ARLES 2017 47â‚¬ TTC FRANCE ISBN 978-2-330-07803-4
THE RENCONTRES D’ARLES ENJOYS THE SPECIAL SUPPORT OF: PRIX PICTET, FONDATION JAN MICHALSKI POUR L’ÉCRITURE ET LA LITTÉRATURE, YELLOWKORNER, THE SWISS CONFEDERATION, LËT’Z ARLES (LUXEMBOURG), HUAWEI, NESPRESSO, BNP PARIBAS, RUBIS MÉCÉNAT CULTURAL FUND, ACTES SUD, THE SWISS ARTS COUNCIL PRO HELVETIA, SAIF, ADAGP, MÉTROBUS, LUMA ARLES, COMMUNAUTÉ D’AGGLOMÉRATION ARLES CRAU CAMARGUE MONTAGNETTE, AGEFOS PME PACA.
AND THE ACTIVE COLLABORATION OF: CENTRE POMPIDOU, BIBLIOTHÈQUE NATIONALE DE FRANCE, ÉCOLE NATIONALE SUPÉRIEURE DE LA PHOTOGRAPHIE D’ARLES, ASSOCIATION DU MÉJAN, MUSÉE RÉATTU, CARRÉ D’ART-MUSÉE D’ART CONTEMPORAIN DE NÎMES, COLLECTION LAMBERT AVIGNON, HÔTEL DES ARTS TOULON, FRAC PACA, 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.
SUPPORT FROM: HAMILTONS GALLERY, THE LOUIS ROEDERER FOUNDATION, FNAC, THE DANIEL AND NINA CARASSO FOUNDATION, THE JAPAN FOUNDATION, TECTONA, RIVEDROIT AVOCATS, PINSENT MASONS LLP, UNIVERSITÉ PARIS II PANTHÉON-ASSAS, DIRECTION INTERRÉGIONALE DE LA PROTECTION JUDICIAIRE DE LA JEUNESSE SUD-EST, FIDAL, LE POINT, MADAME FIGARO, MK2, L’OFFICIEL ART, IDEAT MAGAZINE, FISHEYE, OFF THE WALL, RÉPONSES PHOTO, PICTO FOUNDATION, CENTRAL DUPON IMAGES, PROCESSUS, CIRCAD, PLASTICOLLAGE, CEWE, ATELIER SUNGHEE LEE & GAMBIER, ANITA SAXENA INTERPRÉTARIAT.
With approximately 40 exhibitions, the Rencontres d’Arles offers a general survey of contemporary photographic creation and practices. The relationships suggested within the program are at the core of the different sequences. They allow categories to be identified and, year after year, encourage a thorough exploration of developments in photography.
THE EXPERIENCE OF TERRITORY
Latin America as a land of photography, with Colombia as its focus. P.22
URBAN IMPULSES LATIN AMERICAN PHOTOGRAPHY, 1960-2016
When new towns, urban renewal and even accidents nurture a poetry of territory and the culture of landscape.
Political upheavals, climate chaos, environmental and social struggles: the world is in disorder. What kind of future are we dreaming of? P. 112
MONSANTO: A PHOTOGRAPHIC INVESTIGATION
A POETICS OF THE HUMAN
LIFE IN THE CITIES
LA VUELTA 28 COLOMBIAN PHOTOGRAPHERS AND ARTISTS P. 48
THE COW AND THE ORCHID GENERIC COLOMBIAN PHOTOGRAPHY
MICHAEL WOLF P. 74
СТАНСЫ/STANCES P. 80
GIDEON MENDEL DROWNING WORLD P. 126
NIELS ACKERMANN & SÉBASTIEN GOBERT LOOKING FOR LENIN
IN THE MISSION’S STUDIO A LOOK AT 15 PHOTOGRAPHERS FROM THE DATAR PHOTOGRAPHY PROJECT P. 86
LEVITT FRANCE A RESIDENTIAL UTOPIA P. 92
CHRISTOPHE RIHET ROAD TO DEATH P. 98
KATE BARRY THE HABIT OF BEING P. 104
DUNE VARELA ALWAYS THE SUN
PLATFORMS OF THE VISIBLE NEW APPROACHES TO DOCUMENTARY PHOTOGRAPHY
Observatory of documentary photography, a changing practice. P. 136
MATHIEU PERNOT THE GORGANS P. 144
SAMUEL GRATACAP FIFTY-FIFTY
I AM WRITING TO YOU FROM A FAR-OFF COUNTRY
Spotlight on a part of the world, like a photographic correspondence. P. 152
IRAN, YEAR 38 66 IRANIAN PHOTOGRAPHERS P. 162
BLANK PAPER STORIES OF THE IMMEDIATE PRESENT
PHOTOGRAPHY IN A DIFFERENT LIGHT
Photography seen differently, from a re‑reading of Surrealism to Jean Dubuffet’s uses of photography. P. 208
MASAHISA FUKASE THE INCURABLE EGOIST P. 180
AUDREY TAUTOU SUPERFACIAL P. 188
NEW DISCOVERY AWARD
TEN GALLERIES PRESENT 12 ARTISTS UNDER 45. FRANÇOISE PAVIOT GALLERY
AN EXHIBITION CELEBRATING THE 40TH ANNIVERSARY OF THE CENTRE POMPIDOU
CARLOS AYESTA & GUILLAUME BRESSION LE BLEU DU CIEL
MARI BASTASHEVSKI UNO ART SPACE
From plunging into one’s own image to the exhibition venue itself, everything becomes a pretext for staging.
THE SPECTER OF SURREALISM
THE PHOTOGRAPHIC TOOL
MISE EN SCÈNE
A trailblazing festival that seeks tomorrow’s talents.
EAST WING GALLERY
Some passionate, free-spirited collectors set their sights on unusual items, raising the question of the vernacular. P. 226
PROPORTION OBSERVED DWARF, HERCULES & GIANT FROM THE CLAUDE RIBOUILLAUT COLLECTION
BRODBECK & DE BARBUAT PHILIPPE DUDOUIT NINETEENSIXTYEIGHT
IN SITU GALLERY
CONSTANCE NOUVEL INDE/JACOBS GALLERY
STEPHAN WITSCHI GALLERY
THE HOUSE OF THE BALLENESQUE
THE LAST ROAD OF THE IMMORTAL WOMAN
YVES CHAUDOUËT TRANSPORTS DAVIGNON
OLYMPUS ENGAGES IN A PHOTOGRAPHIC CONVERSATION GUILLAUME HERBAUT & ELEONORE LUBNA P. 288
VR ARLES FESTIVAL
GRAND ARLES EXPRESS
EDUCATION & TRAINING
The photography book in all its forms. P. 292
COSMOS-ARLES BOOKS TEMPORARY STRUCTURE P. 294
THE 2017 BOOK AWARDS LEAF THROUGH BOOKS PUBLISHED WITHIN THE LAST YEAR.
The wind of photography blows through the Great South. P. 320
PHOTOGRAPHY WORKSHOPS CLICKS AND CLASSES
NÎMES, CARRÉ D’ART
BEATRIZ GONZÁLEZ & JOSÉ ALEJANDRO RESTREPO
LUMA RENCONTRES DUMMY BOOK AWARD ARLES 2017 THE BEST 2017 DUMMY BOOKS.
AVIGNON, COLLECTION LAMBERT WE LOVE ART!! AGNÈS B.
Places and institutions in Arles that promote photography and participate in the festival’s program. P. 298
ÉRIC MÉZIL’S SELECTIONS FROM THE AGNES B. COLLECTION P. 326
ARLES IN BOGOTÁ
THE MILKY WAY
BOARD OF DIRECTORS
TOULON, HÔTEL DES ARTS
AN UNUSUAL ATTENTION THREE ENSP GRADUATES FROM THE CLASS OF 2017
OPENING WEEK P. 342
OH ¡ LATINA !
A DIALOGUE WITH THE KOGIS (KABAGA) PEOPLE
EVENIGS AT THE THÉÂTRE ANTIQUE
JOEL MEYEROWITZ ANNIE LEIBOVITZ IRAN NOW
LITERATURE AND PHOTOGRAPHY
ANNIE LEIBOVITZ THE EARLY YEARS, 1970–1983: ARCHIVE PROJECT #1
NIGHT OF THE YEAR P. 344
CONVERSATIONS, PERFORMANCES, PROJECTIONS
RENCONTRES IN RÉATTU NONANTE-NEUF
JIMEI x ARLES INTERNATIONAL PHOTO FESTIVAL
FAR FROM WHERE?
PHOTO FOLIO REVIEW PORTFOLIO REVIEWS
INDEX OF ARTISTS
WELCOME TO THE 48TH ANNUAL RENCONTRES! HUBERT VÉDRINE
PRESIDENT OF THE RENCONTRES D’ARLES
For the 48th year, the Rencontres photographiques d’Arles meets its public! An exigent, enthusiastic, passionate public, attached to the concept of the Rencontres d’Arles, and the spirit of places (its many venues are ever more numerous this year: 25 sites, 250 artists). The Rencontres discovers and innovates once again. With the opening of Ground Control and the Mistral, there are two new exhibition sites on Émile-Combes Boulevard. The Grand Arles Express takes place in Marseille, Avignon, Nîmes and Toulon, and still elsewhere in the coming years. We went to Jimei, China, in 2015 and 2016, and will go again next November. The festival is also a site of openness and exchange. With their gaze, 28 artists speak to us this year about Colombia, which, after half a century of civil war, walks a fragile road to peace. Meanwhile, 66 artists, many young, and many female, tell us in photographs about Iran from 1979 to 2017.
WITH THANKS TO ALL OUR PARTNERS ! The Rencontres d’Arles wishes to thank the Ministry of Culture, the Provence-Alpes-Côte d’Azur Regional Directorate of Cultural Affairs, the Ministry of Education, the Provence-Alpes-Côte d’Azur Regional Council, the Bouchesdu‑Rhône Departmental Council, the city of Arles, the Canopé network, the Center for National Monuments, and all our public partners whose support is so precious to us. We are delighted to be associated with the Centre Pompidou in its 40th anniversary year and with 2017 France-Colombia Year, jointly supported by the Ministry of Europe and Foreign Affairs, the Government of Colombia and the Institut Français. We would like to thank all our sponsors and private partners for their generosity and renewed trust,
especially Olympus—celebrating 10 years of partnership together—, the LUMA Foundation, BMW, SNCF Gares & Connexions, the Prix Pictet, the Fondation Jan Michalski pour l’Écriture et la Littérature, the Swiss Confederation, YellowKorner, and Actes Sud, as well as many others which space prevents us from listing here. We are also delighted to strengthen our collaboration with those partners who have recently joined us, including BNP Paribas, Lët’z Arles (Luxembourg), Nespresso, Huawei, Rubis Mécénat cultural fund, and the Louis Roederer Foundation. Finally, we would like to thank our main media partners who help disseminate the Festival’s news and promote its image around the world: France Inter, ARTE, France Inter, Konbini, LCI, Le Point, Madame Figaro, mk2, L’Officiel Art, IDEAT Magazine, Fisheye, and OFF the wall.
I’d like to invite our great friend, our public, to enjoy their visit to the Rencontres 2017!
NEW SPACE SAM STOURDZÉ
DIRECTOR OF THE RENCONTRES D’ARLES
The more we think a country closed, stuck in political and economic crises, the more we find photographers there. They reveal, describe, demonstrate, invent, repair, build, in their own language, that of the image. They decipher the preliminary signs of societies in upheaval. The 48th edition of the Rencontres de la Photographie shares this taste for other places. All across the city of Arles—a city of living legacy which, in the space of a summer, transforms into a wonderful place of welcome for our exhibitions—a trajectory emerges that will lead you from Latin America to Iran, from the shores of the Bosphorus to the Syrian border, from Château d’Avignon to the trailers of Arles. You’ll go on a snorkeling tour of flooded lands; you’ll go by train across the vast Russian landscape; you’ll pick up the pieces of Lenin in Ukraine; you’ll reflect on Monsanto; you’ll follow the life of a Romani family for twenty years… From the local to the global, this 48th edition will take you to the heart of Colombia, immerse you in a new Spanish generation, introduce you to the sideways glance in Iranian photography—all in a sweeping journey to the heart of busy and complex geopolitics. SEE THE WORLD
As a matter of fact, the world is moving. Nothing new in this, but it’s moving ever faster. Nowadays images circulate at the speed of light. Technological liberation, once lauded as the
acquisition of direct expression, the spearhead of an ever more participative democracy, reveals another face, another use. It puts itself at the service of populist conquests. Have we entered into the age of the war of images, in which each person chooses to make themselves, alternately, the one who disseminates or the one who collects truth or fallacy? More than ever, we need artists and their ability to capture the apt time. Artists participate in decrypting, in contextualizing, in making new forms of writing emerge; and the festival amplifies their voices, transcribes their simple, efficient, and ambitious program: to see the world as it is, as it could be, as it ought to be. THANKS TO YOU!
Patrons of the Rencontres have made no mistake. In 2016, you were more numerous than ever before. In fifteen years, attendance at the Rencontres d’Arles increased dramatically, testifying to the growing public interest in photography. The event now occurs as an annual fixture, a freeze frame, an x-ray of artistic creation, as the Rencontres are on the scene for every development in the field of photography, and sometimes at its initiative. Thus, the 48th issue holds a few surprises. The artist Jean Dubuffet appropriates and diverts photographic convention, using its reproducibility to replicate painting and drawing. Roger Ballen works on site for the exhibition itself, offering the visitor an immersive, ballenesque experience.
Virtual reality (VR) promises to be the next revolution in technology. It is a new model for creation, one which is challenging representation and rewriting established codes. It is inspiring artists and producing new forms. The festival supports these major developments related to the image, setting up a new stage for them with the VR Arles Festival, accessible all summer at the Couvent Saint-Césaire. Here, visitors can experience the two dozen films selected for the official competition. ALL OF PHOTOGRAPHY
Ultimately, we are a photography festival at the service of photographers. Yet, art is an ecosystem with a large number of actors involved, from creation to production to distribution. We support this ecosystem, year after year, as a place of welcome, of expression and promotion. Because of its visibility, the festival is a unique platform for the photography community, a common good at the service of all its players: photographers, of course, but also curators, researchers, publishers, collectors, and this year, gallery owners. At Arles, curators find a ground for experimentation that matches their ambitions. In 2017, more than 30 curators are offering their interpretation of photography. Publishers are now supported largely by the Dummy Book Award and the Book award, while Cosmos-Arles Books brings together around 80 specialized publishers during the festival’s opening week.
international audience. Thus, ten photographers have been selected from among 200 candidates; their work will be presented this summer. It is then up to the professionals to decide, from among these candidates, the winner of the New Discovery award during the opening week. Clearly, all the players in photography enrich our program, and increase, by a little each year, the significance of the Rencontres d’Arles. A SPIRIT, NOT A PLACE
This year, we are opening up new spaces, literally as well as figuratively. In 2017, the spirit of the Rencontres will breathe on two new sites. Both are found at the border of the historical center on Boulevard Émile Combes. The sites were built from derelict houses, old shops, warehouses, and urban land. Open to the public for the first time, they’ve been reconfigured as exhibition sites and walkways for the occasion. They add to the Rencontres d’Arles’ reputation as innovator of the city. But one space can hide another! More than square meters, these are new spaces of photography which, above all, tirelessly mobilize our energy: creative spaces, political spaces, spaces of protest and rebellion, spaces for reflection, and most of all, spaces consecrated to the critical eye and free thinking. Let’s make it clear—before it is a place, the Rencontres d’Arles is a space of liberty!
The 48th issue continues its interest in art collectors. From the excellent Latin American collection of Letitia and Stanislas Poniatowski, to the strange vernacular collection of Claude Ribouillault, devoted to dwarfs, giants and strongmen, collectors are celebrated for the free spirit by which they bring to light neglected areas in the history of photography. And finally, we officially welcome the key players on the art scene with the presentation of the New Discovery Award. Gallery owners, in their pioneering role, are often the first to spot, support, and encourage future talent. They are here invited to nominate an artist of less than 45 years old, whose work they esteem to merit promotion with an 15
THE CURATORS OF THE EXHIBTIONS
JUAN VICENTE ALIAGA
Born 1959, Valencia, Spain. Lives and works in Valencia, Spain.
Born 1968, Paris, France. Lives and works in Colombes, France.
Born 1972, London, United Kingdom. Lives and works in London, United Kingdom.
Juan Vicente Aliaga has close ties to feminist, queer, decolonial and postcolonial struggles and movements. He is a professor of modern and contemporary art theory at the Polytechnic University of Valencia. His publications and exhibitions display these interests and investments; among the most recent are: Gina Pane. Intersecciones (MUSAC, León, 2016); Paz Errázuriz (Madrid, Fundación Mapfre, 2015); Woeful Weapons: Josep Renau and Martha Rosler Reacting to War (IVAM, Valencia, 2015); Claude Cahun (Jeu de Paume, Paris, 2011; Art Institute of Chicago, 2012); Akram Zaatari: The Uneasy Subject (MUAC, Mexico City, 2012).
An independent art curator specializing in photography and contemporary art, Andrieux served as art director for photo basel in 2016 and directed the 2015 Alt+1000 festival in Switzerland. Between 2011 and 2014, she worked with Paris Photo at the Grand Palais (Paris) and in Los Angeles. She has overseen group shows such as Silent Significance (2011), with the artists Anne Lise Broyer, Claudia Angelmaier, and Charwai Tsai; and Waterland (2009), with Massimo Vitali, Aram Dervent, and Katrien Vermeire. She is also co-author of Lucien Hervé/ Le Corbusier: Contact (Seuil, 2011) and has organized exhibitions for GeorgesTony Stoll, Seydou Keïta, Paul Seawright, Martin Parr, and Vincent Gallo.
Simon Baker is Senior Curator of International Art (Photography) Tate. He is Tate’s first curator of photography and joined in 2009 from the University of Nottingham, where he was Associate Professor of Art History. Since joining Tate he has curated or co-curated the following exhibitions: Exposed: Voyeurism, Surveillance and the Camera (2010); Taryn Simon: A Living Man Declared Dead and Other Chapters (2011); William Klein + Daido Moriyama (2012); Another London (2012); Conflict, Time, Photography (2014); Nick Waplington, Alexander McQueen: Working Process (2015), and Performing for the Camera (2016). Exhibitions outside Tate have included Don McCullin: Looking Beyond the Edge (Arles, 2016). He recently published the first monograph on the painter George Condo (Thames & Hudson, 2016).
EXHIBITION: PAZ ERRAZURIZ, A POETICS OF THE HUMAN — P. 30
EXHIBITION: LEVITT FRANCE, A RESIDENTIAL UTOPIA — P. 86
EXHIBITION: MASAHISA FUKASE, THE INCURABLE EGOIST — P. 172
Born 1976, Getxo, Spain. Lives and works in Madrid, Spain. dalpine.com
Born 1983, Paris, France. Lives and works in Paris, France.
Born 1953, Sissonne, France. Lives and works in Paris, France.
After studying art history and philosophy at the Sorbonne, Léa Bismuth wrote for artpress, starting in 2006. Since 2013, while at the same time working with such institutions as the Beaux-Arts de Paris, Le Fresnoy, and Le BAL, she has established her approach as exhibition curator, in particular with Nouvelles Vagues at the Palais de Tokyo (2013), CAC La Traverse (2015), URDLA Focus Résonance Biennale de Lyon (2015), and Les Tanneries (2017). For 2016 to 2019, she is working on a vast curatorial program for Labanque (Béthune, France): La Traversée des Inquiétudes, a trilogy freely inspired by the thought of Georges Bataille.
Former photography editor for Liberation, Caujolle created the VU Agency in 1986, and has been artistic director for the VU’ gallery since 1998. He served as jury member for World Press Photo in 1990, and as artistic director for the Rencontres internationales de la photographie d’Arles in 1997. In 2001, he was guest curator for PhotoEspaña. Caujolle has been teaching at the École nationale supérieure Louis– Lumière as associate professor since 2006.
Freelance publisher Sonia Berger holds a master’s degree in editing and publishing from the University of Deusto as well as a degree in translating and interpreting from the University of Salamanca. Since the early 2000s, she has worked for many publishers and magazines and taken photography courses at Madrid’s Blank Paper school. Ms. Berger combines freelance publishing with running Dalpine, a publisher and bookstore specializing in photo books. She is a member of La Troupe, a publishing professionals’ collective focusing on art projects. EXHIBITION: BLANK PAPER. STORIES OF THE IMMEDIATE PRESENT — P. 162
EXHIBITION: CARLOS AYESTA ET GUILLAUME BRESSION, RETRACING OUR STEPS, FUKUSHIMA EXCLUSION ZONE – 2011-2016 — P. 240
EXHIBITION: SAMUEL GRATACAP, FIFTY-FIFTY — P. 144 ; JULIETTE AGNEL, LES NOCTURNES — P. 236
FRANÇOIS CHEVAL RAPHAËLE BERTHO Born 1982, Paris, France. Lives and works in Paris, France.
Raphaële Bertho teaches art at the Université de Tours. A photography historian, since 2005 she has focused on the esthetic and political issues of depicting contemporary territory. In 2013, she published La Mission Photographique de la DATAR, un Laboratoire du Paysage Contemporain, as well as several articles, including “Les Grands Ensembles, Cinquante Ans d’une Politique Fiction Française.” She and Héloïse Conesa will curate Paysages Français: une Aventure Photographique (1984-2017), a show at the BnF, in autumn 2017. EXHIBITION: IN THE MISSION’S STUDIO. A LOOK AT 15 PHOTOGRAPHERS FROM THE DATAR PHOTOGRAPHY PROJECT — P. 80
Born 1954, Belfort, France. Lives and works in Chalon-sur-Saône, France.
ELIZABETH BREINER Born 1989, Albany, New York, United States. Lives and works in London, United Kingdom. nineteensixtyeight.com
Elizabeth Breiner is a critic and curator, and editor of the photography platform nineteensixtyeight. A graduate of Vassar College and University College London, her work centers around critical intersections between literature and photography, with a focus on changing definitions of documentary realism across the two art forms. Previously, she was editor of Fotoura, curating several editions of the International Street Photography Awards, and worked on the first London Festival of Photography. She has written for a range of publications, collaborated on artist books, and served as a competition judge and portfolio reviewer.
Trained in history and ethnology, François Cheval has been a museum curator since 1982. From 1996 to 2016, he headed the Musée Nicéphore Niépce in Chalonsur-Saône, supporting new, demanding photography. In the continuity of projects developed outside museums, he has curated shows at MuCEM for Marseille-Provence 2013, the Pavillon Populaire de Montpellier, PhotoEspaña, and the Rencontres d’Arles. He is the art director and founder of the BMW Residency and the HSBC Photography Award, as well as co-founder and co-director of the new Lianzhou Museum for Photography, China’s first public museum dedicated to photography, set to open in November 2017. He is also in charge of this year’s Mérignac Photographic Festival program. EXHIBITION: KARLHEINZ WEINBERGER, SWISS REBELS — P. 194
EXHIBITION: GUY MARTIN, THE PARALLEL STATE — P. 260
Born 1983, Lyon, France. Lives and works in Paris, France.
Born 1966, Paris, France. Lives and works in Paris, France. le-bal.fr
Born 1970, Neuilly-sur-Seine, France. Lives and works in Paris, France. tolucaeditions.com
Diane Dufour is director of LE BAL in Paris, a contemporary photography, video, cinema and new media space created with Raymond Depardon in 2010. Internationally famous for the quality of its exhibitions (Anonymous, Nameless America; Topographies of War; Antoine d’Agata, Anticorps; Paul Graham; Lewis Baltz, Common Objects, etc.), LE BAL aims to combine the visual arts with reflections on society. Ms. Dufour has designed many books on contemporary photographers, including Mark Cohen, Dark Knees; Lewis Baltz, Common Objects; Dirk Braeckman, Sisyphe; Mark Lewis, Above and Below. She founded Curators’ Day, a project exchange platform including 30 European museums. She was head of Europe Magnum Photos from 2000 to 2007.
Publisher Alexis Fabry founded Les Éditions Toluca with Olivier Andreotti in 2003. He has co-curated many exhibitions, including Urbes Mutantes (Museo de arte del Banco de la República, Bogota, 2013 and the International Center of Photography, New York, 2014); América Latina 1960-2013 (Fondation Cartier pour l’art contemporain, Paris); Latin Fire. Otras fotografías de un continente (CentroCentro, Madrid, 2015); Fernell Franco Cali Clair-Obscur and Daido Moriyama, Daido Tokyo (Fondation Cartier pour l’art contemporain, Paris, 2016), and Transiciones. Diez años que trastornaron Europa (Círculo de Bellas Artes, Madrid, 2016).
Photography historian Héloïse Conésa is the curator of contemporary photography at the Bibliothèque Nationale de France. Her university research focused on contemporary Spanish photography. She has curated the exhibitions Entrevoir featuring Robert Cahen’s video work (MAMCS, 2013), Colles et Chimères on photographer Patrick Bailly-Maître-Grand (MAMCS, 2014), and, since 2015, various installments of the Bourse du Talent at the BnF with Didier de Faÿs. She and Raphaële Bertho will curate Paysages français: une aventure photographique (1984‑2017), at the BnF in autumn 2017. EXHIBITION: IN THE MISSION’S STUDIO. A LOOK AT 15 PHOTOGRAPHERS FROM THE DATAR PHOTOGRAPHY PROJECT — P. 80
EXHIBITION: URBAN IMPULSES. LATIN AMERICAN PHOTOGRAPHY, 1960-2016 — P. 22
EXHIBITION: KATE BARRY — P. 98
EMMANUELLE DE L’ECOTAIS Born 1968, Brussels, Belgium. Lives and works in Paris, France.
With a doctorate in Art History, Emmanuelle de l’Ecotais is curator of photography at the Musée d’Art Moderne in Paris. Aspecialist in the works of Man Ray, she has curated the exhibitions Man Ray, la Photographie à l’Envers (Grand Palais, 1998), Alexandre Rodtchenko (Musée d’Art Moderne, 2007), Objectivités, La Photographie à Düsseldorf (ARC, 2008), Henri Cartier-Bresson (Musée d’Art Moderne, 2009), Bernhard et Anna Blume (MEP, 2010), andLinder, Femme-Objet (ARC, 2013). She served as artistic advisor for the Prix HSHC Pour La Photographie in 2013, is on the selection committee for the Marc Ladreit de Lacharrière photography prize (Académie des Beaux-Arts), and is jury member for the Prix Pictet.
Born 1978, Valence, France. Lives and works in Marseille and Paris, France.
EXHIBITION: BRODBECK & DE BARBUAT, IN SEARCH OF ETERNITY II : THE WALL OF WIND, JAPAN, 2013-2015 — P. 252
Fannie Escoulen, a graduate of the École Nationale Supérieure de la Photographie in Arles, is a freelance curator. She was assistant director of LE BAL in Paris from its inception in 2007 until 2014 and curated the following shows: Antoine d’Agata, Anticorps (Fotomuseum, The Hague; LE BAL; Forma, Milan; La Termica, Malaga), Stéphane Duroy, Again and Again (LE BAL), Anne-Marie Filaire, Zone de Sécurité Temporaire (Mucem, Marseille), Photographie & Résistance, la Nouvelle Scène Photographique Espagnole (Fotomuseum Antwerp), and Je Voulais Être Photographe (Foto Colectania Foundation, Barcelona). Art director of the Prix Levallois since 2015, she works with publishers as editorial director on monographs on a regular basis. EXHIBITION: KATE BARRY — P. 98
ANAHITA GHABAIAN ETEHADIEH Born 1962, Teheran, Iran. Lives and works in Teheran, Iran. silkroadartgallery.com
Anahita Ghabaian Etehadieh holds a Ph.D. in history and a degree in information technology applied to economic and social management (Université Paris Diderot). In 2001, she created the Silk Road Gallery, Iran’s first photo gallery, which hosts shows at its two spaces in Teheran and participates in international photography and contemporary art fairs. She was the art director of Photoquai in 2009 and, in 2015, curated the Newsha Tavakolian show for the Carmignac Photojournalism Award and co-curated the Shadi Ghadirian retrospective at the Lyon municipal library. She published La Photographie iranienne, un regard sur la création contemporaine en Iran (2012). EXHIBITION: IRAN, YEAR 38. 66 IRANIAN PHOTOGRAPHERS — P. 152
Born 1962, Berlin, Germany. Lives and works in Stuttgart, Germany. hartmannprojects.com
Born 1978, Paris, France. Lives and works in Paris, France.
Born 1983, Japan. Lives and works in Tokyo, Japan. masahisafukase.com
Markus Hartmann is the 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 contributor to blogs and conferences on books and photography. EXHIBITION: NORMAN BEHRENDT, BRAVE NEW TURKEY — P. 248
UTE CHRISTIANE HOEFERT Born 1979, Hamburg, Germany. Lives in Frauenfeld and works in Zurich, Switzerland. stephanwitschi.ch
After an apprenticeship as a carpenter, Ute Christiane Hoefert studied art and modern history at the Technical University of Berlin. As an art historian and art educator, she has gained experience in various museums and galleries and works since January 2017 for the Galerie & Edition Stephan Witschi. EXHIBITION: ESTER VONPLON, WIE VIEL ZEIT BLEIBT DER ENDLICHKEIT — P. 272
Audrey IIIouz is an art critic and an independent exhibition curator. From 2006 to 2010, she was exhibition coordinator for the Centre Photographique d’Île-deFrance. She is currently researching Vito Acconci and the Studio Acconci. She is also interested in the photographic medium and its mutations. Among her notable exhibitions are L’Apparition des Images (2013) at the Fondation d’Entreprise Ricard and Dispositifs (Marina Gadonneix, Aurélie Pétrel, 2015) at the Comédie de Caen, where she has been associate curator since 2015. In 2014-2015, she co-organized the master’s degree program seminar (LabZone), The Spatialization of the Image, at HEAD (Geneva). She contributes regularly to the reviews art press, Flash Art International and 02. EXHIBITION: CONSTANCE NOUVEL, PLANS-RELIEFS — P. 264
Tomo Kosuga is the director of the Masahisa Fukase Archives and is also an art producer, curator and writer, working mainly in the realm of Japanese photography. He served as the creative director of the Japanese branch of the global media platform Vice Media until 2014. He has curated various exhibitions including Masahisa Fukase: The Incurable Egoist (2015), VICE Japan: The Global Photo Collaborations (2014), Bob Richardson (2008), and Terry Richardson vs. Jackass (2008). EXHIBITION: MASAHISA FUKASE, THE INCURABLE EGOIST — P. 172
ANNE LACOSTE Born 1973, Versailles, France. Lives and works in Lausanne, Switzerland. .elysee.ch
NICOLAS JIMENEZ AND MARIE SUMALLA Born 1981, Perpignan. Lives and works in Paris, France. Born 1980, Perpignan. Lives and works in Paris, France.
Nicolas Jimenez has been head of the photo department at the daily Le Monde since 2008. Three years later, Marie Sumalla joined him to cover international news. The Arab Spring strengthened the paper’s commitment to photojournalism. A growing number of articles (“PourLeMonde”) focus on the Syrian civil war and its geopolitical repercussions, Africa’s turmoil and the fight against ISIS. Since the 2011 Libyan uprising and overthrow of Gaddafi, Le Monde has covered that country with reporting by its special correspondents.
Anne Lacoste, who wrote her Ph.D. thesis on the history of archeological photography, has been a curator at the Musée de l’Elysée since 2011. She worked at Christie’s for five years before starting her career as a curator at the Photography Department of the J. Paul Getty Museum in Los Angeles. Since 2005, her projects have spanned the history of photography with monographs on Felice Beato, Paul Strand, Irving Penn, Luc Delahaye, and Philippe Halsman, and themes such as the portrait, contemporary American photography, the history of the slide, the photo booth, photo collections, and archives. EXHIBITION: JEAN DUBUFFET, THE PHOTOGRAPHIC TOOL — P. 216
EXHIBITION: SAMUEL GRATACAP, FIFLTY-FIFTY — P. 144
WIM VAN SINDEREN
Born 1959, Singapore. Lives and works in Zug and Winterthur, Switzerland. fotostiftung.ch
Born 1959, London, United Kingdom. Lives and works in London, United Kingdom.
Born 1958, Dokkum, Netherlands. Lives and works in The Hague, Netherlands. fotomuseumdenhaag.nl
Peter Pfrunder studied literature in Zurich, Berlin, and Montpellier, receiving his doctorate in 1988. Until 1998, he worked as a freelance journalist, author, and exhibition curator. Since 1998, he has served as director and curator of the Fotostiftung Schweiz/Swiss Foundation for Photography, Winterthur. Among his recent publications figure Gotthard Schuh. Une approche amoureuse, Göttingen, 2009; Swiss Photobooks from 1927 to the Present—A Different History of Photography, Baden, 2011; Adieu la Suisse ! Construction et déconstruction d’un mythe photographique, Paris, 2012; and Unfamiliar Familiarities. Outside Views on Switzerland, Winterthur/Lausanne/Zurich, 2017.
Timothy Prus is the curator of The Archive of Modern Conflict since 1992. He is also an exhibition organiser and a photobook editor. His previous publications include Whale’s Eyelash (2014), Nein, Onkle (2007), Scrapbook (2009) and The Corinthians (2008). Previous exhibitions include Lodz Ghetto (Muzeum Sztuki, 2005), Collected Shadows (Museum of Contemporary Art, Toronto, 2013), Notes Homes (FORMAT International Photography Festival, Derby, 2013), The Great Refusal (2013) and A Guide to the Protection of the Public in Peacetime (Tate Modern, London, 2014). EXHIBITION: THE COW AND THE ORCHID. GENERIC COLOMBIAN PHOTOGRAPHY — P. 48
EXHIBITION: NIELS ACKERMANN & SÉBASTIEN GOBERT, LOOKING FOR LENIN — P. 126
MARK SEALY CAROLINA PONCE DE LEÓN Born 1955, Bogota, Colombia. Lives and works in Bogota, Colombia.
Independent curator Carolina Ponce de León has served as artistic director at the Biblioteca Luis Angel Arango, Bogota; curator, Museo del Barrio, New York; director, Galería de la Raza, San Francisco; and Visual Arts Advisor at the Ministry of Culture of Colombia. She is the author of the books El Efecto Mariposa: Ensayos Críticos sobre arte y cultura en Colombia; Jesús Abad Colorado: Mirar de la Vida Profunda; and Roldán. She has contributed to anthologies published by MIT Press, The New Museum in New York, and INIVA, as well as essays and reviews for L’Officiel-Art, Art in America, Art Nexus, Bomb Magazine, Parkett, and Polyester. EXHIBITION: LA VUELTA. 28 COLOMBIAN PHOTOGRAPHERS AND ARTISTS — P. 38
Van Sinderen began his career in the 1980s as an art journalist and photo editor. From 1992 through 2001 he was a curator at the Kunsthal Rotterdam, specializing in contemporary visual culture. He is a founding member and senior curator of the Hague Museum of Photography, as well as conservator of the photography collection of the Gemeentemuseum Den Haag. As a curator, Van Sinderen has produced several monographic exhibitions, ranging from historical photographers such as Erwin Blumenfeld and Manuel Alvarez Bravo to contemporary figures like Pieter Hugo and Anton Corbijn. In 2015, Wim van Sinderen was appointed member of the 2016 Deutsche Börse Photography Foundation Prize in London. He was also part of the General Jury of the 2017 World Press Photo Contest. EXHIBITION: MICHAEL WOLF, LIFE IN CITIES — P. 66
Born 1960, London, United Kingdom. Lives and works in London, United Kingdom. autograph-abp.co.uk
Mark Sealy is interested in the relationship between photography and social change, identity politics, race, and human rights. He has been director of Autograph ABP (London) since 1991 and has produced artist publications, curated exhibitions, and commissioned photographers and filmmakers worldwide, including the recent critically acclaimed project Human Rights Human Wrongs exhibition. Sealy has been awarded the Hood Medal by the Royal Photographic Society and a Most Excellent Order of the British Empire award for services to photography 2013. He recently gained his PhD from Durham University. His thesis examined the relationship between photography and cultural violence. EXHIBITION: GIDEON MENDEL, DROWNING WORLD — P. 120
SAM STOURDZÉ Born 1973, Paris, France. Lives and works in Paris and Arles, France.
Once a boarder at the Villa Medici, on October 1, 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. EXHIBITIONS: LA VUELTA.28 COLOMBIAN PHOTOGRAPHERS AND ARTISTS — P. 38 ; JOEL MEYEROWITZ, EARLY WORKS — P. 56 ; AUDREY TAUTOU, SUPERFACIAL — P. 180
Born 1981, Tehran, Iran. Lives and works in Tehran, Iran. newshatavakolian.com
Born 1950. Lives and works in Lyon, France.
A self-taught photographer, Newsha Tavakolian began working professionally in the Iranian press at age of 16. She was the youngest photographer to cover the 1999 student uprising. In 2002 she started working internationally, covering the war in Iraq. Her photographs and projects have been published internationally by global media organizations, NGOs, and fine art magazines. Newsha’s work has been widely exhibited at international institutions, including the Victoria & Albert Museum, Los Angeles County Museum of Art (LACMA), British Museum, and Boston Museum of Fine Art. In 2014, she won the Carmignac Gestion Photojournalism Award, and in 2015, the Principal Prince Claus Award. Tavakolian became a Magnum nominee in 2015. EXHIBITION: IRAN, YEAR 38. 66 IRANIAN PHOTOGRAPHERS — P. 152
SERGIO VALENZUELA ESCOBEDO Born 1983, Santiago, Chile. Lives and works in France and Chile. valenzuelaescobedo.com
Sergio Valenzuela Escobedo is a current doctoral candidate at l’École nationale supérieure de la photographie, Arles, as well as an independent curator. He studied at the National School of the Arts in Johannesburg before receiving a degree in photography in Chile, and continuing, in 2014, with a master’s degree from the Villa Arson, in Nice. Since 2005, he has been organizing exhibitions, the most recent of which, Mapuche, voyage en terre Lafkenche, took place at the Musée de l’Homme in Paris. He researches the theoretical and political history of the camera. EXHIBITION: MATHIEU ASSELIN, MONSANTO: A PHOTOGRAPHIC INVESTIGATION — P. 112
In 1999, art director Gilles Verneret created the Bleu du ciel contemporary photography center, which he leads, and the Septembre de la photographie event in Lyon, which he headed from 2001 to 2012. He has taught photography in various places since 1985. He was a Rencontres d’Arles Photo Folio Review appraiser from 2008 to 2014 and for the “Jeunes artistes” Toulouse project between 2007 and 2010. He has published around 50 monographs on photographers. EXHIBITON : MARI BASTASHEVSKI, STATE BUSINESS — P. 244
SOPHIE WEBEL Born 1957, Issy-les-Moulineaux, France. Lives and works in Paris, France.
Sophie Webel holds a master’s degree in art history from Université Paris IV Sorbonne. In 2003, she became head of the Dubuffet Foundation, which she joined in 1997 after 14 years at the Baudoin Lebon gallery, where she discovered Jean Dubuffet and photography. She wrote the Catalogue Raisonné de l’Œuvre Gravé et des Livres Illustrés de Jean Dubuffet (Baudoin Lebon, 1991) and has curated many shows devoted to his work in France and abroad.
New York, 2014); Latin Fire. Otras fotografías de un continente (CentroCentro, Madrid, 2015); Fernell Franco Cali Clair-Obscur (Fondation Cartier pour l’art contemporain, Paris, and Centro de la Imagen, Mexico, 2016); and Transiciones. Diez años que trastornaron Europa (Círculo de Bellas Artes, Madrid, 2016). EXHIBITION: URBAN IMPULSES. LATIN AMERICAN PHOTOGRAPHY, 1960-2016 — P. 22
LARS WILLUMEIT Born 1974, Frankenthal, Germany. Lives and works in Zurich, Switzerland.
Lars Willumeit is a German social anthropologist who works as an independent curator, photo editor, and author. He has been working with photography in different modes since 1993. His interests are photography, documentary, regimes of representation, and visual cultures. Also trained as a photographer, he worked nearly thirteen years as photo editor for magazines such as Geo and DU, where he was photo director from 2008 through 2013. EXHIBITION: PHILIPPE DUDOUIT, THE DYNAMICS OF DUST — P. 256
EXHIBITION: JEAN DUBUFFET, THE PHOTOGRAPHIC TOOL — P. 216
Born Warsaw, Poland, 1975. Lives and works in Paris, France.
MARÍA WILLS LONDOÑO
Karolina Ziebinska-Lewandowska, the photography curator at the Centre Pompidou-Musée National d’Art Moderne, has written around 40 books, including Brassaï-Graffiti (Flammarion, 2016).
Born 1979, Bogotá, Colombia. Lives and works in Bogotá, Colombia.
EXHIBITION: THE SPECTER OF SURREALISM. AN EXHIBITION CELEBRATING THE 40TH ANNIVERSARY OF THE CENTRE POMPIDOU — P. 208
María Wills Londoño heads a research program at Bogota’s Instituto de Visión and has coordinated several temporary shows at the Banco de la República from 2008 to 2014. She co-curated Arco Colombia 2015 (Madrid) and many exhibitions, including Cámara ardiente: Prostitutas de Fernell Franco (Círculo de Bellas Artes, Madrid, 2011); Urbes Mutantes (Museo de arte del Banco de la República, Bogotá, 2013 and the International Center of Photography,
Latin America as a land of photography, with Colombia as its focus.
A selection of 350 photographs from the Poniatowski Collection explores Latin America’s conflicted identity.
With violence and the city’s identity as a backdrop, 28 traditional or experimental projects reflect cultural, social and political changes in Colombia.
LATIN AMERICAN PHOTOGRAPHY, 1960-2016
A POETICS OF THE HUMAN Sensitive, committed Paz Errázuriz explores Chile’s troubled history and margins.
28 COLOMBIAN PHOTOGRAPHERS AND ARTISTS
THE COW AND THE ORCHID
GENERIC COLOMBIAN PHOTOGRAPHY All of Colombia’s richness and diversity in the collection of unusual vernacular photos from the Archive of Modern Conflict.
Urban Impulses exhibition, Colombia. Vicki Ospina, Bambuco, 1977. Courtesy of the artist and the Leticia and Stanislas Poniatowski Collection. —
LATIN AMERICAN PHOTOGRAPHY, 1960-2016 In its frenetic movement, the city seems, paradoxically, to support immediacy. Photography records the details and moments of the urban quotidian quicker than the eye. The feeling of the street, with its reflections, lights, flows of passing people, the pace of its activity, its atmosphere, and its fumes, becomes the very object of the photographic gaze.
Exhibition curators: Alexis Fabry and María Wills Londoño. Publication: Pulsions Urbaines: Photographie Latino-Américaine 1960-2016, Toluca Éditions, 2017. Framing by Circad, Paris. Exhibition organized as part of the Année France-Colombie 2017, with a sponsoring committee composed of: Accor Hotels, Airbus, Axa Colpatria, Oberthur, L’Oréal, Groupe Renault, Sanofi, Veolia, BNP Paribas, Groupe Casino, Schneider Electric, Vinci, and Poma. With support from Nespresso. Exhibition venue: Espace Van Gogh.
The project Urban Impulses: Latin-American Photography is a visual essay about a city which finds sense in its own movement. This movement should be understood as a transition to a new state of urban growth, but also as a transmutation of the photographic medium, which starts to become more involved in the other visual arts. The exhibition covers half a century of Latin American photography, and several hundred images chosen from the Leticia and Stanislas Poniatowski Collection. The perspective here looks to reconstruct the imaginaries of the cities on this continent in works carried out by the very photographers involved in the creation of the conflicted Latin American identity. Debates on nationalism and regionalism, which proliferated in the 1960s, only confirm the idea that it is indeed an “age of divergence,” to use the expression of art historian and critic Olivier Debroise, talking about Mexico, but the term applies to the other countries as well. The present exhibition displays the contradictions of a hybrid continent, between the pre-hispanic and post-colonial world, and the market society which inevitably takes hold of the processes which consolidate cities. We see here the transition from rural to urban, or, better still, the way the rural and THE PONIATOWSKI COLLECTION Latin American cities take center stage in Leticia and Stanislas the popular coexist in the Poniatowski’s collection of 20th and 21st-century Latin American photodreamed metropolis. These Urban Impulses project into the future. Chaos is at work in them as an emancipatory force, and on this path, nothing can wall it in: Latin America cannot be made a minority.
Portrait of Alexis Fabry: Yvonne Venegas. Portrait of María Wills Londoño: Jorge Panchoaga.
graphy, which they began around 15 years ago. The first time work from their still-growing collection went on display was for a show called Urbes Mutantes at the Museo del Banco de la República in Bogota in 2013 and New York’s International Center of Photography in 2014. This year, in Arles, Urban Impulses features several hundred works brought together for the first time.
Alexis Fabry and María Wills Londoño
Mexico. Eniac Martinez, La quinceañera en Ciudad Neza, from the Mixtecos series, 1989. Courtesy of the artist and Leticia and Stanislas Poniatowski Collection. [all photographs]. —
— Mexico. René Freire, Untitled, c. 1978. Argentina. Ataulfo Perez Aznar, Desaparecidos, Calle 6 entre 46 y 47, La Plata, 1983.
28 — Chile. Paz Errázuriz, Untitled, from the Tango series, 1988.
— Mexico. Armando Cristeto, PolyMarchs, from the Las noches del reventón series, Centro Histórico, México, D.F., 1985.
— Venezuela. Claudio Perna. Untitled, ca. 1978. Ecuador. Paco Salazar, Quito, 1994.
30 â€” Mexico. Lourdes Grobet, Red vial principal del D.F., 1978.
Exhibition curator: Juan Vicente Aliaga. Exhibition organized by the Fundación MAPFRE, in collaboration with the Jeu de Paume and the Rencontres d’Arles. Publication: Paz Errázuriz, Aperture/Fundación MAPFRE, 2016.
A POETICS OF THE HUMAN In the 1970s, Paz Errázuriz started her career as a self-taught photographer under the Pinochet dictatorship, using black and white portraits to denounce not only the regime but also social norms that doom individuals and groups to marginalization and make them invisible. In the social documentary vein, her work has always translated her creative energy and insatiable inquisitiveness about the human race.
With support from Nespresso. Exhibition venue: Atelier de la Mécanique, Parc des Ateliers.
Paz Errázuriz developed her technique over time and on the road, roaming across Chile, especially Patagonia, the Central Valley and the streets of Talca, Valparaíso and Santiago. What attracts her gaze is not so much scenery and natural settings as the people living in them, their individual or collective stories. By winning the trust of those she meets, she works in the long term, forging strong ties beyond her photograps. The dictatorship deeply marked her beginnings as a photographer. Curfews, arrests and persecution were the Chileans’ daily lot. Paz Errázuriz often worked on projects in violation of the military regime’s rules, interacting with people of all ages and very different backgrounds, from wrestlers to circus performers, transvestites, prostitutes, the blind, alcoholics, beggars and the mentally ill. In the closed, confined spaces that dominate her work, she seems to seek singular forms of behavior that offer her a way to break the rules. “Photography,” she says, “let me express myself and participate in the resistance.” Although her pictures are not accusatory in the strictest sense of the term, they shattered many taboos in the freedom-deprived society that Chile was until the restoration of democracy. Paz Errázuriz’s committed photography reveals Chile’s troubled past and exhaustively explores her country while allowing us to see those whom society does not.
PAZ ERRÁZURIZ Born 1944, Santiago, Chile. Lives and works in Santiago, Chile.
Considered one of Chile’s most famous photographers, Paz Errázuriz uses black and white portraits as a means of exploring her country’s society, including its grittiest aspects. Self-taught at first, she took courses at New York’s International Center of Photography in 1993. She cofounded Chile’s Association of Freelance Photographers (AFI) and has won many honors, including the 1995 Ansel Adams Award and 2015 PhotoEspaña Award. Paz Errázuriz and Lotty Rosenfeld represented Chile at the 56th Venice Biennale in 2015. Portrait of Paz Errázuriz: Carla Mackay.
Portrait of Juan Vicente Aliaga: courtesy of the curator.
Boxeadores [Boxers], from the Boxeadores. El combate contra el ángel series [Boxers: The fight against the angel], 1987. Courtesy of the artist [all photographs]. —
34 — Club Buenos Aires, Santiago, from the Tango (De a dos) [In twos (Tango)] series, 1988.
— Dormidos V [Sleeping V], from the Los Dormidos [The Sleeping] series, 1979.
36 — Muñecas I [Dolls I], from the Muñecas, frontera Chile-Perú [Dolls, Chile-Peru Border] series, 2014. Evelyn IV, Santiago, from the La manzana de Adán [Adam’s Apple] series, 1987.
38 — Evelyn, La Palmera, Santiago, from the La manzana de Adán [Adam’s Apple] series, 1983. Courtesy of the Galeria AFA, Santiago, Chili.
28 COLOMBIAN PHOTOGRAPHERS AND ARTISTS ANDREA ACOSTA (1981), LILIANA ANGULO (1974), JAIME ÁVILA (1968), ALBERTO BARAYA (1968), KAREN PAULINA BISWELL (1983), JOHANNA CALLE (1965), MARÍA FERNANDA CARDOSO (1963), CAROLINA CAYCEDO (1978), NICOLÁS CONSUEGRA (1976), WILSON DÍAZ (1963), JUAN MANUEL ECHAVARRÍA (1947), CLEMENCIA ECHEVERRI (1950), JUAN PABLO ECHEVERRI (1978), MARIA ELVIRA ESCALLÓN (1954), SANTIAGO FORERO (1979), BEATRIZ GONZÁLEZ (1938), JUAN FERNANDO HERRÁN (1963), PAULO LICONA (1977), ROSARIO LÓPEZ (1970), OSCAR MUÑOZ (1951), DIEGO MUÑOZ (1981) & MAURICIO HURTADO (1971), JUAN OBANDO (1980), ANDRES FELIPE ORJUELA (1985), JUAN PELÁEZ (1982), JUAN ALEXANDRO RESTREPO (1959), MIGUEL ÁNGEL ROJAS (1946), ANNA MARÍA RUEDA (1954), EDWIN SÁNCHEZ (1976)
La Vuelta highlights work by 28 artists, spanning several generations. From traditional genres of photography to experimental and research-based practices, the selected projects explore the varied and changing cultural, social and political landscape of identities, values, and beliefs, questioning issues of class, identity, economic survival and the sixty-year history of armed conflict that has merged with and fueled the illegal drug trade. The exhibition is structured around four axes: history/memory, place/territory, nature/culture, and identity/representation, grouped in four sections. Subjective Memories speak to the experience of the sixty-year armed conflict that has perpetuated a culture of political violence in Colombia. Urban Cartographies explores the dialogue between artists and urban spare from the exploration of place and memory to that of the social and economic landscapes of the Latin American city today. New Cultures of Nature investigates the nature and culture divide, through the lens Portrait of Carolina Ponce de León: Carlos Zarrate. of historical inquiry and scientific research. Portrait of Sam Stourdzé: Stéphane Lavoué. Finally, New Cultures of the Image examines the social construction of identity and cultural representation through artist’s critical response to the ways in which the media and social media impact cultural perceptions of race, sexuality, and gender. The exhibition title, La Vuelta, is borrowed from an artwork by Juan Fernando Herrán. In the context of this work, vuelta (Colombian slang) refers to an illegal mission: to steal, kill, deliver drugs or weapons. In cycling and other sports, vuelta is a race in stages around a country, and so the exhibition is presented as a tour of a country through the lens of its artistic production. Finally, vuelta suggests a comeback, as in this moment when Colombia enters a new era after reaching a peace agreement with the leading insurgent group, FARC. Thus, vuelta conjures tension and expectation as well as possibility—a word rich with meaning and relevant to all that is at stake. Carolina Ponce de León
Exhibition curators: Carolina Ponce de León and Sam Stourdzé. Prints by Fanlab, International Printer, Poder Fotográfico and Mauricio Mendoza de Fotografía, Colombia, and Diamantino Labo Photo, Paris. Framing by Fanlab and Edwar Domínguez A., Colombia, and Plasticollage and Circad, Paris. Exhibition organized as part of the Année France-Colombie 2017, with a sponsoring committee composed of: Accor Hotels, Airbus, Axa Colpatria, Oberthur, L’Oréal, Groupe Renault, Sanofi, Veolia, BNP Paribas, Groupe Casino, Schneider Electric, Vinci, and Poma. With support from Nespresso and Paris II Panthéon-Assas University. Exhibition venue: Chapelle Saint-Martin du Méjan.
— Miguel Ángel Rojas, La Esquina Rosa, 1975. Courtesy of the artist, Sicardi gallery, Houston, and Toluca Éditions, Paris.
Rojas shot this photographic series in the mid1970s from his studio window, capturing daily existence on a street corner in a marginalized sector of downtown Bogotá—a mix of vendors, onlookers, drifters and prostitutes—with a particular interest in the underlying dynamics of social behavior and sexuality. In his work, voyeurism is often a way of examining private life in public space for artistic purposes and self-exploration.
42 — Liliana Angulo, Negra Menta, 2003. Courtesy of the artist.
— Santiago Forero, Ranchero, from the Heros in action series, 2009. Courtesy of the artist. Karen Paulina Biswell, Claudia en el Palacio Egipcio, from the Ellas series, 2016. Courtesy of the artist.
— Juan Pablo Echeverrí, Wonder Woman, from the Supersonas series, 2011. Courtesy of the artist.
44 — Nicolás Consuegra, One of Us, Among Us, With Us, 2008. Courtesy of the artist and Collection Alejandro Castaño.
After placing a newspaper ad, Consuegra gathered photos from family albums, featuring people with their Renault 4—one of the most popular cars in Colombia. With a visual quality that serves as a meditation on the passage of time and collective memory, this photo could be read as is an iconographic archetype of the growing middle class in Colombia, an idyllic sense that contradicts the social and political realities of that time.
— Juan Fernando Herrán, Speedy, from the Flight Patterns series, 2014. Courtesy of the artist.
46 — Oscar Muñoz, Games of Probability, 2007. Courtesy of the artist.
— Paulo Licona, Jesus and Satan, 2004. Courtesy of the artist.
While working at a non-governmental organization during the paramilitary demobilization commissions, Licona took this photos depicting hands of paramilitary soldiers with their nails painted black and who are part of a sect called “The Crusaders” that practices witchcraft to protect its members from death and from the spirits of the people they have murdered. The hands seem manicured and feminine, hence contradicting the principles of manliness and crudeness expected from a war combatant. The black nails are a statement of arrogance and a defiance of death that warn of a supernatural covenant with evil, yet also represent a confession of vulnerability and a fear of mortality.
48 — María Elvira Escallón, Puerta, from the Desde adentro series, 2003. Courtesy of the artist and Collection Poniatowski, Geneva.
In this series, ambivalence is a means to destabilize the viewing experience. The photo document the facilities of an elite social club, located in Bogotá’s financial sector, after a bombing, killing 35 people and leaving 200 wounded. The photos’ pictorial qualities appeal to the aesthetic pleasure of gestural abstract painting, however the experience is disrupted by the realization that traces are in fact handprints, smears and marks left on the walls and floors of the ruined building during the victims’ search for safety.
— Andrés Felipe Orjuela, Maximino Quinayá Quisanovi de Pitalito - Huila. Captured, 2014. Courtesy of the artist.
THE COW AND THE ORCHID
Exhibition curator: Timothy Prus, with the Archive of Modern Conflict collection. Wallpaper and framing by Atelier SHL, Arles. Exhibition organized as part of the Année France-Colombie 2017, with a sponsoring committee composed of: Accor Hotels, Airbus, Axa Colpatria, Oberthur, L’Oréal, Groupe Renault, Sanofi, Veolia, BNP Paribas, Groupe Casino, Schneider Electric, Vinci, and Poma.
GENERIC COLOMBIAN PHOTOGRAPHY
With support from Nespresso.
More than a decade has passed since I started to collect photos from Colombia. Sometimes they have come in ones or twos; at other moments, as veritable waterfalls. Their diversity in subject, region, and date has been a revelation. They have helped me understand a little of this incredible country, although in reality my comprehension is still minimal.
Exhibition venue: Croisière.
Colombia, like photography, is never quite what it seems. There is always comedy which is sometimes also tragedy. Music pervades everything. Whether we are looking at photos of a dynamic metropolis in the 1980s or of an afternoon boating on the Magdalena in the 1880s, music infuses the images. The Cow and the Orchid weaves together different strands of vernacular vision to create a layered collage that draws on the diversity of the environment. From the Caribbean and Pacific coasts through the Andes to the fertile plains, from the Amazon Jungle to the heaving cities unknown, images have been sourced and can now be seen here. I have used two national icons to articulate the vision for the exhibition, the cow and the orchid. Colombia is an orchid, a wonder of nature where we can project our own thoughts and feelings, a place of magic realism. The cows hypnotize me and come in as many guises as the orchids. The exhibition has been constructed using emotional reaction and intuition. It makes no sense; the viewer must let the subject reveal itself. Timothy Prus
Portrait de Timothy Prus : avec son aimable autorisation.
Two Wrestlers, Bogotá, 1956. Courtesy of Manuel H. —
52 — “Al Asalto” photographs, photographs of passersby, anonymous. Bogotá, 1950-1960. “Al Asalto” photographs, photographs of passersby, Carribe Studio, Bogotá, 1970-1980.
54 — Anonymous, Amazonian roller skater, 2004. From Anaconda Press Archive. Leticia, Colombia. Anonymous, Prize Cow Competition, Colombia, 1980s.
— Two Miss Bikers, Bogotá, 1988. Luis F. Osorio, Colombian Orchids, 1941.
THE EXPERIENCE OF TERRITORY
When new towns, urban renewal and even accidents nurture a poetry of territory and the culture of landscape.
A selection of early black and white pictures by the master of American street photography.
When 18,000 mass-produced Levitt houses brought the suburban American Dream to France.
MICHAEL WOLF LIFE IN THE CITIES
Work from a photographer inhabited by major metropolises.
A RESIDENTIAL UTOPIA
CHRISTOPHE RIHET ROAD TO DEATH
Many celebrities, from James Dean to Grace Kelly, Jackson Pollock and Helmut Newton, died in car wrecks. What can still be seen in the places where they occurred?
СТАНСЫ/STANCES Conquest from within and from without, when the railcar becomes an observation post.
IN THE MISSION’S STUDIO
Kate Barry, who died prematurely in 2013, left behind a personal, unprecedented body of work: a fragile, delicate depiction of landscape.
A LOOK AT 15 PHOTOGRAPHERS FROM THE DATAR PHOTOGRAPHY PROJECT In 1983 DATAR launched a vast artistic photography campaign to document the French landscape during that decade.
THE HABIT OF BEING
DUNE VARELA ALWAYS THE SUN
The winner of the BMW Residency questions and mishandles photography while revisiting the legendary places that have become part of our collective consciousness.
Joel Meyerowitz, Roseville Cottages, Dusk, Truro, 1976. Courtesy of the artist and Howard Greenberg Gallery. —
JOEL MEYEROWITZ EARLY WORKS
This year, the Rencontres d’Arles continues its sequence on street photography, begun in 2016, with the work of Joel Meyerowitz. A renowned American color photographer, Meyerowitz brilliantly captured urban energy and excitement, starting with the streets of New York, where he came from.
Exhibition curator: Sam Stourdzé. Wallpaper by Processus, Paris. Framing by Circad, Paris. With support from the Louis Roederer Foundation, the Howard Greenberg Gallery, New York, and the Polka gallery, Paris. Exhibition venue: Salle Henri-Comte.
In the black and white photography of his early career, his interest in the city and its motion is already on display. Meyerowitz threads his way through the urban bustle, becoming a part of it. His gaze is alert, while his complex compositions, playing against balance and frame, always seem to be hanging by a thread. He excels in capturing unexpected details. Chance and accident are testimony to the creative vitality and poetics of the city. During the 1960s, Meyerowitz slowly turned away from black and white for color photography. Considered common and unrefined compared to black and white— privileged terrain of artists and gauge of a work of art—Meyerowitz invested color photography with nobility, and raised himself into the ranks of a master colorist beside fellow artists like William Eggleston and Steven Shore (shown at Arles in 2015). He shattered the color palette, relentlessly experimenting with the possibilities of this new domain, translating sensation into dazzling chromatic contrast. Early Works presents around fifty original prints from the JOEL MEYEROWITZ 1960s and 1970s, from the frenzy of cities, to more contemBorn 1938, New York, United States. plative compositions, involved in the formation of the visual Lives and works in New York, United States. imaginary of the United States. joelmeyerowitz.com Sam Stourdzé
Joel Meyerowitz was one of the first street photographers to use color film. In 1962, he met Robert Frank and decided to take pictures, first on the streets of New York and Paris, then on the beaches of California, Spain and Wales. In the late 1970s, his work became more contemplative. In 2011, he was the only photographer to document the World Trade Center building site. Mr. Meyerowitz has published over 10 books and exhibited nearly 350 times. His work can be seen in many public collections, including MoMA, the Metropolitan Museum of Art and the Whitney Museum of American Art in New York. The Howard Greenberg gallery represents him in the United States and the Polka gallery in France. Portrait of Joel Meyerowitz : Maggie Barrett.
Beverly Hills Hotel Pool and Cabanas, 1969. Courtesy of the artist and Howard Greenberg Gallery [all photographs]. —
JFK Snowstorm Cadillac, 1968.
â€” Red Interior, Provincetown, 1977.
— Provincetown, Cape Cod, 1976.
Atlanta, Géorgie, 1971. —
â€” Broadway and 46th Street, New York City, 1976.
Camel Coat Couple in Street Steam, New York City, 1975. —
— Movie Theater Booth, Times Square, New York City, 1963.
Exhibition curator: Wim van Sinderen. Exhbition coproduced by the Fotomuseum Den Haag and the Rencontres d’Arles. Publication: Works, Peperoni Books, 2017. Exhibition design: Roland Buschmann.
LIFE IN CITIES
Ex-photojournalists almost never manage to turn themselves into successful visual artists. Michael Wolf is one of the very few who has had the courage and ability to make this move after the age of 50. He has done so with a pictorial and conceptual persuasiveness that makes the transition seem merely a logical step for a master of photojournalism.
Exhibition venue: Église des Frères-Prêcheurs.
For the first time ever, working in close collaboration with the Hague Museum of Photography, the Rencontres d’Arles is presenting a selective overview of the autonomous works—dozens of series and some fifty photo books—created by Wolf. The retrospective begins with his 1976 graduation project: a black-andwhite in-depth photo reportage on day-to-day life in the small town of BottropEbel, in the heart of one of Germany’s declining mining areas. From there, the exhibition takes a great leap to Wolf’s key 21st-century theme: “life in cities,” as he observes it in vast metropolises like Tokyo, Hong Kong, and Chicago. The striking feature of these impressive series is the changing points of view adopted by the artist to show the complexity and, especially, the humanity—or inhumanity—of modern city life. Wolf also notices the everyday historical architectural structures that help to mold individual cities; he even seizes on virtual representations of the modern city to help him demonstrate the visual complexity of cities. Accordingly, the dimensions of the photographs vary widely: some are so large that they are hung freely in space and viewers can walk around them, while others are small and intimate enough to fit into a handbag. The magnum opus of the exhibition is Wolf’s The Real Toy Story installation (2004), featuring over 20,000 plastic “Made in China” toys found by him in junk markets and second-hand shops in the United States. Amid this overwhelming array of mass-produced stuff for kids, Michael Wolf shows sympathetic portraits of individual Chinese assembly-belt workers producing toys to satisfy the manic worldwide demand for cheap consumer goods. Wim van Sinderen
MICHAEL WOLF Born 1954, Munich, Germany. Lives and works in Hong Kong. photomichaelwolf.com
Wolf grew up in Canada, Europe and the United States, studying at UC Berkeley and at the Folkwang School with Otto Steinert in Essen, Germany. He moved to Hong Kong in 1994, working there for 8 years as contract photographer for Stern magazine. Since 2001, Wolf has been focusing on his own projects, which document the architecture and vernacular culture of metropolises. The focus of his work is life in mega cities. Wolf’s work has been exhibited worldwide and is held in many permanent collections. He has won first prize in the World Press Photo Award Competition on two occasions (2005 and 2010) and an honorable mention (2011). In 2010 and 2016, Wolf was shortlisted for the Prix Pictet photography prize. He has published more than 32 photo books. Self-portrait of Michael Wolf.
Portrait of Wim van Sinderen: Ringel Goslinga.
Tokyo Compression, 2010-2013. Courtesy of the artist [all photographs]. —
70 â€” Architecture of Density, 2005-2009. Hong Kong Back Alley.
384 pages, English, published by the Rencontres d’Arles-Actes Sud En vente dans les librairies du festival et en ligne / Available in the fe...
Published on Jun 7, 2017
384 pages, English, published by the Rencontres d’Arles-Actes Sud En vente dans les librairies du festival et en ligne / Available in the fe...