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Arles 2016

LES RENCONTRES DE LA PHOTOGRAPHIE

47€ TTC FRANCE ISBN 978-2-330-05057-3


INSTITUTIONAL PARTNERS

MAIN PARTNERS

THE RENCONTRES D’ARLES ENJOY THE SPECIAL SUPPORT OF the Directorate for Commemoration, Defence Estate and Archives of the Ministry of Defence, GROUPE TOTAL, PRIX PICTET, FONDATION JAN MICHALSKI POUR L’ÉCRITURE ET LA LITTÉRATURE, YELLOWKORNER, CONFÉDÉRATION SUISSE, FONDATION L’OCCITANE, FONDATION D’ENTREPRISE HERMÈS, BNP PARIBAS, idtgv, MÉTROBUS, SAIF, ADAGP, FNAC, LUMA ARLES, COMMUNAUTÉ D’AGGLOMÉRATION ARLES CRAU CAMARGUE MONTAGNETTE, Agefos Pme Paca. THE SUPPORT FROM FONDATION DANIEL ET NINA CARASSO, TECTONA, RIVEDROIT AVOCATS, PINSENT MASONS LLP, DIRECTION RÉGIONALE DE LA PROTECTION JUDICIAIRE DE LA JEUNESSE SUD EST, ORANGE LOGIC, LE POINT, madame figaro, IDEAT MAGAZINE, FISHEYE, THE EYES, OFF THE WALL, PICTO, CENTRAL DUPON IMAGES, PROCESSUS, CIRCAD, PLASTICOLLAGE, ATELIER SUNGHEE LEE & GAMBIER, ANITA SAXENA.

MEDIA PARTNERS

AND THE ACTIVE COLLABORATION OF ÉCOLE NATIONALE SUPÉRIEURE DE LA PHOTOGRAPHIE D’ARLES, Actes Sud, Association du Méjan, MUSÉE RÉATTU, CARRÉ D’ARTMUSÉE D’ART CONTEMPORAIN DE NÎMES, COLLECTION LAMBERT AVIGNON, VILLA MÉDITERRANÉE / AViTeM, MUSÉE DÉPARTEMENTAL ARLES ANTIQUE, ABBAYE DE MONTMAJOUR, MUSEON ARLATEN, CONSEILS D’ARCHITECTURE, d’urbanisme et de l’environnement 13, 30 ET 34, SERVICE DU PATRIMOINE DE LA VILLE D’ARLES, PARC NATUREL RÉGIONAL DE CAMARGUE, FESTIVAL DE MARSEILLE, Fondation Vincent Van Gogh, ASSOCIATION POUR UN MUSÉE DE LA RÉSISTANCE ET DE LA DÉPORTATION EN ARLES ET PAYS D’ARLES, INRAP, THÉÂTRE D’ARLES, INA, BOUCHES-DU-RHÔNE TOURISME.


programme With approximately 40 exhibitions, the Rencontres d’Arles offer a general survey of contemporary photographic creation and practices. The relationships suggested within the programme are at the core of the different sequences. They enable the identification of categories and, year after year, favour a thorough exploration of evolutions in photography.


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STREET

AFRICA POP

AFTER WAR

STREET PHOTOGRAPHY REVISITED

The street and city as playground. While photographers have been practicing street photography since its emergence, in recent years the genre has witnessed a significant renewal.

sid grossman

From Document to revelation, His photographs and legacy

ethan levitas/ garry winogrand

Talented photographers and curators show us a pop and offbeat Africa SYRCAS

What is there left to see on a battlefield long after the fighting comes to an end? How have artists addressed September 11? What does a renowed war photographer do when not photographing war?

SWINGING BAMAKO

YAN MORVAN

MAUD SULTER

The fabulous story of Las Maravillas de Mali

TEAR MY BRA

Drama and fantasy in Nollywood movies… and their influence on cultural and visual storytelling in Africa

Radical Relation

eamonn doyle end.

peter mitchell

A New Refutation of the Viking 4 Space Mission

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PLATFORMS OF THE VISIBLE

Battlefields

DON MCCULLIN

Looking beyond the Edge

ALEXANDRE GUIRKINGER Maginot Line

NOTHING BUT BLUE SKIES Looking back at the media’s image of 11 September

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NEW APPROACHES TO DOCUMENTARY PHOTOGRAPHY

I AM WRITING TO YOU FROM A FAR-OFF COUNTRY

WESTERN STORIES

LAIA ABRIL

YANN GROSS

PIERO MARTINELLO

PJ HARVEY & SEAMUS MURPHY

CHRISTIAN MARCLAY

Westerns, with their frontier tales, rugged scenery and wide-open spaces, were also shot in the Camargue.

Camarguais Western BERNARD PLOSSU WESTERN COLORS

Investigation as a photographic topic and the photographer as a detective A history of misogyny, chapter one: on abortion Radicalia

MONSTERS & CO.

From cinema to Japanese folklore and Roswell’s extraterrestrials, monsters embody our fears.

SARA GALBIATI, PETER HELLES ERIKSEN, TOBIAS SELNAES MARKUSSEN

Phenomena. A close encounter with a reality of aliens and UFOs

The Jungle Show

The Hollow of the Hand

JOÃO PINA

Operation Condor

STÉPHANIE SOLINAS

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Spotlight on a part of the world, like a photographic correspondence.

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The Method of Loci

REREADING PHOTOGRAPHY IN A DIFFERENT LIGHT

The history of photography through the lens of reappropriations, errors or accidents.

Fabulous Failures

The art of embracing serendipity and mistakes

WHERE THE OTHER RESTS

CHARLES FRÉGER

Awakening forgotten images

scary monsters!

Nicephora

Yokainoshima

An offbeat look into monsters in film

Alinka Echeverría


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SINGULAR!

EMERGENCES

ARLES BOOKS

QUIRKY COLLECTIONS

Some passionate, free-spirited collectors look for unusual items, exploring the question of the vernacular.

SINCERELY QUEER

Sébastien Lifshitz Collection

LADY LIBERTY

The photographic making of an icon

HARA KIRI PHOTO

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OUTSIDE THE FRAME

Photography leaves its frame and invades the space.

Maurizio Cattelan & Pierpaolo Ferrari Toiletpaper

Augustin Rebetez

THE CARDBOARD MUSEUM

The festival is a trailblazer; it seeks out tomorrow’s talents.

THE DISCOVERY AWARD Ten selected photographers are presenting their work in ten solo exhibitions to compete for the Discovery Award. FLORIAN EBNER PReSENTs

FRANK BERGER STEPHANIE KIWITT

Over 1000m2 dedicated to the book, in every shape and form

COSMOS-ARLES BOOKS

contemporary practices in photography publication

The 2016 book award

Three awards: Author’s book award, history book award and photo-text award

Luma Rencontres Dummy Book Award Arles 2016

MOUNA MEKOUAR PReSENTs

Award for best dummy book

STEPHANIE MOISDON PReSENTs

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BASMA ALSHARIF DAISUKE YOKOTA

MARIE ANGELETTI CHRISTODOULOS PANAYIOTOU AIDA MULUNEH PReSENTs

NADER ADEM SARAH WAISWA

STEFANO STOLL PReSENTs

BENI BISCHOF SARA CWYNAR

OLYMPUS engages in a photographic conversation A conversation between three great contemporary photographers and three students.

OLIVIER CULMANN / PAULINE ROUSSEAU CORINNE MERCADIER / BARNABE MOINARD KLAVDIJ SLUBAN / FLORIAN MAURER An unusual attention Three ENSP graduates from the class of 2016

ASSOCIATED PROGRAMME

Arles places and institutions that promote photography and participate in the festival’s programme

SYSTEMATICALLY OPEN?

NEW FORMS FOR CONTEMPORARY IMAGE PRODUCTION

Kazuo Ohno by Eikoh Hosoe and William Klein Pas de Deux

HANS SILVESTER The BENCH

olympus carte blanche michael ackerman

KATERINA JEBB DEUS EX MACHINA

White Gestures in The Wilderness

Works from the Centre National des Arts Plastiques

Art Researches #5

Ad vitam æternam. From treatment to enhancement

Dominic Nahr Fractured State


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GRAND ARLES EXPRESS

OPENING WEEK

ARLES OFF-SITE

NIGHT

Itinerant exhibitions

Literature and photography

Jimei x Arles International Photo festival

The wind of photography blows through the Great South.

AVIGNON, COLLECTION LAMBERT ANDRES SERRANO TORTURE

NÎMES, CARRÉ D’ART STÉPHANIE SOLINAS DOMINIQUE LAMBERT

MARSEILLE, VILLA MÉDITERRANÉE / avitem ALFRED SEILAND

IMPERIUM ROMANUM

Africa pop Night of the year Evenings at the theâtre antique Valérie Belin Andres Serrano PJ Harvey & Seamus Murphy Don McCullin

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CREDITS Partners Acknowledgements

DAY

Denis Roche, writer and photographer

Conversations, performances, projections

Photo folio Review Portfolio reviews

VR Arles festival

Virtual reality festival

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EDUCATION & TRAINING Photography workshops Clicks and classes Educational domain

Board of directors The team


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grand Arles Express! Hubert Védrine

President of the Rencontres d’Arles

Visitors to the Rencontres d’Arles not only find the creative, sensitive world of talented photographers every year, but also rediscover a unique heritage and places, from 12th-century churches and abbeys, a mediaeval cloister and the Archbishop’s Palace, to industrial buildings, including some that are open to the public only during the festival.

The big news is that henceforth we will go beyond Arles, bringing the festival to the region, to satisfy the South’s interest in photography. As a start, in addition to many events at Arles 2016, the ‘Grand Arles Express’ will call at the Lambert Collection in Avignon, the Carré d’Art in Nîmes, and the Villa Méditerranée in Marseille.

This year, as in previous ones, all the exhibition venues have been made available by local players (the city, the Luma Foundation, Actes Sud, and the metropolitan area). We are glad to see they are happy to support the festival throughout the summer.

Welcome to the 2016 Rencontres!

Meanwhile, we are continuing to look for new venues. This year, new places will be open to the public: Ground Control, a large hall near the railway station; the former Collège Mistral, which will host Cosmos-Arles Books; and the Hôtel de Luppé, where the Olympus photo conversation will take place. And given last year’s success, the Night of the Year will be held at the Papeteries Étienne site again this summer.

MANY THANKS TO OUR PARTNERS! The Rencontres d’Arles would like to thank the Minister of Culture and Communication, Regional Directorate of Cultural Affairs PACA, Minister of National Education, Higher Education and Research, Provence-Alpes-Côte d’Azur Regional Council, Bouches-du-Rhône County Council, City of Arles, Canopé network, Centre des Monuments Nationaux, and the Minister of State for Veterans and Remembrance, as well as all our public partners whose ongoing support is invaluable to us. The Rencontres d’Arles would also like to thank our private sponsors and partners for their generosity and their trust, first amongst them the LUMA Foundation, Olympus, BMW, SNCF Gare & Connexions,

Total, and Prix Pictet, along with all those whom it is not possible to mention here. We are also thrilled to strengthen our collaboration with those partners who have recently committed to supporting us, including the Fondation Jan Michalski pour l’Écriture et la Littérature, YellowKorner, and the Swiss Confederation, and to welcome this year the Fondation d’Entreprise Hermès, the Fondation Daniel et Nina Carasso and IDTGV. Last but not least, we would like to thank our media partners who disseminate the festival image far and wide: ARTE, France Inter, Konbini, Le Point, Madame Figaro, IDEAT Magazine, Fisheye, The Eyes, OFF the wall, and all the others there is not space to mention here.

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STORYTELLERS Sam Stourdzé

Director of the Rencontres d’Arles

Photographers lead and guide us through the subjects that drive them. They document, search, and investigate. Photographers are investigators. They know their subjects like the backs of their hands. When they go out in the field, they meet, interact, and explore. Photographers are explorers. Looking for new territories, they bear witness to the world’s vastness, interrogate history, and question the medium. They are neither historians nor sociologists, but artists who construct a visual cosmology out of still or moving images, texts, or sounds. They take us along on their stories. Photographers are storytellers. Examples include Laia Abril, who, in the first chapter of her chronicle of misogyny, focuses on abortion; João Pina, who spent over 10 years investigating Operation Condor and the disappearance of 60,000 political prisoners in six South American dictatorships; and Yan Morvan, with his imposing encyclopaedia of battlefields. An arsenal to support creation

As always, the 47th Rencontres d’Arles is an observatory of artistic practices. Our festival plays an active role in revealing trends and talents. Artists need financial support not just to stage their exhibitions, but beforehand, to help them fund the production of their projects. That is why new creations have a key place in the programme. From awards to residencies,

the Rencontres d’Arles now has a veritable arsenal of financial aid for production. This year, we have strengthened it by creating a residency. The first recipient is photographer Stéphanie Solinas. The Luma Rencontres Dummy Book Award, now entering its second year, identifies the most relevant dummy books when they are still in the planning stages and funds the winner’s publication. Yann Gross, its first recipient, is publishing Jungle Book, a vast Amazonian epic. His project is continuing as an installation, the Jungle Show. The Rencontres d’Arles has handed out the Discovery Award for over a decade. The idea is simple: five recognised figures from the art world nominate two artists each; parity has been the rule since 2015. We produce exhibitions for each of them and a jury of professionals votes for the winner, who receives €5,000 to continue his or her work. Lastly, the Photo Folio Review gives awards to five very young artists with promising projects. The festival produces a show of works by the winner. This year, it is an exhibition of photographs by Piero Martinello. In search of the other photography

Images are their words. Whether they produce or borrow them, it is not just the gesture that shapes the artists’ works, but the idea of


activation. The artists appropriate anonymous images, take them out of the context in which they were produced, activate them in the field of art, share them with the public by offering a new interpretation, and divert them from the purposes for which they were originally intended. The contamination of the vernacular image is now widespread. An artist, Agnès Geoffroy, and a photography historian, Julie Jones, teamed up to examine the practice. Their exhibition, Where the Other Rests, reveals the itineraries of images— shifts in nature, value, and uses. The show pays tribute to a generation of artists who collect and awaken forgotten images borrowed from others. The study of popular culture also offers a huge iconographic repertory—often, anonymous images whose initial purpose was primarily utilitarian: illustrating a magazine, publicising a film, or documenting daily life. Today, collectors, artists, historians, and institutions are increasingly interested in these low-quality images, this other photography. Examples include director Sébastien Lifshitz and the astonishing pictures of transvestites he collected over a 30-year period (the Sincerely Queer exhibition); Thomas Mailaender and Marc Bruckert’s contrasting perspectives on the stupid and nasty archives of Hara Kiri; and the history of the Camarguais Western, from Joë Hamman holding up the train between Arles and Saintes-Maries-de-la-Mer (1910) to a galloping, singing Johnny Hallyday in Pour Moi la Vie Va Commencer (D’où Viens-tu Johnny?, 1963). We tell the story with the Musée de la Camargue.

the Nollywood film studios’ influence on African photography. In Maud Sulter’s photomontages, however, African and European cutures collide. Lastly, Richard Minier, Thomas Mondo, and Madé Taounza tell us the amazing story of Las Maravillas. The Malian music group becomes a wonderful pretext to revisit the swinging ambiance of 1960s Bamako immortalised by the great Malick Sidibé. RIP

Despite the deaths of Lucien Clergue and Michel Tournier, who both founded the Rencontres d’Arles together with Jean-Maurice Rouquette, our festival is alive and well after 47 years. It is thriving because the same determination, the same passion and the same desire to stand up for photography and artists together drives the whole Rencontres d’Arles team. Arles and the surrounding area will be photography’s standard-bearers again this summer.

Africa pop!

The festival looks kindly upon youth and new practices but is also receptive to the world and sets its sights on other places. This year, talented photographers and curators showcase an unexpected, surprising, funny, pop Africa at the 47th Rencontres. Aida Muluneh, the artistic director of Addis Foto Fest—the Addis Ababa photo festival—joins the Discovery Award nominating team and presents the work of Sarah Waiswa and Nader Adem. Through works by approximately 10 artists, Azu Nwagbogu, director of the LagosPhoto festival, looks into 13


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A creative residency in Arles Beginning in 2015, the Rencontres d’Arles has invited an artist each winter to investigate Arles and its environs, creating, with our production and exhibition support, an exhibition for the next festival.  This year, the Rencontres d’Arles and the École Nationale Supérieure de Photographie wished to join forces to offer a combined residency, a space for both artistic creation and educational dialogue. For the 47th edition of the festival, artist Stéphanie Solinas will present a project anchored in the Arles region: she focused her attention on the former Lustucru factory and the

journey of its ‘halle’, a massive steel structure, from Marseille to Arles. Stéphanie Solinas accompanied the young foreign artists hosted by the ENSP in 2015-2016 as part of an international programme of research and creation supervised by head of programme Gilles Saussier, artist and teacher at the ENSP. Complementary to the project, the FRAC-PACA committed to acquiring a group of works by Stéphanie Solinas, while the Carré d’Art Museum of Contemporary Art in Nîmes extends Solinas’ exhibition in Arles through the presentation of Dominique Lambert.


Aix-Arles-Avignon : A3    and… with you! Bernard Foccroulle

director of the Aix-en-Provence festival

Olivier Py

director of the Avignon festival

Sam Stourdzé

director of the Rencontres d’Arles

Provence, heir to an exceptional artistic tradition, has given rise to festivals that, for some decades now, have had a worldwide influence and attract a local and international public alike. The artistic offering provided each year, from June to September, by our three festivals but also by other cultural partners of this region, is unique in the world in terms of its density in such a concentrated area. Theatre, dance, music, opera, the plastic arts, photography: we invite you to discover work by the greatest artists by simply going from one to festival to another.

In 2015, our three festivals attracted more than 336,000 spectators, of whom 130,000 were granted free admission or substantial concession prices. In all, 496 schools and educational institutes were involved in our activities. Today our world is confronted by major social, ecological and political challenges. We share the conviction that artists together offer fundamental proposals for a better understanding of these issues and for making durable solutions emerge, that we must invent today and tomorrow.

Now more than ever, we intend to join forces to welcome the public from near and far, reinforce our accessibility to the very young, and convince those who believe they are not interested in these events to come and experience them. Digital development enables us to experiment with innovative techniques for artistic creation and dissemination, along with spectator awareness-raising and participation.

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The curators of the exhibitions

Paula Aisemberg

Marc Atallah

Simon Baker

Born 1966, Buenos Aires, Argentina. Lives and works in Paris, France. www.lamaisonrouge.org

Born 1978, Vevey, Switzerland. Lives and works in Pomy, Switzerland.

Born 1972, London, United Kingdom. Lives and works in London, United Kingdom.

Marc Atallah is the director-curator of the Maison d’Ailleurs as well as a lecturer and researcher in the French Department of the University of Lausanne. His work focuses mainly on the mythology of popular culture (superheroes, artificial creatures, etc.), conjectural literature (utopia, dystopia, science fiction), and theories of fiction applied to video games and American comic books. He has written many scientific and general public articles and co-published several books, including Souvenirs du Futur (2013), Pouvoirs des jeux vidéo (2015), Portrait-Robot ou Les multiples visages de l’humanité (2015), and L’Art de la sciencefiction (2016).

Simon Baker is Senior Curator, International Art (Photography) at Tate. He is Tate’s first curator of photography, having joined in 2009. Previously he was Associate Professor of Art History at the University of Nottingham. His recent exhibitions include Performing for the Camera (Tate Modern, 2016), Another Language: 8 Japanese Photographers (Rencontres d’Arles, 2015), Conflict, Time, Photography (Tate Modern, 2014), and William Klein + Daido Moriyama (Tate Modern, 2012). He also recently published a monograph on the painter George Condo (Thames & Hudson, 2015).

After studying history at the Sorbonne and art history at the École du Louvre, Paula Aisemberg collaborated in the 1990s with contemporary art galleries in Paris (Fabienne Leclerc, Baudoin Lebon) and directed the art3 art centre and arts residency in Valence. Since 2001, she has actively participated alongside Antoine de Galbert in the creation of his foundation La Maison Rouge in Paris, which she has directed since 2003, while assuming the role of curator for some of the exhibitions presented there, in particular Bruit et Fureur, Henry Darger (2006), Gregor Schnieider, Süsser Duft (2008), My Winnipeg (2011), My Joburg (2013), and My Buenos Aires (2015). Exhibition: Stéphanie Solinas, THE METHOD OF LOCI; Stéphanie Solinas, Dominique Lambert.

Exhibition: SCARY MONSTERS! AN OFF-BEAT LOOK INTO MONSTERS IN CINEMA.

Exhibition: Don McCulin, Looking beyond the edge.


MÉLANIE BELLUE

Marc Bruckert

Joshua Chuang

Born 1975, Marseille, France. Lives and works in Arles, France. www.lhosteart.blogspot.fr

Born 1958, Paris, France. Lives and works in Paris, France.

Born 1976, New York City, United States. Lives and works in New York City, United States.

An independent art director, Marc Bruckert met Professor Choron in 1991 and took charge of the layout of the latter’s new newspaper Grodada. For Le Village, his production and graphic design company created in 1989 with Charles Petit, he co-wrote and co-directed many Œil du Cyclone episodes (Canal+), including Les Très Riches Heures du Professeur Choron (1993, director: Vincent Hachet). Again with Professor Choron, he produced the series of short programmesY’a rien de pire que l’ignorance, as well as his ‘autobiographical’ operetta Ivre-mort pour la patrie for Canal+. Marc Bruckert has also been the artistic director of the Étrange Festival in Paris since 1997.

Joshua Chuang has served as chief curator at the Center for Creative Photography (Tucson, Arizona) and the inaugural curator of photography at the Yale University Art Gallery. Among the exhibitions he has organised are Robert Adams: The Place We Live and First Doubt: Optical Confusion in Modern Photography. He has written on a range of subjects within modern and contemporary photography and has produced more than twenty artist monographs, on subjects including Robert Adams, Lee Friedlander, Santu Mofokeng, Judith Joy Ross, and Mark Ruwedel.

Melanie Bellue has blazed an original trail where the image is central. After studying communication and living in England, she graduated from Sorbonne Paris IV with an art history degree in 1999. She also started creating images as a video artist. After three years in Miami and her earliest curatorial experiences, in 2010 she returned to France, opening one of the first places in Arles focusing on contemporary art: LHOSTE Art Contemporain. To her, staging exhibitions in the gallery, which encourages experimentation, is an extension of her work as an artist. The goal remains the same: to question, disturb, and sublimate reality. Exhibition: NOTHING BUT BLUE SKIES. LOOKING BACK AT THE MEDIA’S IMAGE OF 11 SEPTEMBER.

Exhibition: Ethan Levitas/Garry Winogrand, Radical Relation.

Exhibition: Hara Kiri Photo.

Keith F. Davis Stéphane Brasca Born in 1969, Nice, France. Lives and works in Nice and Paris, France. www.delair.fr

A professional journalist, Stéphane Brasca is the founder and editor of the magazine de l’air. He has curated several photography exhibitions, including Génération de l’air (Maison Européenne de la Photographie, Paris, 2011) Collection 01 and Collection 02 (Paris, 2011 and 2012), Portraits croisés (2013) and Patrick Swirc (2013) at the Théâtre de la Photographie et de l’Image de Nice, and (prendre) de l’air (Paris, 2016). He recently published the book Bernard Plossu, Couleur Fresson (2015). Exhibition: Bernard Plossu, Western Colors.

François Cheval Born 1954, Belfort, France. Lives and works in Chalon-sur-Saône, France. www.museeniepce.com

François Cheval studied history and ethnology at the University of Franche-Comté and became a museum curator in 1982, first in the Jura, then in La Réunion. In 1996, he became director of the Nicéphore Niépce Museum (Chalon-sur-Saône), which is devoted to the history and uses of photography. There, surrounded by artists, historians, engineers and researchers, he tries to innovate as much as possible in the field of museography. He has published several articles on photography and museography as well as many notices and articles about photographers supported by the museum he heads.

Born 1952, Connecticut, United States. Lives and works in Kansas City, United States. www.nelson-atkins.org

Keith F. Davis has been a photography curator and historian for nearly forty years. After working at the George Eastman House, he oversaw the Hallmark Photographic Collection from 1979 to 2005. Since then, he has been senior curator of photography at the Nelson-Atkins Museum of Art, in Kansas City, Missouri. He has published nearly thirty books and catalogues, curated over 100 exhibitions, and lectured widely. His most recent publications include monographs on Timothy O’Sullivan, Ray K. Metzker, Emmet Gowin, and Dave Heath. Exhibition: SID GROSSMAN. FROM DOCUMENT TO REVELATION, HIS PHOTOGRAPHS AND LEGACY.

Exhibition : Alinka Echeverría, Nicephora.

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Les Garçons Sauvages

HOWARD GREENBERG

Frédéric Jaccaud

Stéphane Ibars, born 1972, Arles, France. Lives and works in Venice, Italy.

Born 1948, New York, United States. Lives and works in New York, United States.

Born 1977, Lausanne, Switzerland. Lives and works in Switzerland.

Lionel Vivier, born 1979, Nîmes, France. Lives and works in Avignon, France. www.lesgarconssauvages.com

Howard Greenberg is an authority on 19th and 20th century photography and an acknowledged leader in establishing its value on the fine art market. He represents many of the field’s masters, including Bruce Davidson, William Klein, Saul Leiter, Joel Meyerowitz, and Edward Steichen. Since his gallery’s inception, Greenberg has published more than 40 photographic catalogues. He has received numerous awards from prestigious institutions: in 2009 Greenberg was honoured by the Aperture Foundation for his contribution to the field of fine art photography and in 2012 he received a lifetime achievement award from the George Eastman House.

As the curator of the Maison d’Ailleurs, Frédéric Jaccaud manages some 100,000 pieces relating to science fiction, utopian, and imaginary culture. Specialising in offbeat works, he regularly publishes scientific articles on genre literature, including Science et science fiction (2010), Souvenirs du futur (2013), and Atrocity Exhibition Archive Paradoxe (2013). Jaccaud is also a novelist influenced by Ballard, Burroughs, Artaud, and Bataille. Since his first book, Monstre (2010), he has published dark, unclassifiable works in Gallimard’s Série Noire: La Nuit (2013), Hécate (2014), and Exil (2016).

Les Garçons Sauvages is a creative agency founded by two friends (Lionel Vivier, founder of and designer for the ready-to-wear clothing labels Sixpack France and Dead Hommes, and Stéphane Ibars, in charge of public relations, press and cultural programmes at the Collection Lambert in Avignon). This agency, which has no physical existence, aims to develop artistic situations in a very broad context ranging from art direction to curating exhibitions and producing publications. These situations all have in common encounters with artists, graphic designers, musicians and creative people from various fields, who are enriched by each other’s work and who play with the territories taken over by the situations.

Exhibition: SID GROSSMAN. FROM DOCUMENT TO REVELATION, HIS PHOTOGRAPHS AND LEGACY.

Julie Jones

Exhibition: PJ Harvey & Seamus Murphy, The Hollow of the Hand.

Agnès Geoffray Born 1973, Saint-Chamond, France. Lives and works in Paris, France. www.agnesgeoffray.com

Agnès Geoffray is a photographer. Like an iconographer, she mixes staged scenes with re-appropriated archives. Ms. Geoffray has been in residence at the Rijksakademie in Amsterdam and the Villa Medicis in Rome. She has exhibited at the Zurich Kunsthaus; the Mainz Kunsthalle; the Vienna Kunsthalle; MAC/VAL in Vitry-sur-Seine; the Centre de la Photographie in Geneva; FRAC Auvergne in Clermont-Ferrand; and the Centre Photographique d’Île-de-France. Her work can be seen in the collections of the FNAC Paris, FRAC Auvergne Clermont-Ferrand, MAC/VAL Vitry-sur-Seine, and the Musée de l’Elysée, Lausanne. La Lettre Volée has published her books Ultieme Hallucinatie, Profond silence, and Les Captives. EXHIBITION: WHERE THE OTHER RESTS. REAWAKENING FORGOTTEN IMAGES.

Exhibition: SCARY MONSTERS! AN OFF-BEAT LOOK INTO MONSTERS IN CINEMA.

Markus Hartmann

Born 1983, Paris, France. Lives and works in Paris, France.

Born 1962, Berlin, Germany. Lives and works in Stuttgart, Germany. www.hartmannprojects.com

Julie Jones, who holds a Ph.D. in Art History, is a curator at the photography department of the Musée National d’Art Moderne-Centre Pompidou. She has taught at Université Paris I Panthéon-Sorbonne and is currently a lecturer at the École Nationale Supérieure des Arts Décoratifs in Paris. Jones curated the exhibitions La République des amateurs (Jeu de Paume, Société Française de Photographie, 2011) and Elles sont modernes, elles sont photographes (Centre Pompidou Malaga, 2015) and is preparing a retrospective of Louis Stettner’s work at the Centre Pompidou in Paris (June 2016). She has published many articles, exhibition texts, and critiques on the history of photography and contemporary art.

Markus Hartmann is director of Hartmann Projects, an editorial, curatorial, and publishing platform focusing on photography and art projects. He previously curated the show Markus Brunetti-FACADES for the 2015 edition of the Rencontres d’Arles. Markus Hartmann is author or editor of numerous photo books and contributes widely to blogs and conferences on books and photography. Exhibition: Alfred Seiland, Imperium Romanum.

EXHIBITION: WHERE THE OTHER RESTS. REAWAKENING FORGOTTEN IMAGES.


Erik Kessels

SÉBASTIEN LIFSHITZ

Maya Masseboeuf

Born 1966, the Netherlands. Lives and works in Amsterdam, the Netherlands. www.kesselskramerpublishing.com

Born 1968, Paris, France. Lives and works in Paris, France.

Born 1959, Beirut, Lebanon. Lives and works in Avignon, France.

Sébastien Lifshitz, an École du Louvre graduate, has worked in contemporary art circles since 1990. Four years later, he turned to cinema and made his first short film, Il faut que je l’aime. Several long and short documentaries followed, including Les Corps Ouverts (1998), which won the Jean Vigo Award and the Kodak Award for best short film; La Traversée (2001); and Wild Side (2004), which won the Teddy Award at the Berlin Film Festival. In 2012, his documentary Les Invisibles was presented as part of the Cannes Film Festival’s official selection. In 2013, he won the César Award for best documentary and finished his documentary Bambi, which won the Teddy Award in Berlin. In 2014, Lifshitz was named a Chevalier de l’Ordre des Arts et Lettres.

Maya Masseboeuf studied art history and archaeology. The artistic director of a record label, her mission has been to discover and develop new talents and emerging musical trends: in the middle of the 1980s, she published the first hip hop artists and world music. In the 1990s and 2000s, she contributed to the recognition and the development of electronic music through the work she accomplished to accompany the release of the first albums by Daft Punk in France and abroad. Now living in the south of France, she continues to develop projects with interdisciplinary, transversal and innovative artistic approaches.

Erik Kessels has been creative director of the Amsterdam communications agency KesselsKramer since 1996. As an artist and photography collector Kessels has published around 50 books of his ‘collected’ images: Missing Links (1999), The Instant Men (2000), In Almost Every Picture (2001-2015), and Wonder (2006). Since 2000, he has been an editor of the alternative photography magazine Useful Photography. Kessels has made and curated exhibitions such as Loving Your Pictures, Use me Abuse me, 24HRS of Photos, and Album Beauty, and co-curated the exhibition From Here On at the Rencontres d’Arles 2011. In 2010 Kessels was awarded the Amsterdam Prize of the Arts and in 2012 named the most influential creative of the Netherlands. His exhibition Unfinished Father was short-listed for the 2015 Deutsche Börse Photography Prize.

Exhibition: sincerely queer.

Shoair Mavlian

EXHIBITION: FABULOUS FAILURES. THE ART OF EMBRACING SERENDIPITY AND MISTAKES.

Thomas Mailaender Luce Lebart Born 1970, Asnières-sur-Seine, France. Lives and works in Paris, France. www.sfp.asso.fr

Luce Lebart is a photography historian and the director of the Société Française de Photographie’s collections. She has written books and articles about cloud classification, crime, mountain conservation, and the history of archiving and photographic processes. Among other activities, she was the curator of the exhibitions Kids at War (Rencontres d’Arles, 2014), Souvenirs of the Sphinx (Rencontres d’Arles, 2015), Tâches et traces (Photaumnales, Beauvais, 2015), Illuminations (Foto-Industria, Bologna, 2015), and co-curator of the Burden of Proof exhibition organised at LE BAL in Paris, the Photographers’ Gallery in London, and Camera in Turin in 2015.

Exhibition: PJ Harvey & Seamus Murphy, The Hollow of the Hand.

Born 1979, Marseille, France. Lives and works in Paris, France. www.thomasmalaender.com

Artist Thomas Mailaender’s work has been exhibited in exhibitions in various major national and international institutions, including the FOMU in Antwerp, Musée Tinguely in Basle, and Tate Modern and the Victoria and Albert Museum in London. A retrospective of his work is currently being prepared and will open in January 2017 at the NRW Forum Museum in Düsseldorf. Parallel to these activities, he has shown a collection called The Fun Archaeology, which focuses on counterculture in the broadest sense of the word.

Born 1984, Sydney, Australia. Lives and works in London, United Kingdom.

Shoair Mavlian is Assistant Curator, Tate Modern, focusing primarily on photography. She has a background in fine art photography practice and the history of photography with particular emphasis on the twentieth century. She recently co-curated the major exhibition Conflict, Time, Photography (Tate Modern, 2014), the collaborative exhibition Project Space: A Chronicle of Interventions (Tate Modern and TEOR/éTica, Costa Rica, 2014), and In Flux (Kanellopoulos Cultural Centre, Greece, 2015). Exhibition: Don McCullin, Looking beyond the edge.

Exhibition: Hara Kiri Photo.

Exhibition: LADY LIBERTY. THE PHOTOGRAPHIC MAKING OF AN ICON.

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Richard Minier

Azu Nwagbogu

Mark Sealy MBE

Born 1969, Orléans, France. Lives and works in Paris, France.

Born 1975, Lagos, Nigeria. Lives and works in Lagos, Nigeria.

Born 1960, London, United Kingdom. Lives and works in London, United Kingdom.

Richard Minier is a music producer and director of documentaries, television series, and commercials. He has acted as producer for numerous artists from Africa, South America, and the Caribbean, including Toots & The Maytals, Edwin Starr, Jehro, and Marathonians, as well as the latest album by singer Pauline Croze. In 2016, he directed the ‘Absinthe’ publicity campaign for Pernod Richard and the Kitsuné label, work which took him around the world. He worked on the production of the television series Capitales Inconnues and Mythiques Studios, and directed a documentary on and produced the record by Las Maravillas de Mali. He is founder and artistic director of the audiovisual label Heavy Surf.

Azu Nwagbogu is the founder and director of the African Artists’ Foundation (AAF), a non-profit organisation based in Lagos, Nigeria, dedicated to the promotion and development of contemporary African arts and artists. Established in 2007, the AAF organises art exhibitions, competitions, and workshops with the aim of unearthing and developing talent in Nigeria. Nwagbogu founded the National Art Competition in 2008, an annual arts competition in that provides a platform of exposure for emerging Nigerian artists. He also serves as founder and director of the LagosPhoto Festival, an annual international photographic arts festival that brings leading local and international photographers into dialogue with the multifaceted stories of Africa. He is the creator of Art Base Africa, a new virtual space to discover and learn about contemporary African art and diaspora.

Mark Sealy was appointed director of Autograph ABP in 1991. He was awarded the Hood Medal for services to photography in 2007 by the Royal Photographic Society, and in January 2013 he was awarded an MBE for services to photography. He recently completed his PhD thesis at Durham University, where his research focused on photography and cultural violence. He has curated several major exhibitions, and his publications include Different (Phaidon, 2001) with Professor Stuart Hall.

Exhibition: TEAR MY BRA. DRAMA AND FANTASY IN NOLLYWOOD MOVIES… AND THEIR INFLUENCE ON CULTURAL AND VISUAL STORYTELLING IN AFRICA.

Reiko Setsuda is the curator of the Forum, the Hermès Foundation’s exhibition space in Tokyo. Trained at the MAGASIN school, she has been responsible for planning the venue’s exhibitions on a regular basis since 2008. She has worked with many international artists, including Sigalit Laudau, Smiljan Radic + Marcela Correa, Christian Bonnefoi, Tsuneko Taniuchi, Monika Sosnowska, Laurent Grasso, Didier Faustino and Charles Fréger.

Exhibition: SWINGING BAMAKO. THE FABULOUS STORY OF LAS MARAVILLAS DE MALI.

Thomas Mondo Born 1977, Douala, Cameroon. Lives and works in Paris, France. www.darkplanneur.com

Thomas Mondo is a citizen of the world, raised with a double African and French culture, who is involved in myriad activities: he is a publicist for luxury goods companies (Hermès in particular), an influencer on the French digital scene (his blog Darkplanneur has been a reference since its creation in 2005), and former trend commentator for GQ, GQ.fr, and Vogue.fr (2009-2012). Since 2008, he has been teaching PR for the luxury goods sector and, for the past two years, has been a special advisor to Whitewall, a quarterly magazine dedicated to contemporary art. Exhibition: SWINGING BAMAKO. THE FABULOUS STORY OF LAS MARAVILLAS DE MALI.

Diógenes Moura Born 1957, Recife, Brazil. Lives and works in São Paulo, Brazil.

Diógenes Moura is a writer, editor, and award-winning photography curator working in Brazil and worldwide. He understands photography as literature. Exhibition: Operation Condor.

Estelle Rouquette Born 1960, Montpellier, France. Lives and works in Arles, France. www.parc-camargue.fr

Estelle Rouquette has a PhD in Art History and Archaeology. Assistant Director of the Parc Naturel Régional de Camargue, she manages the ‘Patrimoine et Territoire’ service, which groups together the culture, tourism, architecture, landscape, energy, awareness-raising and education about the environment missions, and is also a curator at the Musée de Camargue. She has worked at the Conseil Départemental des Bouches-du- Rhône County Council: from 2006 to 2008 at the Domaine Départemental du Château d’Avignon, and from 1991 to 2006 at Museon Arlaten. Her work, whose focus has been interdisciplinarity and exchange, weaves fertile relationships between cultural heritage, the environment and contemporary creation. Exhibition: Camarguais Western.

Exhibition: Maud Sulter, Syrcas.

Reiko Setsuda Born 1970, Tokyo, Japan. Lives and works in Tokyo, Japan.

Exhibition: Charles Fréger, Yokainoshima.


Bob Shamis

Niall Sweeney

MARCO ZAPPONE

Born 1948, New York, United States. Lives and works in New York, United States.

Born 1967, Dublin, Ireland. Lives and works in London, United Kingdom. www.ponybox.co.uk

Born 1966, Rome, Italy. Lives and works in Arles, France. www.editionsphotosyntheses.fr

Niall was part of a ground-breaking collective of creative talent that emerged in Dublin during the 1990s, generating cross-disciplinary projects in design, art, technology, music, performance, and activism. In 2000 he founded the London studio Pony Ltd, a creative collaboration with Nigel Truswell (originally from Sheffield). The studio produces work internationally, ranging from popular culture to the avantgarde, from highbrow to lowbrow; creating for print, screen, sound, three dimensions, and performance. Pony has a keen interest in the transformational power of words, pictures, and the chance of a dance.

Marco Zappone spent his childhood in France, Italy, Africa, and the Middle East before studying anthropology and film during a nomadic, erratic youth. After several years as a bibliophile and collector, he helped to found the Photosynthèses publishing house in Arles, which he has headed ever since. Zappone started taking photographs at a very young age and at one point considered making it his career. The idea eventually came back to him later on, and photography became the founding theme and main mission of Photosynthèses.

Bob Shamis is an independent curator, consultant, and photographer. He has organized photography exhibitions for galleries and museums, including the National Gallery of Canada and the George Eastman House. From 1998 to 2006, he was the Curator of Prints and Photographs at the Museum of the City of New York, where he organized more than a dozen exhibitions including Magnum’s New Yorkers; Subway: Photographs by Bruce Davidson and The Destruction of Lower Manhattan: Photographs by Danny Lyon. He is the author of The Moment of Exposure: Leon Levinstein Photographs (1995) and New York In Color (2011). He is also the author and editor of Leon Levinstein and the co-editor of James Karales, Saul Leiter: Early Black and White, and The Life and Work of Sid Grossman, four monographs published by Steidl Publishers. Exhibition: SID GROSSMAN. FROM DOCUMENT TO REVELATION, HIS PHOTOGRAPHS AND LEGACY.

Exhibition: Yan Morvan, Battlefields.

Exhibition: Eamonn Doyle, End.

Madé Taounza Born 1961, Paris, France. Lives and works in Paris, France. www.galeriemade.com

Sam Stourdzé Born 1973, Paris, France. Lives and works in Paris and Arles, France.

Once a boarder at the Villa Medici, on 1 October 2014 Sam Stourdzé became director of the Rencontres d’Arles. Previously he was director of the Musée de l’Elysée in Lausanne and, from 2010 through 2014, editor in chief of ELSE magazine. A specialist in images, he researches the contexts of their production, distribution, and reception. For years he has studied the mechanisms at work in the circulation of images, with the relationships between photography, art, and film as his preferred field. He has been curator or co-curator of numerous exhibitions and published several works, including Le Cliché-Verre de Corot à Man Ray; the Dorothea Lange and Tina Modotti retrospectives; Chaplin et les images; Fellini, la grande parade; and, most recently, Derrière le rideau: L’esthétique Photomaton and Paparazzi! Photographes, stars et artistes.

Fifteen years ago, Madé Taounza established his first photo gallery right within his own agency, Eyemade Photographers, which he’d founded at the beginning of the 1990s. He envisaged his passionate relationship with the image from a double perspective: from portfolio to wall, from artist representation to exhibition. Since then he has promoted photographic creation via his mission as a gallery owner. Fashion, still lifes, and the portrait are the main areas of expression of the artists he presents in Galerie Madé, such as Jean-François Lepage, Mark Steinmetz, and Steve Hiett, to mention just a few. He is also a board member of the Club des Directeurs Artistiques. Between 2004 and 2006, he was the president of Agents Associés, a union of photographer, illustrator and graphic designer agents. Exhibition: SWINGING BAMAKO. THE FABULOUS STORY OF LAS MARAVILLAS DE MALI.

Exhibitions: Camarguais Western; NOTHING BUT BLUE SKIES. LOOKING BACK AT THE MEDIA’S IMAGE OF 11 SEPTEMBER; LADY LIBERTY. THE PHOTOGRAPHIC MAKING OF AN ICON.

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street STREET PHOTOGRAPHY REVISITED The street and city as playground. While photographers have been practicing street photography since its emergence, in recent years the genre has witnessed a significant renewal.

sid grossman

peter mitchell

An influential Photo League figure, Sid Grossman lived a short but stunning career as a little-known master of Street Photography.

In 1979, Mitchell conducted a photographic survey of the people and places of Leeds. Around the same time, a NASA space probe was exploring Mars, inspiring Mitchell to punctuate his documentary rigour with pictures of the red planet.

From Document to revelation, His photographs and legacy

A New Refutation of the Viking 4 Space Mission

ethan levitas/ garry winogrand Radical Relation

A legendary photographer dialogues with one of his heirs.

CHRISTIAN MARCLAY Marclay awakens the poetry of urban waste and composes a symphony for abandoned bottles.

eamonn doyle end.

Eamonn Doyle combines forms and colours to capture fleeting images of his neighbourhood’s streets. Sid Grossman, Untitled, 1947-1948.
 
 © Howard Greenberg Gallery, New York. —


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sid grossman

From Document to revelation. His photographs and legacy with Sid Grossman, Harold Feinstein, Morris Huberland, Sy Kattelson, Arthur Leipzig, Rebecca Lepkoff, Leon levinstein, david Vestal

Exhibition curators: Keith F. Davis, Howard Greenberg, and Bob Shamis. Exhibition organised by The Howard Greenberg Gallery, New York, in collaboration with the Rencontres d’Arles. We would like to thank Florence and Damien Bachelot. Publication: Keith F. Davis, The Life and Work of Sid Grossman, Steidl/Howard Greenberg Library, 2016. Framing by Circad, Paris. Exhibition venue: Espace Van Gogh.

Sid Grossman is an important but long-overlooked figure in modern American photography. Before his death in 1955 at the age of 42, he created a powerful and influential body of work. As an artist and a teacher, he profoundly shaped the vision of his time. However, due to his blacklisting in 1949 by the FBI, his achievement has been obscured for decades.  Grossman began as a social documentary photographer and helped found the New York Photo League in 1936. In the spirit of the League’s left-leaning politics, he photographed in the working-class neighbourhoods of Chelsea and Harlem. In the mid-1940s, Grossman’s vision became more personal and subjective. This work began during his Army service in Panama, and continued after his return to New York in 1946. These photographs use blur, grain, and underexposure to boldly visceral and intuitive effect. Radical in its day, this work exemplified the expressionistic energy of the ‘New York School’ of the 1950s. Grossman has been best known for his dynamic images of the late 1940s—religious pilgrims at the ‘Black Christ’ procession in Panama, and intimate images of people at Coney Island and on the streets of New York.   The FBI blacklisted Grossman in 1949 as a communist ‘subversive’. His public career destroyed, he continued to teach private classes in his New York apartment, inspiring younger talents such as Leon Levinstein. He summered in the artists’ colony at Provincetown, Massachusetts, where he fished, taught photography classes, and made introspective and lyrical images. This is the most comprehensive look at Grossman’s artistic achievement and influence in at least 35 years, and his first exhibit in Europe. Rare vintage prints from the Grossman estate Portrait of Keith F. Davis: Nelson Atkins, Museum of Art. Portrait of Howard Greenberg: courtesy of the curator. and from noted public and Portrait of Bob Shamis: Dagmar Appel. private collections will be included, as well as works by his leading students. Together, these works testify to a brilliant photographic talent—one long overdue for broader recognition.

Sid Grossman Born 1913, New York, United States. Died 1955, Provincetown, United States.

Sid Grossman was raised in the tenements of New York City, the son of Jewish immigrants from Eastern Europe. Interested in both art and politics, he became a photographer in the mid-1930s. He was a key member of the New York Photo League from 1936 to 1949. His best-known photographs of the late 1940s were made at Coney Island and on the streets of New York. Blacklisted as a communist in 1949, Grossman continued to teach privately, while making increasingly personal and poetic images. He died at the age of only 42. His prints are now held by many leading museums, including the National Gallery of Art, Washington, D.C.; the Museum of Fine Arts, Houston; and the National Gallery of Canada. Portrait of Sid Grossman: photographer unknown.
 Courtesy of Adam Cohen.

Keith F. Davis

Shoeshine Boys, Harlem, 1939.
 
 © Howard Greenberg Gallery, New York. —


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26 — Jitterbugging in Harlem, 1939.
 
 © Howard Greenberg Gallery, New York. [both photographs]. Jumping Girl, Aguadulce, Panama, c. 1945.


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28 — Coney Island, 1947. 
 © Howard Greenberg Gallery, New York.


— Coney Island, 1947.
 © Howard Greenberg Gallery, New York.

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30 — American Legion, 1947. © Howard Greenberg Gallery, New York. Courtesy of the Collection of Florence and Damien Bachelot. Woman at the 23rd Street IRT station, 1938-1939.
 
 © Howard Greenberg Gallery, New York.


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Ethan Levitas / Garry Winogrand Radical relation

I photograph to find out what something will look like photographed. Garry Winogrand

Exhibition curator: Joshua Chuang. With support from IDTGV. With the cooperation of the Estate of Garry Winogrand, the Center for Creative Photography (Tucson), Fraenkel Gallery (San Francisco), and Galerie Jean-Kenta Gauthier (Paris). Prints of Ethan Levitas realised in collaboration with Laumont Photographics, New York. Framing partly by Atelier Deuxième Œil, Plasticollage, and Circad, Paris. Wallpaper by Processus, Paris. Exhibition venue: Grande Halle, Parc des Ateliers.

Photograph of the officer because of this photograph. Ethan Levitas

Pairing the pioneering and complementary oeuvres of Ethan Levitas and Garry Winogrand, this exhibition re-examines street photography through its own language and terms in order to situate it properly within the open field of contemporary art practice. Hailed by John Szarkowski as the central photographer of his generation, Winogrand’s contribution to street photography is widely acknowledged, if only partly understood. He worked within the realm of observational practice before understanding that through photography he was creating a new reality that was derived, but distinct, from the real world. By the end of his career, he had shifted the paradigm of street photography to a point where pictures became events in and of themselves, with the artist playing the role of both observer and protagonist, but he died before fully realising its potential. An inheritor of Winogrand’s unfinished legacy, Levitas has, over the past decade, developed and extended the practice of street photography by defining it as a relation of parts— the sum of which discloses a dissonance between visibility and appearance. His works specifically utilise the photographer’s own agency, which he has signified, conceptualised, and applied. What does it mean to look? Can meaning be created through the act of looking? Among Levitas’s bodies of work are In Advance of a Broken Arm, Ten-Year Study, and Photographs in 3 Acts—a loose trilogy through which we can more clearly comprehend the significance of Winogrand’s endeavour, and see a fulfilment of its promise. Joshua Chuang

Ethan Levitas Born 1971, New York City, United States. Lives and works in New York City, United States. www.elprojects.com

Ethan Levitas explores the implications of the photographic act as intervention and the photograph as an event that refigures the assignments of place, purpose, and meaning. Levitas’s practice is grounded in the recognition of his role as participant in relation to the subject(s) in front of his lens, and his conception of this relationship is the subject of his work, contextualised to varying degrees in expressions of civic engagement and dissent. His primary oeuvre comprises four major series: Untitled/This Is Just to Say (2004-2009), In Advance of a Broken Arm (2009-2010), Ten-Year Study (2011), and Photographs in 3 Acts (2011-2015).

Garry Winogrand Born 1928, New York City, United States. Died 1984, Tijuana, Mexico.

Garry Winogrand was a native New Yorker best known for his photographs of public life on city streets and at rodeos, airports, parks, and mass gatherings. His work has been the subject of exhibitions including New Documents (1967) and Winogrand: Figments from the Real World (1988) at the Museum of Modern Art, New York, and Winogrand: 1964, organized by the Center for Creative Photography, Tucson, Arizona, which holds Winogrand’s vast archive. In 2013 the San Francisco Museum of Modern Art mounted a major retrospective, which travelled to the National Gallery of Art in Washington, D.C.; Metropolitan Museum of Art, New York; Jeu de Paume, Paris; and Fundacíon MAPFRE, Madrid. Portrait of Ethan Levitas: Brooklyn, 2014. Photograph by Matthew Russell Marchese. Portrait of Garry Winogrand: Midtown Manhattan, 1967. Photograph by Jonathan Brand.

Portrait of Joshua Chuang: courtesy of the curator.


— Ethan Levitas, Frame 21, Photographs in 3 Acts, 2012. Courtesy of the artist and Galerie Jean-Kenta Gauthier, Paris [all photographs]. Garry Winogrand, New York, 1967. © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco.

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34 — Ethan Levitas, PHOTOGRAPH OF THE OFFICER WHO WILL NOT SAY A WORD, BECAUSE OF THIS PHOTOGRAPH. Incident Report No. 32, In Advance of a Broken Arm, 2009-2010.


— Garry Winogrand, Los Angeles, 1964. © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco.

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— Garry Winogrand, contact sheet (posthumously printed), ca. 1980. Courtesy of the Garry Winogrand Archive, Center for Creative Photography, Arizona. © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco.

— Ethan Levitas, Frame 518, Photographs in 3 Acts, 2013.

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38 — Garry Winogrand, New York, 1970. © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco.


— Ethan Levitas, Ten-Year Study, #23, 2011.

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Eamonn Doyle

Exhibiton curator: Niall Sweeney. Publications: i, D1, 2014; ON, D1, 2015; End., D1, 2016. Prints by Inspirational Arts, Dublin. Framing by Picture Bloc and Frame Foundry, Dublin.

End.

‘By what means the illusion of movement in space and, it almost seemed, in time was given, Watt could not say. But it was given. Watt wondered how long it would be before the point and the circle entered together upon the same plane. […] And he wondered what the artist had intended to represent (Watt knew nothing about painting), perhaps a circle and its centre in search of each other.’

Exhibition venue: Espace Van Gogh.

Samuel Beckett, Watt

‘The pictures show only fragments of possible narratives, but for me, every life has weight and drama, even if its meaning is ultimately elusive.’ Eamonn Doyle

End. seeks out the driving forces of both photographer and subject in an exhibition that brings together three bodies of work—i, ON, and End.—exploring the local streets of Doyle’s native Dublin. Though apparently the concluding work of a trilogy, End. actively opens up the heart of the whole. i presents unknowable street figures enveloped entirely in the interior landscape of their location, poised in silent choreography. ON’s black & white giants convulse across their own image, bracing the hard Dublin light. End. gives equal significance to the city and its population, their combined forces continuously shaping each other. Individual journeys of everyday life are compacted repetitively into the same streets. Dubliners wear away at the autonomy of their city, while the streets themselves become a kind of sculptural civic mental State. Dublin, its light and its people, Eamonn Doyle carry out dance-like actions, swapping roles in a series of Born 1969, Dublin, Ireland. Lives and works in Dublin, Ireland. short plays. End. unfolds as a sequence of events—loops of www.eamonndoyle.com time and place—revealing a city whose concrete is as plastic as the movement of its inhabitants. Eamonn Doyle studied painting and photography in Dublin in the late Created as both installation and publication, End. is a collaborative work by Eamonn Doyle, Niall Sweeney, and David Donohoe. Built around the photographs of Doyle, it also features drawing and sound by Sweeney and Donohoe. Niall Sweeney

1980s. He spent the following 20 years working in the independent music industry, returning to photography in 2009. His debut photobook, i, described by Martin Parr as ‘the best street photo book in a decade’ was published in 2014. Its follow-up, ON, was published a year later. Shot in the same Dublin streets as its predecessors, End. is the final part of this trilogy. A collaborative work with illustrative and audio elements from Niall Sweeney and David Donohoe respectively, the book is published in parallel with this exhibition. Eamonn Doyle is represented by the Michael Hoppen Gallery. Portrait of Eamonn Doyle: Alan Lambert.

Portrait of Niall Sweeney: Eamonn Doyle.

Untitled, from the i series, 2013. Courtesy of The Michael Hoppen Gallery, London [all photographs]. Untitled, from the i series, 2013. Untitled, from the i series, 2013. Untitled, from the i series, 2013. —


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42 — Untitled, from the ON series, 2014. Untitled, from the End. series, 2015.


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44 — Untitled, from the End. series, 2015.


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Peter Mitchell

A NEW REFUTATION OF THE VIKING 4 SPACE MISSION Spirit, Opportunity, and Curiosity are still rattling across the Martian landscape, turning over rocks and ploughing the sand-drifts hoping against hope that a microscopic speck of life will turn up and convince us that we are not alone in this galaxy. In the mid-seventies, the stationary Viking Landers were the first to land on planet Mars. Though the alien landscape was magnificent, there were no canals or skeletons or wind-blown ruined dwellings or sand-filled swimming pools.

The exhibition was originally presented at the Impressions Gallery of Photography, York, in November 1979, and curated by Val Williams. For this edition of the Rencontres d’Arles, we have reconstituted the original exhibition. Praise to Rudi Thoemmes, Sheila Ross, Education Gallery, Leeds; Julian Spalding, Graves Gallery, Sheffield; Sue Grayson/Aaron Scharf, Serpentine Gallery, London; Val Williams, Impressions Gallery of Photography, York City; and Martin Parr. Prints by Ian Breckin, Silverstone Leeds. Digital by Marl & Chris at CC Imaging, Leeds, and George Lowe Engineering, Leeds. Framing by Atelier Boba et Circad, Paris. Exhibition venue: Grande Halle, Parc des Ateliers.

Today, not a single trace remains of Viking Landers 3 and 4. But myth (and conspiracy theories) have it that an alien survey was commissioned of planet Earth (possibly triggered by reverberations from the fate of Viking Lander 4), remnants of which have been captured and published from time to time. Oddly, the photographs show no great wonders of civilisations. However, a certain monotonous, low-level aesthetic pervades the images with a degree of continuity, suggesting that these things are common. In the Earthly vernacular these photographs ‘are of Nowheresville. Yet, for Peter Mitchell some people, they are the centre of the universe’. Usually they Born 1943, Manchester, United Kingdom. call it Home. Lives and works in Leeds, United Kingdom. Rudi Thoemmes with Peter Mitchell

www.strangelyfamiliar.co.uk

Originally a civil servant in the Ministry of Housing & Local Government, Whitehall, Peter Mitchell left for Hornsey College of Art (then in revolution) in London and set up as a fine art silkscreen printmaker with a studio in the northern city of Leeds. European Architectural Heritage Year 1975 was his first solo exhibition in the Education Gallery, Leeds City Art Gallery of that year, and his first solo exhibition in a photography gallery was at Impressions Gallery of Photography, York (the second photo gallery in the UK) in 1979 for A New Refutation of the Viking 4 Space Mission, the first exhibition of color photography presented in England. It had a major influence on a number of British photographers, the most prominent one being Martin Parr. He has published three books and is still working on The Annals of a Life-Threatening Postcode trilogy concerning the relationship of his flat of 34 years to Time & The City Both. Basically his work is about Leeds and himself. Portrait of Peter Mitchell: Justin Slee.

Mrs. McArthy & her daughter. Saturday 7 June 75. Noon. Sangley Road, London. Not only nature’s remedy but also purveyors of ‘certain things’ in the discreet manner. Courtesy of the artist [all photographs]. —


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48 — Mr. Gower. Friday 21 February 75. 10a.m. Upper Wortly Road, Leeds. He had just quit engineering and was going to do up this place real smart. I haven’t felt like photographing the newlook Cabin Café.

— Mr. Costas. Saturday 19 May 79. 10.30a.m. Stroud Green Road, London. He is thinking to himself ‘if only this was Athens instead of Finsbury Park.’

— Chryse Planitia. 17 September 79. 3.30 p.m. LLT. Taken by the number one camera, sand dunes and large rocks are visible in this panorama with the outcrops of bedrock and drifts of fine-grained material. The boom to

the right is the weather sensor. Temperature rises from an early morning low of -122°F in early afternoon. Atmospheric pressure holds steady at 7.7. MB throughout the day with winds gusting up to 14.6 MPH from the east

early on and shifting sou’westerly after midnight.

— Mrs. Collins & Mrs. Clayton. Friday 30 August 74. Dinnertime. Beck Road Leeds. A fish ‘n’ chip shop with butcher’s tiles and cathedral windows. Only somebody heaved that length of coping through them last week.


— next pages

Mr. & Mrs. Hudson. Wednesday 14 August 74. 11 a.m. Seacroft Green, Leeds. I liked the way the ladder is propping up the shop. They have just moved into a new shop on the same spot, with the church getting a face-lift to match.

— Kingston Racing Motors. Sunday Spring 75. 4p.m. Olinda Terrace, Leeds. Is the man with the wrench a mechanic? Why is the bird with the clapped-out Porsche looking so naughty? Will James C. Gallagher, whose business it is,

always have his back to the camera? And why did Barry, after painting the wall, have to leave Leeds? The council demolished the lot shortly after this snap.

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Profile for Les Rencontres de la photographie, Arles

Rencontres d’Arles 2016 Catalogue  

384 pages, English, published by the Rencontres d’Arles-Actes Sud. €47

Rencontres d’Arles 2016 Catalogue  

384 pages, English, published by the Rencontres d’Arles-Actes Sud. €47

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