L ens, 1997 Tr a c e s , c o m ma n d e E DF 5 0ème a n n iv ersa ire d e la L i bérat i o n, Kays ersberg, Franc e, 1995 Ex p o s i t i o n s c o llectiv es L a v i l l e t r a v e r sée, écomusée, Fourmies, Fra n ce, 2009 Q u e l q u e s n o u veaux regards, Galerie Chambre Claire, Annecy, parcours Résonance de la 9 è m e b i e n n a l e d ’ a rt con temp ora in d e Lyon , Fra n c e, 2007 L ’ e a u l ’ a r c h i t ecture, E sp a ce E lectra – Fon d a tion EDF – Pari s , Franc e, 2006 C h e m i n s C r o i sés, Ma ison d e l’ Art et d e la Communi c at i o n, Sal l au m i nes , Franc e, 2004 J o ue r , C r é e r , Con struire - Ga lerie d e l’ Atelier 2 , V. d’A sc q, Franc e, 2004 P e o p l e /Ho u s i n g , Lev erk usen , Allema g n e, 2003 S e p t e m t r i o n , C en tre R ég ion a l d e la P hotog ra p hie, Do u c hy l es M i nes , Franc e, 2000 D e r r i è r e l e vi sible, Un iv ersité Lille I , V d ’ Ascq , Franc e, 1995

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Il a été tiré d e l a présent e édi t i o n 250 ex em pl ai res

To u s dro i t s reservés po u r t o u s pays Dépô t l égal : s ept em bre 2012 ISBN 978-2-9526298-4-3 Prem i ère édi t i o n T ira g es n umér i qu es pi gm ent ai res s u r papi er baryt é Signés, numérotés à 7 exemplaires Fo rm at des po rt rai t s , 80x 100 c m Forma t des i m ages d'arc hi t ec t u re, 30x 30 c m A s s i st ant Gu i l l au m e Del c o u rt Dével o ppem ent des pl ans fi l m s V eik k o Grö hn, Team Fram kal l ni ng, St o c kho l m Ti rages et s c ans S ten Lén a , l 'i m age nu m éri qu e à faç o n, Pl eu dani el Tradu c t i o ns et rel ec t u res Hélèn e An trop ius, Alin e An trop ius, Annel i Wennerst rö m et A nne Ro u c ho d E d ition © 2012 Dest i n Sensi bl e /m o bi l abo .c o m P hotog ra p hies © 2012 Ho rri c L i ngenhel d / ho rri c .c o m

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Svenska Folket - swedish people - Horric Lingenheld  

catalogue d'exposition "Svenska Folket" série de protraits de Suèdois à Stockholm, (photographie à la chambre 4x5) pendant un an.

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