institutional Partners
main Partners
the RENCONTRES D’ARLES enjoy the special support of Groupe Total, Prix Pictet, fondation Jan Michalski pour l’écriture et la littérature, amanasalto & IMA, YellowKorner, Confédération suisse, L’Occitane en Provence, Parmigiani Fleurier, Cherry Tree Arts Initiatives, Leica, Métrobus, Actes Sud, Saif, ADAGP, sacem, Fnac, LUMA ARLES, Communauté d’agglomération Arles Crau Camargue Montagnette. the support of Institut français, Fondation du Japon, Tectona, Rivedroit Avocats, Pinsent Masons LLP, INJEP, Orange Logic, Le Point, Libération, OAI13, l’Œil de la Photographie, Fisheye, 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, rectorats de l’académie d’Aix‑Marseille, de Montpellier et de Nice, DRAC PACA, musée départemental Arles antique, abbaye de Montmajour, Museon Arlaten, musée Réattu, Conseils d’architecture, d’urbanisme et d’environnement 13, 30 et 34, Service du Patrimoine de la ville d’Arles, Parc naturel régional de Camargue, Festival de Marseille, Fondation Van Gogh, Château d’Avignon, SNCF, Maison du geste et de l’image, Ligue de l’enseignement, Théâtre d’Arles, l’Étudiant, INA, Bouches-du-Rhône Tourisme, Association des maires de France.
programme
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With 35 exhibitions, the Rencontres d’Arles are an observatory of contemporary photographic creation and practices. That’s why we have not organised the festival around an overall theme but instead suggest relationships within the programme that allow identifications of topics and encourage following the developments of photography as closely as possible year after year.
reREADING
rEsonances
THE histoRY OF photographY revisiteD
photographY In dialogue
REREADING THE GREAT MASTERS BY FOCUSING ON LITTLE-KNOWN ASPECTS OF THEIR WORK OR SHOWING THEIR ENTIRE CAREERS AT ONE TIME.
ARCHITECTURE AROUND THE POSTMODERN FIGURES OF ROBERT VENTURI AND DENISE SCOTT BROWN, MUSIC, OR CINEMA: PHOTOGRAPHY IS EVERYWHERE, EVEN WHERE YOU LEAST EXPECT IT!
walker evans ANONYMOUS
A fresh look at one of the greatest names in the history of American photography through his job as picture editor. This is the first time the public has had a chance to see a different facet of the American master. stephen shore
The first European retrospective of an American colour photography pioneer.
ARCHITECTURE
LAS VEGAS STUDIO IMAGES FROM THE ARCHIVES of ROBERT VENTURI & DENISE SCOTT BROWN
A journey to the heart of the archives of this team of architects, forerunners of postmodernism in the early 1970s. TOON MICHIELS american neon signs by day & night
A precise, analogical survey of bright roadside signs in 1970s America. OLIVIER CABLAT DUCK, A THEORY OF EVOLUTION
Between photography and film, ‘duck’ architecture and the alternative use of images seen by the Arles photographer, himself influenced by Venturi and Brown’s work. MARKUS BRUNETTI FACADES
Monumental images of European buildings. When accumulation perturbs our perceptual relationship to reality.
MUSIC
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THE GREAT ADVENTURE OF ALBUM COVER PHOTOGRAPHY
I AM WRITING TO YOU FROM A FAR-OFF COUNTRY
THE platforms OF THE visible
TOTAL RECORDS
Looking at the history of photography as told on album covers. THE LP COMPANY THE LP COLLECTION, HIDDEN TREASURES OF UNDERGROUND MUSIC
Switzerland’s Patrick Claudet and Laurent Schlitter have fun with an imaginary record collection. MMM MATtHIEU CHEDID MEETS MARTIN PARR
A mutually inspired dialogue between photography and music.
CINEMA
SANDRO MILLER MALKOVICH, MALKOVICH, MALKOVICH: HOMAGE TO photographic masters
From Dorothea Lange to Robert Mapplethorpe, 34 iconic photographs reactivated by Sandro Miller and replayed by the actor John Malkovich. FELLINI, 8 ½ COLOUR Photographs by Paul Ronald
Paul Ronald’s colour photographs, found by accident, reveal all the modernity of 8 ½, Fellini’s last black and white film.
SPOTLIGHT ON A PART OF THE WORLD, LIKE A PHOTOGRAPHIC CORRESPONDENCE.
another language EIGht JAPANESE PHOTOGRAPHERS
An immersion into Japanese photography through 200 pictures, many of which have never been published. martin gusinde THE SPIRIT OF THE TIERRA DEL FUEGO PEOPLE
The astonishing ethnographic archives of a German priest who went to Tierra del Fuego in the early 20th century.
nEW approAches TO documentaRY PHOTOGRAPHY OBSERVATORY OF DOCUMENTARY PHOTOGRAPHY, A CHANGING PRACTICE.
paolo woods AND gabriele galimberti THE HEAVENS, ANNUAL REPORT
Investigating the opaque places of power. natasha caruana LOVE AT FIRST SIGHT
The winner of the BMW Residency at the Musée Nicéphore Niépce seeks the photographic truth about love at first sight. alex majoli AND paolo pellegrin congo
Two photographers explore contemporary Congo. ambroise TÉZENAS i was here, DARK TOURISM
From catastrophes to places of remembrance, a look at the tourism of consternation. thierry bouët PERSONAL AFFAIRS
The right place for people wanting to have their portraits made. The photographer stages, sometimes in wacky poses, online vendors and their objects.
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ODD collectOrs
EmergenceS
arles books
FREE AND PASSIONATE, SOME COLLECTORS SET THEIR SIGHTS ON UNUSUAL ITEMS, RAISING THE QUESTION OF THE VERNACULAR.
tony oursler impondErable
Based on the history of science, optics, theatre, and religion, Tony Oursler has put together a personal archive that also has its roots in family history. vernacular! THREE SERIES FROM THE JEAN-MARIE DONAT COLLECTION
A group of vernacular photographs featuring polar bears as well as people in blackface. souvenirs of the sphinx, LIKE A SHORT HISTORY OF PHOTOGRAPHY The wouter deruytter COLLECTION
An obsessive collection of pictures showing the Sphinx of Giza, from Gustave Le Gray to amateur photographers.
THE FESTIVAL IS A TRAILBLAZER; IT SEEKS OUT TOMORROW’S TALENTS.
DISCOVERY AWARD TEN PHOTOGRAPHERS COMPETE IN ten EXHIBITIONS FOR THE DISCOVERY AWARD.
anna orlowska shilo group artists presented by
krzysztof candrowicz lisa bernard robert zhao renhui artists presented by
louise clements pauline fargue Julián Barón
artists presented by
fannie escoulen
delphine chanet omar victor diop artists presented by
claire jacquet
paola pasquaretta the cool couple artists presented by
francesco zanot
olympus engageS IN A photographIC conversation A conversation between three great contemporary photographers and three students.
dorothée smith / rebecca topakian denis darzacq / swen renault paolo woods / elsa leydier
alice wielinga
NORTH KOREA, A LIFE BETWEEN PROPAGANDA AND REALITY
The winner of the 2014 Photo Folio Review navigates between official images and personal shots.
AN UNUSUAL ATTENTION FOUR ENSP graduates FROM THE CLASS OF 2015
Louis Matton Pablo Mendez Swen Renault Cloé Vignaud
In 2015, the Rencontres d’Arles are launching a new satellite event. Arles Books will take place in over 1000 m2 dedicated to the book, in every shape and form.
COSMOS - ARLES BOOKS NEW PUBLISHING PRACTICES
THE 2015 BOOK AWARD The Author’s Book Award and History Book Award: €8,000 for each winner.
LUMA RENCONTRES DUMMY BOOK AWARD ARLES 2015 A new €25,000 award for best dummy book.
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ASSOCIATED PROGRAMme
OPENING WEEK
education & training
PLACES AND INSTITUTIONS IN ARLES THAT PROMOTE PHOTOGRAPHY AND PARTICIPATE IN THE FESTIVAL’S PROGRAMME.
TOGETHER, PHOTOGRAPHY The collections of the Maison Européenne de la Photographie
Daring Photography FIFTY Years of Avant-Garde Collection in Arles
IMAGES/LANDSCAPES/SHORES Collection from the conservatoire du littoral
IT’S SUNNY, I’M GOING OUT ART RESEARCHES #4 raymond hains, photographeR
NIGHT martin parr / matthieu chedid
PHOTOGRAPHY WORKSHOPS CLICKS AND CLASSES EDUCATIONAL DOMAIN
DIscovery award / StÉphane breton, dear human
L’Etudiant COMPETITION
PHOTOGRAPHY NIGHTS AT THE ThÉÂTRE ANTIQUE
Back to school in images
jacques attali, A BRIEF HISTORY OF THE FUTURE
NATIONAL SEMINAr
edward S. curtis rodolphe burger
the photographers’ workshop
night of the year
Pause-photo-prose game
THE ON-LINE LIBRARY
DAY
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MEETINGS / CONFERENCES / DEBATES
CREDITS
BARTHES IS BACK The Collaborative Economy, Issues for Photographers
Partners Acknowledgements
OLYMPUS ENCOUNTERS
Board of Directors
BIENVENUE
EXHIBITION TOURS
the Team
ARLES IN THE SUMMER
book signings
VINCENT FERRANÉ
PHOTOGRAPHY AUCTION PHOTO FOLIO REVIEW
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Rencontres 2015 Hubert VĂŠdrine
President of the Rencontres d’Arles
I was deeply touched when Jean-Noël Jeanneney asked me to succeed him as president of the Rencontres d’Arles. And I agreed with pleasure, not just because of our long-standing friendship, but also because of my high regard for his action, work, and commitment; because several other people whose opinions matter to me backed his proposal; because I am very fond of Arles, which I got to know long ago thanks to Michel Vauzelle; and of course because of my interest in, attraction to, and affection for the world of photography. I do not claim to be an expert (yet!), but have been striving to become an enlightened connoisseur for many years.
I do not underestimate the challenges ahead: extending and developing the brilliant record of the Jeanneney/Hébel years; adapting the Rencontres to a new era and a new local, regional, and global context; and strengthening the central, influential international role the festival has come to play thanks to Lucien Clergue, his friends, and his successors. That is the spirit in which I will carry out my duties starting in April 2015.
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Festival? Festival! Sam Stourdzé
Director, Les Rencontres d’Arles
TO ALL OUR PARTNERS ! Les Rencontres d’Arles thanks the Ministry of Culture and Communication, the Provence-Alpes-Côte d’Azur Regional Direction of Cultural Affairs, the Ministry of National Education, Higher Education, and Research, the Provence-Alpes-Côte d’Azur Regional Council, the Bouches-du-Rhône General Council, the City of Arles, the Canopé network, the Centre des Monuments Nationaux and all our public partners whose longstanding support is so important to us. Les Rencontres d’Arles must express its gratitude to our private partners for their generous and faithful
sponsorship; we salute LUMA, Olympus, BMW, Gares & Connexions, as well as the many partners we cannot list here. We give a hearty welcome to all our first-time partners, including the Fondation Jan Michalski pour l’Écriture et la Littérature, amanasalto & IMA, YellowKorner, the Swiss Confederation, Parmigiani Fleurier, and Tectona. Finally, we thank our media partners, who broadcast the image of our festival far and wide: ARTE, France Inter, Konbini, Le Point, Libération, OAI13, L’Œil de la photographie, and all the others.
What is a festival? Neither a museum nor a trade show; the festival must escape this neither-nor trap and constantly reaffirm its freedom. The institutional recognition of photography as an art — to which the Rencontres d’Arles has greatly contributed — casts museums as the guardians of the temple. Trade shows, meanwhile, provide an overview of the state of the market — which is too often taken as the state of the art. The festival, however, is most itself in being multiform through the variety of its exhibitions, sites, and artists. The simultaneity of projects makes it possible to establish dialogues, take risks, dare adventures. In fact, the alchemy of artistic direction is based on programming a kaleidoscope of potential combinations in which exhibitions play off each other. They expand upon each other, communicate, challenge, and clash among themselves, in a great movement of decompartmentalisation. This year photography will enter into the worlds of music, film, architecture, slyly reaffirming that it is often to be found where least expected! It is then up to our visitors individually to create their own experiences, to construct their own sequences of exhibits.
and movements. Photography itself is a meeting ground for transdisciplinary dialogues that restore its vigour. It continues to surprise us today with its ability to address issues — not solely artistic, but also social, cultural, and historical ... The wellnamed photographic Rencontres (Encounters) multiply its impact, echoing and promoting artistic practices both historical and contemporary. A place of exchange with artists, between professionals, and especially with the public, the festival maps the whole terrain of photography. For forty-six years, thanks to the inspiration of its founders and the pugnacity of its successive directors, the Rencontres d’Arles has been — and will continue to be — at the side of the artists and sensitive to the public. For, like no other discipline, photography and its artists awake the gaze, provoke dialogue, and encourage encounters.
The festival is a cultural incubator, combining short and long duration in its events and exhibitions. It is an annual x-ray of photographic creation paired with a festive heart. Every year it displays trends, blazes paths, deciphers images, produces meaning, and constructs content. As a centre of experimentation and cross-disciplinary exploration, the festival, together with its artists, contemplates and explores the world of today. Hybridisation, contamination, confrontation, friction … photography reinvents itself through contact at the intersection of disciplines 15
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The curators of the exhibitions
Simon Baker
Xavier Barral
Christine Barthe
Simon Baker
Born 1955, Paris, France. Lives and works in Paris, France. www.exb.fr
Born 1965, Escanecrabe, France. Lives and works in Paris, France. www.quaibranly.fr
Graphic designer, press photographer, artistic director for several magazines, Xavier Barral founded in 1992, along with Annette Lucas, Atalante, a visual creation and cultural communication agency. Concurrently, Barral worked with a number of publishing houses, creating fine arts books and exhibition catalogues. In 2002, he created Éditions Xavier Barral which publishes books taking a visual approach to the new shapes of photography, contemporary art, and science. Roger Caillois, Sophie Calle, Clément Chéroux, Raphaël Dallaporta, Anouck Durand, Antoine d’Agata, Raymond Depardon, Jean Gaumy, Emmet Gowin, Rinko Kawauchi, Josef Koudelka, Sergio Larrain, Martin Parr, Stephen Shore, and Hiroshi Sugimoto are among its recently published authors.
Christine Barthe is head of the photographic collection at the Quai Branly Museum in Paris, France. She is also in charge of the historical and contemporary worldwide photography acquisition policy for the Museum. Barthe has curated a great number of exhibitions including, at the Musée du Quai Branly, Nocturnes de Colombie, images contemporaines (2013-2014) and Patagonie, Images du bout du monde (2012). A member of the programming committee for the Photoquai biennial since 2007, she was also associate curator for Latin America at Photoquai 2007, 2009, and 2011. She has published essays on exploration photography in the 19th century as well as the historical uses of photography for anthropology.
Born 1972, London, United Kingdom. Lives and works in London, United Kingdom.
Simon Baker is curator of photography and international art, Tate. Prior to becoming Tate’s first curator of photography in 2009 he was associate professor of art history at the University of Nottingham. He has written widely on Surrealism, photography, and contemporary art, recently completing a monograph on George Condo, forthcoming with Thames & Hudson (2015). He has worked on many exhibitions, including: Undercover Surrealism: Georges Bataille and DOCUMENTS (Hayward, 2006); Close-up (Fruitmarket, 2008); William Klein + Daido Moriyama (Tate Modern, 2012); and Conflict, Time, Photography (Tate Modern, 2014). In 2015 he received the International Award from the Photographic Society of Japan. Exhibition: Another Language: Eight Japanes Photographers.
Exhibition: Martin Gusinde, The Spirit of the Tierra del Fuego People.
Exhibition: Martin Gusinde, The Spirit of the Tierra del Fuego People.
Antoine de Beaupré
Daria Birang
Olivier Cablat
Born 1971, Paris, France. Lives and works in Paris, France.
Born 1972, Boston, United States. Lives and works between Sicily and New York City, United States.
Born 1978, Marignane, France. Live and works in Arles, France. www.oliviercablat.com
Daria Birang studied at The School of The Museum of Fine Arts in Boston and AKI, Academy for Fine Arts in Enschede (the Netherlands), from which she holds a BFA. An artist of Dutch and Iranian origin, her work ranges from painting and collage to photobook making and from curation to art direction, all related to photography. Over the years she has developed an obsession with photography, which grew into a practice of making books and exhibitions with some of the most recognised photographers working today. Her approach in editing and curating stems from her background in art and therefore can be regarded as rather untraditional.
After university studies in art and ethnology, Olivier Cablat continued his studies at the École des Beaux-Arts in Marseille and at the École Nationale Supérieure de la Photographie (ENSP) d’Arles. In 2004 he worked for the Centre National de la Recherche Scientifique (CNRS) in Karnak, Egypt. He has been teaching the theory and practice of digital images at the ENSP since 2007. An artist working in the documentary field, he pursues his research, which combines photography, archaeology, and digital experimentations, focusing on vernacular structures. He has presented his research at ANT!FOTO (Düsseldorf, Germany), the Fotomuseum Winterthur (Switzerland), Le Bal (Paris), Rencontres d’Arles in 2012, and at Festival Images in Vevey in 2014.
Antoine de Beaupré, who founded Galerie 213 in 1997, has worked extensively in the world of photography, beginning with a bookstore specialising in antique and contemporary photography. Later he founded Les Éditions 213 and mounted exhibitions, the latest being Bernd und Hilla Becher Printed Matter 1964/2013. A 1996 graduate of the Berklee College of Music with a degree in composition, he has never lost his interest in music. He has been collecting vinyl records for nearly thirty years. Exhibition: Total Records. The Great Adventure of Album Cover Photography.
Exhibition: Alex Majoli and Paolo Pellegrin, Congo.
Cosmos Arles Books.
David Campany
Matthieu Chedid
François Cheval
Born 1967, London, United Kingdom. Lives and works in London, United Kingdom. www.davidcampany.com
-M-, alias Matthieu Chedid, born 1971, Boulogne-Billancourt, France. Lives and works in Paris, France.
Born 1954, Belfort, France. Lives and works in Chalon-sur-Saône, France. www.museeniepce.com
David Campany is a writer, curator, and artist. He is the author of several books including The Open Road: Photography and the American Road Trip and Walker Evans: the Magazine Work (both 2014). This year he publishes A Handful of Dust, which will accompanyi an exhibition of the same title at Le Bal, Paris. Recent curatorial projects include two shows: Victor Burgin: A Sense of Place at AmbikaP3, London 2013; and Mark Neville: Deeds Not Words for The Photographers’ Gallery, London 2013. For his writing, David has received the ICP Infinity Award, the Kraszna-Krausz Book Award, a Deutscher Fotobuchpreis, and a Royal Photographic Society award. He teaches at the University of Westminster, London.
-M- grew up listening to music by his father, Louis Chedid, great jazz musicians, and Jimi Hendrix. His first album, Le Baptême, came out in 1997, Je dis aime in 1999, and Qui de nous deux and Labo -M- in 2003, confirming his status as a leading figure on France’s pop-rock scene. Mister Mystère followed in 2009 and Îl in 2012. He has worked with several other artists, including Vanessa Paradis, Brigitte Fontaine, and Johnny Hallyday, and composed scores for films by Vincent Pérez and Guillaume Canet. He has sold two million albums and won nine Victoires de la musique awards as well as a César award since the beginning of his career. Over a million people came to see him on his last tour.
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.
Exhibition: Walker Evans, Anonymous.
Exhibition: MMM. Matthieu Chedid Meets Martin Parr.
Exhibition: Natasha Caruana, Love at First Sight.
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Marta Dahó
Jean-Paul Deridder
Tom Eccles
Born 1969, Milan, Italy. Lived and works in Barcelona, Spain.
Born 1963, Brussels, Belgium. Lives and works in Brussels, Belgium.
Marta Dahó is a freelance curator, researcher, and teacher of the history of photography. She holds a MA in art history from Barcelona University (2012) and a degree in art history from the Universidad Autonoma of Barcelona (1995). She is currently an associate researcher at the research group Art Globalisation and Interculturality (AGI) of the University of Barcelona. Since 1995, Marta Dahó has curated an important number of exhibitions and editorial projects for internationally renowned institutions and festivals such as Mapfre Foundation (Madrid), with a large retrospective of Mexican photographer Graciela Iturbide.
After studying graphic arts at the École de Recherche Graphique, Brussels, Jean-Paul Deridder lived and worked in Paris, in the Netherlands as artist-in-residence at Haarlem Ateliers 63, and in Berlin. His work has been exhibited primarily at the Micheline Szwajcer gallery in Antwerp and the Thomas Zander gallery in Köln. He has produced two books, Cinema (2007) and Stadt der Kinder, Berlin, City of Transience (2008), both published by Hantje Cantz. In 2010 he curated the American Documents exhibition at the Antwerp Fotomuseum. Since October 2012 he has been the artistic director of the Fondation A Stichting in Brussels. There he has organised exhibitions of artists such as Judith Joy Ross, Mitch Epstein, Lewis Baltz, Max Regenberg, and Jo Ractliffe.
Born 1964, Scotland. Lives and works in the United States. www.bard.edu/ccs/
Exhibition: Stephen Shore.
Tom Eccles is a member of the LUMA Arles Core Group; he co-organised a series of planning symposiums in Arles for the cultural complex now under construction. Since 2005 he has been the executive director, as well as associate exhibition curator, of Bard College’s Center for Curatorial Studies, supervising the construction of the Hessel Museum of Art (Annandale-On-Hudson, New York). Between 1996 and 2005, Tom Eccles was director of New York City’s Public Art Fund, organising more than a hundred projects with artists such as Louise Bourgeois and Jeff Koons. From 2006 to 2010 he programmed the Park Avenue Armory (New York City), hosting Christian Boltanski (2010), among others. Until 2011 he was artistic advisor for the Adobe Museum of Digital Media.
Exhibition: Walker Evans, Anonymous.
Exhibition: Tony Oursler, Imponderable.
Markus Hartmann
Sebastian Arthur Hau
Luce Lebart
Born 1962, Berlin, Germany. Lives and works in Stuttgart, Germany. www.hartmannprojects.com
Born 1976, Krefeld, Germany. Lives and works in Paris, France. www.lebalbooks.com
Born 1970, Asnières-sur-Seine, France. Lives and works in Paris, France. www.sfp.asso.fr
Markus Hartmann comes from a family of publishers and printers. He is currently director of Hartmann Projects, a recently started company promoting artists and their work through exhibitions, books, publicity, and art market services. He was previously commissioning editor and publisher of photography and art books for Hatje Cantz Verlag, Germany. Markus Hartmann is author and editor of numerous photo books and contributor to blogs and conferences on books and photography.
Sebastian Arthur Hau is the art director and head of the books and events department at Le Bal in Paris. He founded Supermarkt (the forerunner of COSMOS) with Olivier Cablat in 2009, Yellow Magic with Pierre Hourquet, Benoit Vollmer, and Eduardo Serafim in 2013, and Polycopies with Laurent Chardon in 2014. Mr. Hau writes for magazines such as Foam, IMA magazine and Else on a regular basis and organises sessions on photography at the Silencio club in Paris. He has curated exhibitions in Warsaw, Leipzig, Cologne, Arles, and Paris.
Exhibition: Markus Brunetti, FACADES.
Cosmos Arles Books
Photography historian and exhibition curator Luce Lebart is head of collections at the Société française de photographie. The author of books and articles about scientific and documentary photography as well as the history of archiving, she is an expert on photographic techniques. Ms. Lebart has published works on meteorological and police photography and on Eugène Atget. She recently curated the exhibitions A ‘First time’ Laboratory (Arles, 2012), Kids at War (Arles, 2014), Sans nom/sans abri (SFP, 2014) and Les Couleurs de l’oranger (Bordeaux, 2015). She is the co-curator of Images à charges, a show organised for Le Bal’s fifth anniversary in Paris in June 2015. Exhibition: Souvenirs of the Sphinx: Like a Short History of Photography.
Martin Parr
Beatrix Ruf
Hilar Stadler
Born 1952, Surrey, United Kingdom. Lives in Bristol, United Kingdom, and works worldwide. www.martinparr.com
Born 1960 in Singen, Germany. Lives and works in Amsterdam, the Netherlands. www.stedelijk.nl
Born 1963, Lucerne, Switzerland. Lives and works in Lucerne, Switzerland. www.bellpark.ch
Martin Parr is a key figure in the world of photography, recognized as a brilliant satirist of contemporary life. In addition to his work as a photographer and curator, he is a renowned collector of photographic books, and the co-author with Gerry Badger of The Photobook: A History, volumes I, II, and II. He is a contributor, curator, and advisor to several other projects about the photobook, including The Chinese Photobook (Aperture, 2015). His own photographs have been featured in over 80 photobooks, and are in the collections of museums worldwide, including the J. Paul Getty Museum, Los Angeles; Museum of Modern Art, New York; Stedelijk Museum, Amsterdam; Metropolitan Museum of Art, Tokyo; and Tate Modern, London. He is a member of Magnum Photos. Martin Parr was invited to be the artistic director of the 2004 edition of the Rencontres d’Arles. His Last Resort series was exhibited in Arles in 1986.
Beatrix Ruf was made director of Amsterdam’s Stedelijk Museum in 2014. Previously, she was director and chief curator of the Kunsthalle Zürich (2001-2014). Beatrix Ruf is also a member of the LUMA Arles Core Group. In 2013, she curated the Wolfgang Tillmans exhibition Neue Welt, co-produced with the Rencontres d’Arles. She has curated numerous exhibitions and written essays and catalogues on Marina Abramovic, Urs Fischer, John Armleder, and Elad Lassry, among others. She was one of the judges for the Hugo Boss Prize (Guggenheim Museum, New York) and the Prix Lafayette and Prix Marcel Duchamp (Paris).
Hilar Stadler studied art history and cinema at the University of Zurich. He is director of the Museum im Bellpark, Kriens, Switzerland, and works as a freelance curator and writer in the areas of art, architecture, and photography. Exhibition: Las Vegas Studio: Images from the Archives of Robert Venturi and Denise Scott Brown.
Exhibition: Tony Oursler, Imponderable.
Exhibition: MMM. Matthieu Chedid Meets Martin Parr.
Martino Stierli
Sam Stourdzé
Serge Vincendet
Born 1974, Zug, Switzerland. Lives and works in New York City, United States. www.khist.uzh.ch/kol/stierli/about_en.html
Born 1973, Paris, France. Lives and works in Arles and Paris, France.
Born 1955, Béziers, France. Lives and works in Paris, 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. 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 ClichéVerre 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.
Serge Vincendet, who founded and has headed Monster Mélodies, a vintage record shop, for over 30 years, has written several authoritative works about music (Serge Gainsbourg, l’intégrale et cætera, 2005; Barbara, ombre et lumière, 2007; Le Cinéma de Serge Gainsbourg, 2007, etc.). An acknowledged music expert, he has loaned out his collections for several exhibitions, including Gainsbourg 2008 at the Cité de la Musique in Paris. A producer, publisher, and record jacket designer as well, he has always been interested not only in the work of musicians, but also in developing their image and musical identity.
Martino Stierli is the Philip Johnson Chief Curator of Architecture and Design at the MoMA, New York. He is the author of Las Vegas in the Rearview Mirror: The City and Theory, Photography and Film (2013) and is currently preparing the publication of a monographic study on Montage and Architecture, which investigates the conception and representation of space in modernity. Stierli’s work is situated at the intersection of modern architecture and the broader context of visual culture, and in particular photography and film. He directs the research project ‘Architectures of Display’ at the University of Zurich, which is funded by the Swiss National Science Foundation. Exhibition: Las Vegas Studio: Images from the Archives of Robert Venturi and Denise Scott Brown.
Exhibition: Total Records: The Great Adventure of Album Cover Photography.
Exhibitions: Walker Evans, Anonymous; Toon Michels, American Neon Signs by Day and Night; Total Records, the Great Adventure of Album Cover Photography; MMM, Matthieu Chedid Meets Martin Parr; Thierry Bouët, Personal Affairs; fellini, 8 ½ COLOUR.
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reREADING THE histoRY OF photographY revisiteD Rereading the great masters by focusing on little-known aspects of their work or showing their entire careers at one time.
walker evans ANONYMOUS
A fresh look at one of the greatest names in the history of American photography through his job as picture editor. This is the first time the public has had a chance to see a different facet of the American master.
stephen shore The first European retrospective of an American colour photography pioneer.
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Walker Evans Anonymous
Walker Evans (1903-1975) remains one of the most important and influential photographers in the history of the medium. His career spanned the emergence of the modern mass media in the 1920s to the full acceptance of photography as an art form in the 1960s and 1970s. Many of Evans’s individual images have become landmarks in both the history of photography and the social history of that era. Without Evans the development of photography would have been very different, particularly in North America.
Exhibition curators: David Campany, Jean-Paul Deridder, and Sam Stourdzé. Exhibition coproduced by the Fondation A Stichting, Brussels, and the Rencontres d’Arles. Publication: David Campany, Walker Evans: The Magazine Work, Steidl, 2014. Wallpaper by Processus, Paris. Framing by Circad, Paris. Exhibition venue: Musée Départemental de l’Arles Antique.
This innovative exhibition takes a different look at Evans, placing the emphasis on his print work, and in particular his work for American magazines. Evans began to publish in 1929 and soon found ways to set his own assignments, write the accompa‑ nying texts, and design his layouts. He worked in black and white and colour. Over nearly four decades Evans used the popular magazine page to produce a resist‑ ant counter-commentary on American society and its values. While mass media enjoyed celebrity culture, Evans photographed anonymous citizens. While mass media promoted consumerism, Evans valued enduring objects and the persistence of the past in the present. Other subjects included automobile junkyards, graffiti, shop window displays and postcards. Experimental and yet classical, Evans’s pho‑ to-essays have been overlooked until recently. Walker Evans, Anonymous presents original magazine pages alongside vintage prints and related material, looking at Evans as a pioneer of modern photography, editing, writing, and design. The exhibition includes Evans’s many attempts to shoot unnamed citizens on American streets and the New York subway, his images of popular graphics and vernacular architecture, and his cele‑ brations of everyday life. Walker Evans Born 1903, Saint Louis, United States. Died 1975, New Haven, United States.
After studying at Williams College (Massachusetts) and the Sorbonne, Walker Evans took his first photographs, of Manhattan life, in the late 1920s. In 1934, he started working with Fortune magazine; then the Farm Security Administration hired him, like Dorothea Lange, to document the impact of the Great Depression. His work became famous and marked the history of photography. In 1948, Evans was appointed picture editor at Fortune, a position he held for 17 years, allowing him to deepen his analysis of the relationship between words and images. There have been many monographic exhibitions of his work around the world, notably at New York’s MoMA, which devoted a major retrospective to him in 1971. Portrait of Walker Evans: Jerry L. Thompson (1973).
Self-portrait of David Campany. Portrait of Jean-Paul Deridder: Guido Guidi. Portrait of Sam Stourdzé: Christian Lutz / VU.
Labor Anonymous, Fortune, Detroit, 1946. Fondation A Stichting collection, Brussels. Courtesy of the Metropolitan Museum, New York [all photographs]. —
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Labor Anonymous, Fortune, November 1947.
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26 — Untitled [Bystanders Outside Klein’s Department Store, Union Square, New York City], 1937. Sandra Alvarez de Toledo collection, Paris.
— Untitled [Negro Girl in Tallahassee], 1941. Dolores Alvarez de Toledo collection, Paris. next pages
Along the Rightof-Way, Fortune, September 1950.
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30 — Rapid Transit, The Cambridge Review, Winter 1956.
— Untitled [Subway Passengers], New York City, 1930-1941, Many are Called (Boston: Houghton Mifflin, 1966). Private collection, Paris.
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32 — Penny Picture Display, Savannah, Georgia, 1936. Marcia Due and Jerry Thompson collection, Amenia, New York.
— Truro, Massachusetts [Torn Movie Poster], 1931. Marcia Due and Jerry L. Thompson collection, Amenia, New York.
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Stephen Shore
Exhibition curator: Marta Dahó. Exhibition organised by the FUNDACIÓN MAPFRE in collaboration with the Rencontres d’Arles. With support from Parmigiani Fleurier. Publication : Stephen Shore, Éditions Xavier Barral, 2014. Exhibition venue: Espace Van Gogh.
Stephen Shore is one of the most important and visibly influential photographers of the past three decades. The new approach that defines his contribution to photography and its language has continued to arouse the interest of different generations of artists and he remains a key reference point for young photographers working today. As a result, Shore’s work is also particularly valuable for an understanding of the current photographic scene and for an analysis of some of the hegemonic practices in photography of the past few years. Shore has been particularly interested in reflecting on the factors that determine the role played by the camera in the transfiguration of the world into image. In his ongoing questioning of photography’s different modes and genres he has deliber‑ ately avoided restricting himself to pre-established formulas, even moving on from the new conventions that his own work has helped to generate, with the result that his projects are very diverse in formal terms. Equally important is the fact that his ideas, both visual and theoretical, offer a new perspective on Stephen Shore a cultural context in which the relation between art and pho‑ tography has been particularly intense and wide-ranging. Born 1947, New York City, United States. This exhibition, which is the most comprehensive to date of the artist’s work, focuses on understanding his artistic approach. By offering a contemporary reassessment of pro‑ jects such as Uncommon Places and American Surfaces in relation to other less well known or unpublished works. The exhibition also reveals how his work embodies the complex exchange and feedback operations that took place between the art and photography worlds from the mid1960s onwards, a dialectic that has continued to influence the devel‑ opment of photographic practice up to the present day. Portrait of Marta Dahó: Maya Goded.
Lives and works in New York City, United States. www.stephenshore.net
Stephen Shore’s work has been widely published and exhibited for the past forty years. His series of exhibitions at Light Gallery in New York in the early 1970s sparked new interest in colour photography and in the use of the view camera for documentary work. He has exhibited worldwide, including the Metropolitan Museum of Art and MoMA, New York; Kunsthalle, Düsseldorf; and Jeu de Paume, Paris. He has published several books, including Uncommon Places, American Surfaces, and Stephen Shore, a book in Phaidon’s Contemporary Artist Series. Since 1982 he has been the director of the Photography Program at Bard College, Annandale-on-Hudson, NY. His work is represented by 303 Gallery, New York, and Sprüth Magers, London and Berlin. Portrait of Stephen Shore: Guido Guidi.
Marta Dahó
American National Bank Building, 1971, from the Greetings from Amarillo—Tall in Texas series. Courtesy of the artist and 303 Gallery, New York [all photographs]. —
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36 — West Palm Beach, Florida, April-May 1973, from the American Surfaces series. U.S. 89, Arizona, June 1972, from the American Surfaces series.
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38 — Trail’s End Restaurant, Kanab, Utah, August 10, 1973, from the Uncommon Places series. West Ninth Avenue, Amarillo, Texas, October 2, 1974, from the Uncommon Places series.
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40 — U.S. 97, South of Klamath Falls, Oregon, July 21, 1973, from the Uncommon Places series. Room 125, Westbank Motel, Idaho Falls, Idaho, July 18, 1973, from the Uncommon Places series.
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42 — Ginger Shore, Causeway Inn, Tampa, Florida, November 17, 1977, from the Uncommon Places series. Musya Vainshteyn’s Home, Nemirov, Ukraine, October 16, 2013.
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44 — New York City, 2000-2002.
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rEsonances photographY In dialogue Architecture around the postmodern figures of Robert Venturi and Denise Scott Brown, music, or cinema: photography is everywhere, even where you least expect it!
ARCHITECTURE
MUSIC
LAS VEGAS STUDIO
TOTAL RECORDS
IMAGES FROM THE ARCHIVES of ROBERT VENTURI & DENISE SCOTT BROWN A journey to the heart of the archives of this team of architects, forerunners of postmodernism in the early 1970s.
THE GREAT ADVENTURE OF ALBUM COVER PHOTOGRAPHY Looking at the history of photography as told on album covers.
THE LP COMPANY
TOON MICHIELS
THE LP COLLECTION, HIDDEN TREASURES OF UNDERGROUND MUSIC
A precise, analogical survey of bright roadside signs in 1970s America.
Switzerland’s Patrick Claudet and Laurent Schlitter have fun with an imaginary record collection.
OLIVIER CABLAT
MMM
Between photography and film, ‘duck’ architecture and the alternative use of images seen by the Arles photographer, himself influenced by Venturi and Brown’s work.
A mutually inspired dialogue between photography and music.
american neon signs by day & night
DUCK, A THEORY OF EVOLUTION
MARKUS BRUNETTI FACADES
Monumental images of European buildings. When accumulation perturbs our perceptual relationship to reality.
MATtHIEU CHEDID MEETS MARTIN PARR
CINEMA SANDRO MILLER
MALKOVICH, MALKOVICH, MALKOVICH: HOMAGE TO photographic masters From Dorothea Lange to Robert Mapplethorpe, 41 iconic photographs reactivated by Sandro Miller and replayed by the actor John Malkovich.
FELLINI, 8 ½ COLOUR
Photographs by Paul Ronald Paul Ronald’s colour photographs, found by accident, reveal all the modernity of 8 ½, Fellini’s last black and white film.
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ARCHITECTURE
Las Vegas Studio Images from the Archives of Robert Venturi and Denise Scott Brown
Exhibition curators: Hilar Stadler and Martino Stierli. Exhibition produced by the Museum im Bellpark, Kriens. With support from the Swiss Confederation. Publication: Las Vegas Studio: Images From the Archives of Robert Venturi and Denise Scott Brown, Scheidegger & Spiess, 2008, 2015; Las Vegas Studio. Images des archives de Robert Venturi et Denise Scott Brown, Scheidegger & Spiess, 2015. Exhibition venue: Grande Halle, Parc des Ateliers.
Learning from Las Vegas, a treatise on architectural theory published in 1972, captivates us primarily through its engaging visual discourse developed during Robert Venturi and Denise Scott Brown’s 1968 research and design studio course at Yale. For Venturi, Scott Brown, and their collaborator, Steven Izenour, photography was the means of both argumentation and representation of their research. Their approach used photographic methods borrowed from the disciplines of anthropology and art. Their contemporaries reacted Robert Venturi strongly against the Las Vegas research, which approached and Denise Scott Brown architecture from the perspectives of symbolism and Robert Venturi, born 1921, Philadelphia, United States. appearance. Lives in Philadelphia, United States.
Denise Scott Brown, born 1931, Zambia. Our approach to the material is motivated primarily by an Lives and works in Philadelphia, United States. interest in the image. The genuinely pictorial, the photo‑ Robert Venturi and Denise Scott Brown are architects, planners, writgraphic quality, provided a decisive guide in our reading. ers, teachers, and artists. Partners since the 1960s at the University of We removed the pictures from their original analytical con‑ Pennsylvania, they participated in the social planning movement there text and present them as photographic sensations. For and have led architects to consider social issues and activism, multiculVenturi and Scott Brown and their students, the photographs turalism, popular culture, everyday architecture, low art as well as high were a means to an end. They provided data and analytical art, symbolism and iconography. Their books include Complexity and tools to inform their plan‑ Contradiction in Architecture by Bob and Learning from Las Vegas by ning and design work. Our Bob, Denise, and Steven Izenour. Both have been in print for over 40 years. Their commissions range from inner city advocacy planning to project returns to a point the Sainsbury Wing of London’s National Gallery and a provincial capibefore the theory formation tol building in Toulouse, France. Most projects were in architecture and and refers directly to the campus planning for universities. Bob and Denise claim that urban planphotographic material ning precepts inform their design, inside as well as out. Honours include itself. Our selection focuses the US National Medal of Arts and the Philadelphia Award. Bob is retired largely on secondary from practice. Denise continues to write and lecture. Portrait of Martino Stierli (right): Alessandro Frigerio. aspects and side products of the research project, without losing sight of the iconic images. It thereby shifts to the forefront previously unknown images. We believe that the true interest in Venturi’s and Scott Brown’s approach to Las Vegas becomes manifest precisely in these ‘unconscious’ moments. The Strip seen from the
Robert Venturi and Denise Scott Brown allowed us full access to their archive for this project. The opportunity to gain insight into this collection of images was a particu‑ larly memorable experience for us. The exhibition was first shown at the Museum im Bellpark, Kriens, Switzerland. It is presented in France for the first time. Hilar Stadler and Martino Stierli
desert, with Denise Scott Brown in the foreground, 1966. Photo: Robert Venturi. Courtesy of Venturi, Scott Brown and Associates, Inc., Philadelphia [all photographs]. The Strip seen from the desert, with Robert Venturi’s silhouette, 1966. Photo: Denise Scott Brown. —
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— ‘The Big Duck’, shop in the shape of a duck on the highway on Long Island, Flanders, New York, ca. 1970.
— ‘Big Donut Drive-in’, Los Angeles, 1970.
— American suburbia, ca. 1968.
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— Rooftop terrace, The Mint Hotel and Casino, Las Vegas, 1968.
— Gas station, Las Vegas, 1968.
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— Fremont Street neon signs, Las Vegas, 1968. Sequence, upper Strip, driving north, Las Vegas, 1968.
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ARCHITECTURE
Toon Michiels American Neon Signs by Day & Night
Exhibition curators: Sam Stourdzé, in collaboration with Christien Bakx and Erik Kessels. Texts: Frits Gierstberg, chief curator, Nederlands Fotomuseum, Rotterdam. Exhibition coproduced by the Rencontres d’Arles and The Nederlands Fotomuseum, Rotterdam. Prints by Frits Tijbout Artprints, Amsterdam. Wallpaper by Central DUPON Images. Exhibition venue: Église des Trinitaires.
In the mid-1970s, Toon Michiels made various journeys to the United States of America, where he undertook a number of road trips in a rented car to, among other places, Reno and Las Vegas. Very quickly, Michiels developed a fascination for the spectacular neon signs that motels and restaurants had placed along the highways to lure passing drivers. Nothing like these existed in Europe. In the eyes of the visiting European they were the typical symbols of American car culture, icons that spoke of the freedom of being ‘on the road’ in the endless wide-open landscape of the American West. Their big letters must have seized Michiels’ attention immediately, as he was not only a photographer but also a professional graphic designer. Wasn’t that the point of neon signs, with their playful graphic and architectural qualities and colourful Toon Michiels lights—to seize attention? Michiels photographed them by Born 1950, Boxtel, the Netherlands. Lives and works in Den Dungen, the Netherlands. day and by night in a rigid, systematic way: frontal view (almost as seen from an approaching car), placing them in the middle Toon Michiels studied graphic design and photography at the Royal Academy of Art in ‘s‑Hertogenbosch. He was a lecturer at the Academy of the frame with just a bit of space around them—whatever of Art and Design St. Joost (Breda), the Gerrit Rietveld Academie size they might be. The series connects strongly with the (Amsterdam), and his alma mater, the Royal Academy of Art, ‘s‑Hertypological work of the German photographers Bernd & togenbosch. In 1981, he co-founded Samenwerkende Ontwerpers Hilla Becher, but one may also see a parallel with the pre(Collaborating Designers) and Beaux & Michiels in Amsterdam. Later WWII work of Walker Evans, who was equally fascinated by he established himself as Toon Michiels Ontwerpers (TM Designers). text in photographs. Michiels photographed his anonymous Michiels has travelled the world from South Africa to Indonesia, and sculptures in full colour, at a time when colour photography especially throughout the USA. He likes to call himself a ‘full-blood road photographer’. His work appears in numerous museum collections in the was hardly considered a serious art medium. This fact, in Netherlands and abroad. He currently works as an independent graphic combination with its clarity and richness, makes this project th designer and photographer. stand out in the history of 20 century photography. A Portrait of Toon Michiels: Hans Bol. selection of American Neon Signs by Day & Night was first published in 1980 by Drukkerij Rosbeek (a Dutch printing company) in the form of a spiral-bound booklet with fourteen fold-out pages, showing the day and night versions together. Frits Gierstberg
Holiday Motel, Las Vegas, Nevada, 1979. Courtesy of Luïscius [all photographs]. —