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Yanidel
Vous ne regarderez plus jamais les photographes de rue du même œil, car rien ne dit que le prochain ne soit pas le malicieux Yanidel, de passage en ville avec son fidèle Leica. Photographe talentueux, assurément, mais le garçon s’inscrit aussi sur la liste de ces « metteurs en scène » dont la ville a régulièrement besoin pour rappeller, qu’avant toute chose, Paris est une pièce de théâtre. Paris, c’est La Comédie humaine ! You will never look at street photography the same when you realize that you couldbe the next subject of our artful Yanidel, passing through the city with his faithfulLeica. A talented photographer, without a doubt, the young man is also referenced as one of the “scenographic directors” that the city regularly solicits to remind us that Paris, first and foremost, is like a play. Not just any play, Paris is The Human Comedy! PHOTOS : YANIDEL
Tu vis désormais loin de Paris, en Argentine. En quoi est-ce différent de photographie la rue parisienne ?
You currently live far away from Paris, in Argentina. Is the street photography different in Paris than elsewhere in the world?
Paris est la somme d’attributs qui n’existent nulle part ailleurs. D’un côté, son architecture, sa lumière (la pierre de taille des immeubles servant de réflecteurs toute la journée) et sa grande variété de quartiers en font un extraordinaire terrain de chasse pour la photo. Ensuite, les Parisiens (et les touristes) passent une grande partie de leur journée dans la rue, que ce soit dans les transports publics, sur les terrasses ou à flâner. Ce n’est pas forcément le cas dans tous les pays où les centres-villes sont souvent déserts à certaines heures. Finalement, la mode, le glamour et le statut de « ville romantique » que l’on prête à Paris permettent souvent de réaliser des photos avec une composante esthétique et émotionnelle unique. Chaque année, je passe une semaine à Paris, rien que pour la photographier.
Yes. Paris presents a sum of attributes that do not exist elsewhere. On one hand, its architecture, its light (the sandstone buildings are reflectors) and its variety of neighborhoods make an extraordinary terrain for hunting pictures. Also, Parisians (and tourists) spend a lot of their time in the street, whether it be on public transportation, terraces or just walking around. That is not necessarily the case in all countries, where the cities are often deserted at certain times of the day. Finally, fashion, glamour and Paris’ “city of romance” status allow for creating photos with unique emotional and aesthetic compositions. Each year, I spend one week in Paris just to take photographs.
Quels sont tes sujets de prédilection ?
In general, I’m attracted by street scenes that emit lyricism and an impression of mystery. I also appreciate humoristic scenes. Other times, I’ll take photos with the sole objective of playing with color, without necessarily needing the photo to tell a story.
En général, je suis attiré par les scènes de rue qui dégagent un certain lyrisme et un parfumn de mystère. J’apprécie également les scènes humoristiques. De même, je prends souvent des photos dont le seul but est de jouer avec la couleur, sans chercher à tout prix à ce que la photo raconte une histoire.
What are your favorite subjects?
« In front of the Louvre, scouts learn how to find their way out of the labyrinth. © Yanidel
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En France, avec le droit à l’image, il est relativement compliqué d’exercer la photographie de rue. Quel est ton avis sur la question et comment t’en accommodes-tu ?
In France, with image reproduction laws, it is relatively complicated to be a street photographer. What do you think about that and how does it affect you?
En effet, la loi dans son interprétation la plus stricte n’est pas très favorable à la photographie de rue. Cependant, les chances de se retrouver poursuivi en justice et de perdre un procès avec des conséquences financières sont minimes. Donc, je ne m’en préoccupe pas et je me laisse guider par le principe de respect de la « dignité humaine ». Tant qu’une photo n’y porte pas atteinte, je prends le parti de la publier, avec ou sans l’autorisation du sujet. La jurisprudence française a d’ailleurs évolué un peu dans ce sens ces dernières années, ce qui est positif car nous contribuons, à mon avis, à documenter l’histoire humaine.
It’s true that the law in its strictest interpretation is not very favorable toward street photography. Nevertheless, the chances of being prosecuted and subjected to serious financial consequences are minimal. As such, I don’t get too preoccupied with it. I am guided by the principle of respecting “human dignity.” So long as a photo does not violate someone’s privacy, I publish it with or without the subject’s authorization. French jurisprudence has evolved in the last few years because, in my opinion, we are contributing to the documentation of human history.
Which cameras do you use? Is there a lens you prefer? Quels appareils utilises-tu ? As-tu un objectif préféré ? J’utilise principalement un Leica M9 avec un 35 mm. J’emporte souvent aussi un 50 mm ou un 75 mm pour les scènes nécessitant un peu plus de compression. En Argentine, je me sers essentiellement d’un petit compact, le Leica X1 avec viseur optique externe, avant tout pour des raisons de sécurité. J’apprécie beaucoup la simplicité des Leica et le fait qu’ils soient complètement manuels. Si je rate la photo techniquement, je ne peux m’en prendre qu’à moi-même. Certes, il faut un certain temps pour bien maîtriser l’exposition et la mise au point manuelle d’un télémètre. Cependant, une fois dominé, c’est l’outil le plus rapide pour prendre furtivement des photos de rue.
Quels sont tes lieux favoris pour prendre des photos à Paris ? Les bords de Seine et le triangle Opéra-ConcordePalais-Royal sont les endroits que j’apprécie le plus. Ils sont perpétuellement animés et les décors sont merveilleux. Cependant, et c’est le point fort de Paris, il se passe toujours quelque chose, où que l’on se trouve. D’ailleurs, j’ai appris avec les années que les meilleures scènes surgissent souvent là où on les attend le moins.
Primarily, I use a Leica M9 with a 35mm lens. I often bring a 50mm or 75mm for scenes that require more compression. In Argentina, I generally use a smaller compact – the Leica X1 with an external optical visor. That has a lot to do with security. I very much appreciate the simplicity of Leicas and the fact that they are completely manual. If I miss a photo technically, I can only be mad at myself. Of course, it takes some time to get a good handle on the exposure and regulating the rangefinder. However, once mastered, it’s the most efficient tool for taking stealthy street pictures.
What are your favorite places for taking photos in Paris? The banks of the Seine and the Opéra-ConcordePalais-Royal triangle are the places I appreciate the most. They are full of action and the scenery is marvelous. Nonetheless, one of Paris’ strongest points is that there is always something happening no matter where you are. I learned over the years that the best scenes emerge where we least expect them.
« A breakfast, his best jacket on, a few stops in the metro and here he is, right in the middle of Saint-Germain’s market. Sunny Spring Saturdays are the best. © Yanidel
La photo de rue, c’est de l’ethnographie qui ne dit pas encore son nom. Pour l’histoire, avec un grand H, il faut se laisser photographier. Et il faut beaucoup aimer les gens que l’on photographie. Alors, on peut espérer quelques moments de grâce. Street photography is ethnography without the title. To go down in History with a capital H, you have to let people photograph you. And you also need to like the people you photograph. In that case, we can all hope for a few moments of grace.
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While we were photographing them, an inhabitant approached and whispered to us: “I know them. I’ve been crossing paths with them for years. They’re a ray of sunshine. I’ve always asked myself this… Do you know their age?” Another question they’re used to hearing. Probably because, in people’s minds, twins stop dressing the same after they surpass a certain age. They dodged the question with a lovely pirouette: “I’m the same age as my sister!” They revealed fragments of the many facets of their lives over the decades. “We’ve lived several lives. Existence is not linear; you know?” Educated as classical dancers, they wanted to work together. “We created a number, a music-hall show.” On the stage, they were no longer Mady & Monette, but the Diamond Sisters. “At the time, we were very bouncy on stage!” Of time passed, these soul sisters speak without fear, nor nostalgia. “For twenty years, we were always on the road, we knew globalization before its time came, and we dreamed of a common European currency that would simplify our lives.” As fatigue set in, they decided to write a new chapter. “When you are a dancer, the years make you lose everything. Your breath, your ability to endure the effort. You need to know when to turn the page before it’s your body says “that’s maybe enough, don’t you think?” But it wasn’t hard transitioning to something else because we love constantly reinventing ourselves.
La rigueur n’empêche pas la fantaisie. Rigor does not put a stop to fantasy.
Mady and Monette are anchored in their time. Facebook, LinkedIn, and smartphones are all well known to these women who admitted to avidly watching shows on BFM Business. “The technology is incredible, and so are all these start-ups. We never could have imagined that one day a telephone application would allow us to order taxis, just like that. In spite of the economic crisis, a lot of young people are innovating and they have super ideas! But, they are colliding with a lack of enthusiasm,” Mady said sadly before adding: “Now, in our country, people are too meek and shut off! Our problem is that we’re paralyzed by the fear of failure. What France has created in every domain - music, dance, the arts, science - is incredible. We need to rediscover our ability to shine.” Without knowing it, Mady & Monette had just infused a moral into this meeting: be bold, there is no time to lose.
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« Mon cabaret parisien faisait à la fois office de bar de quartier, de club pour gentlemen fortunés, de salle de répétition, mais aussi de boîte aux lettres pour les expats américains. Et ce mélange était toujours très chic ! »
“My Parisian cabaret was both a neighborhood bar and office, a well-off gentlemen’s club, a practice hall for dancers and a post office for American expats. And the mix was always very chic!”
Paris, juin 1929. Dix ans qu’elle ronge son frein. Ada Smith, dite « Bricktop », s’apprête à concrétiser l’ambition d’une vie en ouvrant son propre cabaret. Son nom ? Le Bricktop’s, évidemment ! Au 66, rue Pigalle, son portrait apposé sur la façade semble dire aux passants qu’ici, c’est elle, et elle seule, la patronne. Fruit d’un amour entre une Irlandaise et un Afro-Américain né esclave, cette métisse venue au monde en 1894 a toujours dû, et su, se battre pour tordre le destin dans le sens qu’elle souhaitait. Du style et une personnalité hors du commun, l’ont fait monter sur les planches à 16 ans comme danseuse dans un cabaret jazz de Harlem. En l’engageant, le patron lui donne ce conseil : « Tu devrais prendre un nom de scène, petite. Bricktop, ça t’irait bien ! » Ce clin d’œil à sa chevelure couleur feu et à son entêtement lui portera chance. Pendant ces années passées à assurer le show, Ada rêve de monter son affaire. La réalité sociale de l’Amérique douche ses espoirs. Une femme, noire de surcroît, à la tête d’un cabaret ? « N’y pense même pas, chérie », lui lance son patron.
Paris, June 1929. She had been champing at the bit for 10 years. Ada Smith, known as “Bricktop,” was preparing the most ambitious venture of her life. Opening her own cabaret. The name? Bricktop’s of course! At 66 rue Pigalle, her portrait would be affixed to the facade as a method of letting passersby know that here, she, and she alone, was the boss. Born to an Irish mother and a slave-born African American father in 1894, this woman of mixed descent always needed to fight for the destiny she believed should be her own. Her style and spirited personality led her to dance on stage at 16 years old in a Harlem jazz cabaret. While hiring her, the boss lent some advice: “You ought to use a stage name honey. Bricktop… that suits you!” This nod to her fiery hair and stubborn way would bring her good luck. During the years she spent working this show, Ada dreamt of starting her own business, but the social reality in America stifled her hopes. A woman, moreover a black woman, running her own cabaret? “Don’t even think about it darling,” her boss told her.
Cette destinée d’entrepreneuse que l’Amérique, encore cadenassée par les lois de ségrégation, lui refuse, Paris la lui offrira sur un plateau d’argent. Et sur ce plateau, l’attend une lettre signée par le gérant du Grand Duc, célèbre club de jazz de Pigalle. Il lui propose du travail. Adieu Harlem, bonjour Paris. Mais sur place, la déception est immense. La ville lui semble étriquée. Le Grand Duc ne vit plus que sur sa gloire passée. Devant une salle clairsemée, elle enchaîne les numéros de Charleston. À force d’énergie et d’acharnement, la rumeur se répand chez les fêtards parisiens. Il se dit qu’un beau brin de fille, une New-Yorkaise au swing d’enfer, électrise Pigalle. Un soir, Francis Scott Fitzgerald est dans le public. L’écrivain est conquis. Une jolie bande d’artistes lui emboÎte bientôt le pas. Bricktop tutoie désormais Hemingway, Picasso, Kiki de Montparnasse, Man Ray. C’est son amie Joséphine Baker qui lui suggère de donner des cours privés de charleston à des clients fortunés. Acteurs, têtes couronnées et riches industriels désireux d’acquérir le sens du swing se bousculent. Le conseil de Baker s’avère suffisamment payant pour lui permettre d’ouvrir son local rue Pigalle. Loué d’abord pour trois mois, celle que la presse américaine baptise « La Grande Dame of Paris » y restera jusqu’en 1937. La légende était née !
That which America, still marred by segregation, refused this natural entrepreneur, Paris would offer her on a silver platter. And on this platter awaited a letter written to her signed by the manager of the Grand Duc, Pigalle’s famous jazz club. He offered her work. Goodbye Harlem, bonjour Paris. But on arrival, the deception was terrible. The city felt restricting. The Grand Duc survived merely on its former glory. She danced the Charleston relentlessly for a sparse crowd. Thanks to her energy and tireless determination, the rumor began to spread amongst the Parisian scene. Apparently a beautiful lass from New York was lighting up Pigalle with one hell of a swing. One night, F. Scott Fitzgerald was in the crowd. The writer was won over. A fine line of artists would follow his lead. Bricktop became friends with Hemingway, Picasso, Kiki de Montparnasse, and Man Ray to name a few. It was her friend Josephine Baker who suggested that she give private lessons for rich clients to learn the Charleston. Actors, royalty and rich businessmen who sought to acquire this new swing swung her way. Baker’s advice paid off. Bricktop opened her own place in Pigalle. At first on loan for 3 months, the cabaret known in the American press as “La Grande Dame of Paris,” would remain in business until 1937. The legend was born!
Ada Smith, « Bricktop » La reine des nuits parisiennes Queen of Paris Before Dawn
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LAUREN
La prochaine étape pour moi sera de permettre aux gens de toucher mon travail en le déclinant en céramique. J’ai commencé des recherches de matières, je veux un rendu qui ait la même finesse que le papier. J’ai aussi commencé des tests sur du cuir, c’est magique ! The next step for me is to allow people to touch my work by developing it on ceramics. I started researching materials. I want a finish that has the same subtlety as paper. I’m also testing the technique on leather; it’s magical!
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Lizzie
CARNETTISTE // ILLUSTRATOR
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“We’ve chatted enough, now it’s time to cook!” announced the young woman who’d already left our bench behind. Lor-K texted us a meeting, pointing near the Marais on the place Olympe de Gouge. “I found a mattress, do you want to come see it?” No pre-planning, just random sightings and decisive action. Aboard her scooter, her backpack is packed to the brim with tools, glue spray, and a myriad of spray paint canisters. She zips around the city for hours until she finds the right subject in the right place. Sometimes a small miracle happens, like the day we met: a handsome mattress, left on the cobblestone street by the owner of a small neighborhood hotel (an observant neighbor tipped us off). “Today, I want to make a mint-chocolate Eskimo Pie,” she proposed while turning the pages of her notebook, which is full of visual inspiration and research. The notebook is a sort of restaurant menu where the urban artist assembles images of foodstuffs and meals, zooming in on textures until she’s had her fill. She is maniacally precise with her details. Trompe-l’oeils must be irresistible. “I am going to sculpt in little slivers of hazelnut,” she warned. And she was off! First, the 30 kilo mattress was stripped bare with a box-cutter. Her gestures were precise. The tissue envelope served as a work zone to keep the extra material in one place. In a cloud of foam dust, Lor-K carved out the bulk of her forms. Twenty minutes was consecrated to beveling the future chocolate shell. At this point, the young woman truly resembled a person who methodically crumbles foam beneath a blazing summer sun. Worrisome? Intriguing? Just how did onlookers react? It depends. There were those in a rush, the skeptical, the curious, the “what is this chaos?” group too. Her favorite public? The young woman answered in categories: children and the elderly. “They are more receptive. With them, an exchange is direct, frontal. That’s what I look for in my work, that type of relationship.” Like most street artists, she started by working at night, alone and far from eyesight. Working in the middle of the day allows for dialog. “And it changes people’s connection with street artists. If the police come, they can’t say anything because I’m working from trash so there’s no degradation of public space. Seeing the artist work alters a priori sentiments. It often removes the “vandalizing” image that the public can have of us.”
Three hours later, after several layers of paint, the Eskimo Pie was brought to life. Suddenly, the rubberneckers were stopping to take photos. What was “dirty” became appetizing. Magical! A man came out of his shop to ask about the destiny of this giant dessert. Lor-K replied through a smile. “It’s my turn to abandon them.” What happens, happens. It’s no longer her business. “Recently, a random person sent me an email saying that they found one of my sushi rolls and she couldn’t help but to take it home.” Other, bigger meals certainly ended up in the (rather amused) hands of garbagemen. “In my mind, as a street artist, you shouldn’t get attached to material. That is part of the process.” The idea that collector-pilferers constitute all sorts of herbariums of artist collages or clandestine mini-museums of urban oeuvres excites her. In her esteem, by appropriating the object, the person becomes part of her creative venture. This Parisian only conserves “in progress” photos of her work. “The work isn’t directly associated with the object itself. My oeuvre is the performance! When I’m in the street, in action, transforming arbitrarily found mattresses.” In the absence of all vanity, she admitted to systematically declining propositions for live interventions at festivals and cultural events. “Even if financially it’s difficult to say no, I prefer doing little jobs on the side so I can remain independent in my work as an artist. I don’t see the point in being ordered to recreate works with mattresses that are brought to me on a platter. That would just become marketing. I suppose I want to stay coherent with my process.” What might make her say yes? “If a city invited me to walk around and create as I pleased, without restraint!” she burst out with a big smile and a final spray on a hazelnut shard. A little notice about her upcoming dishes? A very cheesy burger or a hotdog. Rendez-vous in the streets of Paris!
www.lor-k.com
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