woman paper arles 48

woman paper gift copy

CULTURE GRATUITE

édition 48 COVER

Cultures photo

kate barry

Arles la femme dans l’image

édi to « Janine, qui va bientôt être expulsée de sa maison, résiste.

JR et moi avons inventé l’image de sa résistance. » Photo extraite du film Visages, villages © Agnès Varda-JR-Ciné-Tamaris, Social Animals, 2016

ÉDITO Il faudrait douze mémoires et quatre thèses pour commenter votre titre, « La femme dans l’image ».

J’ai choisi de m’en tenir à une femme.

JR et moi l’avons rencontrée au cours du tournage de notre documentaire Visages, villages. On nous avait parlé des anciennes rues de corons qui avaient été vidées et allaient être détruites.

Dans une de ces rues, il restait une femme : Janine. Ce qu’elle nous a dit de la vie d’autrefois avec son père mineur et des souvenirs précis qu’elle évoquait nous est allé droit au cœur. Nous avons fait un portrait d’elle et JR l’a agrandi au point que son visage en gros plan a été collé sur toute la façade de sa maison.

Elle était « La femme dans l’image », dernier témoin de sa résistance. Elle a été expulsée. Le collage a été détruit avec le temps, mais la force de cette image persiste. On ne peut pas oublier Janine.

paz erraZURIZ Cuerpo IX, Santiago [Corps IX, Santiago], 2002 de la série « Cuerpos, Santiago » [Corps, Santiago] Tirage gélatino-argentique d’époque Courtesy de l’artiste © Paz Errázuriz

One would need at least twelve dissertations and four theses to comment on your title, “Women in pictures.”

I decided to focus on only one woman. JR and I met her while filming our documentary, Faces Places (Visages, villages).

We knew that the old streets of miners’ cottages had been left empty and were about to be destroyed.

In one of these streets, one woman remained: Janine.

We were deeply touched by what she shared about her former life with her father, a coal miner, and by the accuracy of her memories. We photographed her portrait, JR blew it up and the close-up of her face was glued on the front of her house.

She was our “woman in pictures” and the last witness of her own resistance. She has been evicted since. Time destroyed the collage, but the strength of that image lives on. Janine is unforgettable.

Agnès Varda 22 juin 2017

Som ma ire ÉDITO agnès varda

silin liu Simone de Beauvoir & Celine Liu 01, from the « Celine Liu » series, 2013. Courtesy of the artist.

édition 48 |

Kate Barry fannie escoulen jean dubuffet anne lacoste & sophie webel henrietta lacks david fathi jimei bérénice angremy la vuelta karen paulina biswell

liliana angulo cortés iran 38 anahita ghabaian & newsha tavakolian un monde qui se noie gideon mendel élise fitte-duval

Hors cadre |

la femme dans l’image pauline klein,

alice pfeiffer, olfa feki

delivering a magazine isabelle evertse mapping cameroon’s new photographic landscape christine eyene femmes photographes expérimentales marc lenot

le boudoir anna-karine quinto Miyako ishiuchi, Mother’s irène attinger The photographer’s muse viviane sassen TRIBUTE stanley greene

woman paper Arles est édité par OFFsociety (OFF the wall) 33, rue d’Hauteville, 75010 Paris – +33 973 65 95 50 – SAS au capital de 1 000 euros RCS Paris 798 661 054

JEAN DUBUFFET anne lacoste & sophie webel jean dubuffet / atelier des forges Marie Fantozzi : La Fondation Jean Dubuffet a été créée en 1974. Pourquoi n’exploiter son fonds photographique qu’aujourd’hui ?

Sophie Webel : La Fondation a en effet été créée en 1974 par Dubuffet, mais elle a d’abord fonctionné comme secrétariat jusqu’au décès de l’artiste en 1985. Elle gère une collection de plus de 2 500 œuvres et nous avons de multiples activités – suivi des publications, authentifications, recherches... Le fonds photographique, fort de plus de 10 000 photographies des œuvres de l’artiste, a été largement « exploité » pour illustrer des catalogues d’expositions ou des monographies sur l’artiste, mais cette exposition l’« étudie » dans une démarche inédite afin de comprendre comment et pourquoi Dubuffet a rassemblé ce fonds.

Anne Lacoste : Cette étude est aussi représentative de l’essor des domaines de recherche de la photographie depuis ces dix dernières années, où il ne s’agit plus seulement de démontrer l’intérêt artistique ou esthétique du médium, mais également d’intégrer la diversité de ses usages et son impact dans différents domaines.

MF : Quelle est l’implication du musée de l’Élysée dans cette exposition ?

SW : Il y a quelques années, j’avais parlé du projet de cette exposition que je voulais faire à la Fondation à Sam Stourdzé, qui était encore directeur du musée. Avec Anne Lacoste et lui, nous avons travaillé sur le sujet pendant deux ans pour Arles et le musée de l’Élysée, qui est coproducteur. L’exposition a pris une telle ampleur qu’on ne pourrait sans doute pas la montrer dans nos locaux à Paris, ou alors sous une forme différente.

MF : Pouvez-vous revenir sur vos parcours respectifs ?

AL : J’ai fait des études de commerce à l’ISC Paris et un doctorat en histoire de l’art à la Sorbonne – j’ai réalisé une thèse sur la photographie et l’archéologie en Orient dans la seconde moitié du 19e siècle d’après les collections de la bibliothèque de l’Institut de France. Ensuite, j’ai travaillé cinq ans chez Christie’s (à Paris et à Londres), six ans au département Photographies du Getty Museum à Los Angeles, et depuis plus de six ans, je suis conservatrice au musée de l’Élysée à Lausanne.

SW : Après mon diplôme en histoire de l’art à la Sorbonne, j’ai travaillé à la galerie Baudoin Lebon à Paris de 1984 à 1997. C’est par ce biais que j’ai connu Dubuffet. En 1991, j’ai publié le catalogue raisonné de l’œuvre gravée et des livres illustrés de Jean Dubuffet (aux éditions Baudoin Lebon), puis j’ai rejoint la Fondation Dubuffet en 1997, dont j’ai pris la direction en 2003.

anne lacoste & sophie webel jean dubuffet atelier des forges Marie Fantozzi: The Jean Dubuffet Foundation was created in 1974. Why only expose its photographic collection today?

Sophie Webel: The Foundation was indeed set up by Dubuffet in 1974, but it was initially used for administration purposes until the artist’s death in 1985. It manages 2,500 works and we have several activities—keeping up with publications, authenticating works, research... The photographic department, which contains over 10,000 photographic works of the artist, has essentially been “used” for illustrating exhibition catalogues or for the artist’s monographic collection, however, this exhibition is more about “examining” the reasons behind, and for the first time, why Dubuffet set up this Foundation. Understanding the how and why Dubuffet put together the collection.

Anne Lacoste: This research is also tantamount to the review of the rise of examination in photography research that’s been occurring over the last decade; it’s no longer only about revealing the artists field of interests or the aesthetics surrounding this medium, but also demonstrating the diversity in its usage and the impact that it has on various sectors.

MF: How is the Élysée Museum involved in this exhibition?

SW: A few years ago, I mentioned that I wanted to do this exhibition project at the Foundation to Sam Stourdzé, who at the time was the director of the museum. Together with Anne Lacoste and him, we worked for two years on the project for Arles and with the museum, which coproduced the exhibition. The exhibition was so huge that we weren’t able to show it on our premises in Paris, or without it taking on a different form.

MF: Could you explain your respective career paths to us?

AL: I did commercial studies at ISC Paris and I obtained a Doctorate in History of Art from the Sorbonne—I did my thesis on Oriental Photography and Archaeology from the second half of the 19th century, basing it on the Institute of France’s library collection. After this, I worked for five years for Christie’s (in Paris and London), and for six years for the Getty Museum’s Photographic department in Los Angeles, and I have been a curator for the Élysée Museum in Lausanne for six years.

SW: After I graduated in History of Art from the Sorbonne, I worked at the Baudoin Lebon gallery in Paris from 1984 to 1997. This was how I came to know Dubuffet. In 1991, I published a comprehensive catalogue of annotated works of Jean Dubuffet’s engravings and illustrated books (Baudoin Lebon publications), then I joined the Dubuffet Foundation in 1997, of which I became the director in 2003.

édition

MF : Qu’est-ce que l’exposition nous apprend précisément sur la place de la photographie dans la pratique artistique de Jean Dubuffet ?

SW : Qu’il utilisait la photographie à plusieurs niveaux. Premièrement, comme un outil au service de la diffusion de son œuvre : Dubuffet avait rassemblé toutes les photographies de ses œuvres pour la publication d’un catalogue raisonné de son vivant, une démarche peu courante chez un artiste. Ensuite, comme un outil au service de sa propre documentation : une trace de ses travaux en cours, par exemple. Troisièmement, comme un outil au service de la création de ses œuvres : par exemple, pour réaliser des agrandissements d’un sujet par la projection de la diapositive d’un dessin (les « peintures projetées »).

Quatrièmement, comme un outil au service de la démonstration d’un concept : les photomontages incluant des sculptures/habitats dans le tissu urbain existant de Paris ou l’exposition de Turin en 1978, où la scénographie consistait à projeter des diapositives de ses tableaux sur les murs (les projections lumineuses). Il revendiquait d’ailleurs que l’œuvre originale n’est pas plus importante que sa projection. D’autre part, on comprend aussi que Dubuffet, qui était très préoccupé par les moyens techniques utilisés pour ses travaux, va suivre l’évolution des techniques photographiques : dans les années 1950, il s’enthousiasme pour le Vérascope qui rend parfaitement compte des « reliefs » de ses tableaux, et il utilisera rapidement le Polaroïd pour documenter ses travaux en cours.

MF : On apprend aussi que Dubuffet a créé un système de référencement photographique.

En quoi consiste-t-il exactement ?

SW : Dès le début des années 1940, Dubuffet fait photographier quasi systématiquement ses œuvres et attribue un numéro aux photographies suivant la chronologie des prises de vues (et non la chronologie des tableaux). Nous utilisons toujours ce système aujourd’hui pour les œuvres dites « retrouvées » (et authentifiées) et non photographiées en leur temps.

MF : Comme cette édition d’OFF the wall pour Arles donne la parole exclusivement à des femmes, j’en profite pour m’intéresser à votre point de vue de femmes. On reproche parfois son manque de parité au milieu de la culture, et notamment de la photographie. Est-ce quelque chose que vous avez pu constater ?

SW : Pour ce qui est du monde de la culture, il y a beaucoup de femmes à la direction de musées ou d’institutions comme la nôtre. Je vois aussi passer beaucoup de jeunes chercheuses.

AL : Je suis d’accord, il y a de nombreuses femmes directrices : Marta Gili au Jeu de Paume, Sylvie Aubenas au département des Estampes et de la photographie à la BNF, Agnès Sire à la Fondation Henri Cartier-Bresson et Diane Dufour au BAL, entre autres.

MF : Selon vous, quelles sont les initiatives qui ont réussi à améliorer la visibilité des artistes femmes ?

AL : L’exposition organisée au musée d’Orsay et à l’Orangerie l’année dernière, Qui a peur des femmes photographes ?, a par exemple permis de révéler d’importantes femmes photographes actives dans la seconde moitié du 19e siècle.

SW : Il a sans doute été important de faire des expositions comme celle du Centre Pompidou en 2010/2011 intitulée elles@centrepompidou, mais il me semble aussi que chercher à faire des expositions exclusivement consacrées aux artistes femmes ne devrait pas être la norme. Je pense que les conservateurs actuels, femmes ou hommes, sont également beaucoup plus curieux que ceux des générations précédentes.

entretien par Marie Fantozzi

MF: What precisely does this exhibition reveal about Jean Dubuffet’s photographic work in terms of his artistic endeavors?

SW: That he used photography for all sorts of reasons. Primarily, he used photography as a means of showing his work: Dubuffet compiled all the photographs of his work to serve as a comprehensive annotated catalogue of all his existing work, which is not the usual practice of artists. Secondly, he used photography for personal documentation purposes; to keep a track of his works in progress, for example. Thirdly, he used photography for creative purposes to do with his work: for example, for blowing up a subject through projected slides of his drawings (as in his “projected paintings”). Lastly photography was used as means for him to demonstrate a concept: his photomontages which included sculptures/habitats within the existing urban sphere of Paris or from the Turin 1978 exhibition, where the staging of his designs consisted of projecting slides of his paintings on the walls (his light projections). Actually, he maintained that the original work was no more important than its projected image. On another level, one can understand that Dubuffet, who was very preoccupied with the technical means at his disposal for his work, began to follow the evolution of photographic techniques: in 1950, he developed an enthusiasm for the Verascope which perfectly summarizes the “reliefs” in his paintings, and used the Polaroid to document his works in progress.

MF: We have learnt that Dubuffet invented a system of indexing for his photographs. What did this actually consist of?

SW: From the1940’s onwards, Dubuffet systematically takes photographs of all his work and numbers them all chronologically from the time they were taken (and not using the chronological order of his paintings). We still use this system today for the works we refer to as “retrieved” (those that have been authenticated) and not in the order of them being photographed.

MF: As this edition of OFF the wall for Arles gives exclusivity to the opinions of women, I’d like to take advantage of this fact by appealing to your point of view as women. We sometimes reproach the cultural milieu of not abiding to equal gender parities between men and women, especially with regards to photography. Do you subscribe to this opinion?

SW: Where culture is concerned, there are many women at the helm of museums or institutions like this one. I come across many young researchers who are women.

AL: I agree. There are quite a few women museum directors: Marta Gili at the Jeu de Paume, Sylvie Aubenas at the Prints and Photography department of the BNF, Agnès Sire at the Henri Cartier-Bresson Foundation and Diane Dufour at BAL, are just some who we could mention.

MF: In your opinion, what initiatives have been taken in order for women artists to achieve greater visibility?

AL: The exhibition that was put on by the Orsay Museum and by the Orangerie last year, Qui a peur des femmes photographes ?, (Who’s afraid of women photographers?) is an example, which helped unveil a number of important women photographers who were actively working in the second half of the 19th century.

SW: There is no doubt about the importance of certain exhibitions like that of the Pompidou Centre in 2010/2011 called elles@centrepompidou, but it does seem to me that putting on shows exclusively devoted to women artists shouldn’t be the norm. Equally, I think that contemporary museum curators, whether they be men or women are much more curious compared to the generations that preceded them. inteview by Marie Fantozzi

Henrietta Lacks david fathi henrietta lacks / abbaye de montmajour Ana Welter : Comment avez-vous fait la connaissance d’Henrietta Lacks ?

David Fathi : Les cellules immortelles HeLa figurent parmi les plus importantes découvertes médicales du 20e siècle. L’histoire de l’origine de ces cellules est relativement connue, et je ne sais plus quand je l’ai entendue pour la première fois, mais cela fait des années que ça me trotte dans la tête. L’histoire d’Henrietta Lacks a pris une dimension bien plus importante depuis 2010, lors de la parution d’une biographie par la journaliste Rebecca Skloot qui a passé dix ans avec la famille Lacks pour enquêter sur la question. Un film sur le sujet avec Oprah Winfrey est d’ailleurs sorti en avril dernier.

AW: How did you come to know of Henrietta Lacks?

DF: The HeLa immortal blood cells are amongst one of the most important medical discoveries of the 20th century. The story that originates from these blood cells is relatively well known. I don’t know when I heard about them for the first time, but they’ve been at the back of my mind for some years. Henrietta Lacks’ story has taken on a much greater dimension since 2010, when the journalist Rebecca Skloot published her biography; she spent ten years with the Lacks family to investigate these issues. A film on the subject starring Oprah Winfrey was released last April.

AW: Who was she?

DF: Henrietta Lacks was a black woman who lived during the racial segregation era in the USA. She had a deadly cancer from which she deceased in 1951 and a sample of her tumor was taken without her knowledge. The doctor George Gey discovered the fact that Henrietta Lacks blood cells behaved in a way that had never been seen before, since they were constantly multiplying themselves.

It was as if they were immortal. Today, her blood cells are in all the worlds’ laboratories and the examination of them has served a purpose for a number of subjects within the fields of biology and medicine. Nevertheless, this “nice story” actually represents one of the greatest ethical problems attributed to science and it redefines the rules surrounding the extraction and appropriation of genetic and biological matter. Henrietta Lacks’ family never gave their consent for this; it was only 25 years later that her children learned that scientists all over the world were buying and selling their mother’s gene pool.

JIMEI X ARLES INTERNATIONAL PHOTO FESTIVAL bérénice angremy Marie Fantozzi : Pouvez-vous revenir sur la création du festival Jimei x Arles et présenter sa particularité ?

Bérénice Angremy : Le festival a été créé en 2015 dans l’objectif d’ouvrir une plateforme internationale en Chine pour témoigner de l’extrême créativité de la photographie chinoise. Il existe une trentaine de festivals de photo en Chine, mais il semblait important à ses fondateurs, Rong Rong et Sam Stourdzé, d’ancrer dans ce pays un festival qui puisse se faire l’écho du savoir-faire des Rencontres d’Arles, qui devienne un rendez-vous accessible aux professionnels et aficionados de la région tout en stimulant la scène photographique.

De plus, la situation géographique de Xiamen – au sud de la Chine, carrefour de l’Extrême-Orient et du Sud-est asiatique – lui offre une position stratégique pour s’adresser au monde asiatique, devenir une plateforme de diffusion et d’échanges dans toute la région.

MF : Vous êtes une actrice importante du secteur photographique en Chine. Pourriez-vous revenir sur votre parcours et la manière dont vous en êtes arrivée à prendre la direction du Festival Jimei x Arles ?

BA : Je suis en Chine depuis quinze ans et j’ai eu la chance de participer au boom de la scène contemporaine dans les années 2000 ; c’est à cette époque que j’ai commencé à m’intéresser à la photographie. Ensuite, j’ai découvert le travail passionnant des photographes des années 80 puis 90. Ces découvertes ont rythmé mes activités et les festivals que j’ai pu diriger : le Dashanzi International Arts Festival de 2004 à 2007, ainsi que le PhotoSpring qui initiait la première coopération avec les Rencontres d’Arles et s’est tenu de 2010 à 2012 à Pékin. Rong Rong et Sam Stourdzé m’ont proposé de prendre la direction du Festival alors que je terminais ma mission en tant qu’attachée culturelle à l’Ambassade de France en Chine.

MF : La photographie a pris une place importante sur le marché de l’art chinois. Est-ce une chose que vous constatez également avec le festival ?

BA : L’histoire de la photographie est récente en Chine, puisque les premiers photographes indépendants datent seulement des années 80. Pendant longtemps, hormis le fait que la possession d’un appareil photo était vue comme l’apanage d’une certaine élite, la photographie restait assez déconsidérée. En quarante ans, elle a très lentement acquis ses lettres de noblesse pour devenir très récemment seulement un marché un peu plus important. L’art contemporain a connu un boom dans les années 2000, s’imposant alors parmi les marchés les plus inventifs mais aussi les plus spéculatifs du moment. La photographie, plus lente à être reconnue, a gardé une authenticité que beaucoup de professionnels constatent et qui est très prisée. Aujourd’hui, il n’existe que trois musées dédiés à la photographie, et deux ou trois en devenir dans toute la Chine : c’est encore trop peu pour un tel pays. En revanche, les collectionneurs émergent, une foire d’assez bonne qualité signe sa quatrième édition, et deux ou trois festivals constituent des plateformes essentielles pour stimuler les jeunes photographes de ce pays.

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AW : Qui était-elle ?

DF : Henrietta Lacks était une femme noire qui a vécu pendant la ségrégation raciale aux ÉtatsUnis. Atteinte d’un cancer foudroyant, elle est décédée en 1951 sans savoir qu’un échantillon de sa tumeur avait été prélevé à son insu. Le docteur George Gey a découvert que les cellules d’Henrietta Lacks se comportaient d’une manière encore jamais vue car elles se reproduisaient sans s’arrêter.

Elles étaient immortelles. Aujourd’hui, ces cellules sont dans tous les laboratoires du monde et ont servi à explorer une innombrable quantité de sujets en biologie et en médecine. Néanmoins, cette « belle histoire » représente en fait l’un des plus grands problèmes d’éthique en science et a redéfini les règles concernant l’appropriation de matériel génétique et biologique. La famille d’Henrietta Lacks n’ayant jamais donné son consentement, ce n’est que vingt-cinq ans plus tard que ses enfants ont appris que des scientifiques du monde entier achetaient et vendaient le patrimoine génétique de leur mère.

AW : Quel est le point de départ de cette série ?

DF : Le point de départ de la série était le contraste entre la fascination pour les cellules immortelles d’un côté, et la vie personnelle d’Henrietta Lacks de l’autre. La dernière route qu’elle a empruntée, celle qui relie l’hôpital où elle est décédée au cimetière familial où elle est enterrée, représentait à mes yeux une métaphore de ce moment liminal entre la vie et la mort, entre la science et l’émotion, entre le personnel et le politique. J’ai commencé cette enquête en me concentrant sur des mots clés illustrant la tension sous-jacente derrière la belle histoire scientifique : ségrégation, mutation, contamination, appropriation, espace-temps.

L’expo finale reflète ma réflexion sur tous ces sujets.

Dans l’espace d’exposition, je recrée une route que le spectateur emprunte : d’un côté, elle montre le poétique et l’artistique (grands paysages, photos au microscope de cellules HeLa), et de l’autre, le scientifique et le politique (textes, données, archives). J’espère que le résultat exprime une réflexion globale sur la vie et la mort, mais aussi un commentaire un peu « méta » sur l’appropriation en science et en art. Je me suis moi-même retrouvé à m’approprier l’histoire d’Henrietta Lacks, tout comme ces scientifiques qui ont utilisé ses cellules.

C’est une problématique éthique qui, selon moi, doit s’intégrer à notre réflexion lorsque nous essayons de représenter une histoire personnelle qui n’est pas la nôtre.

AW : Comment photographie-t-on l’immortalité ?

DF : Aucune idée. On ne peut représenter que son expression concrète dans le monde. Par exemple, j’ai photographié des cellules HeLa en partenariat avec l’Institut Curie à Paris. Je ne pense pas photographier directement l’immortalité, mais je représente l’une de ses manifestations. L’immortalité existe dans un espace temporel qui n’est pas le nôtre et on ne photographie donc qu’un fragment de son existence. La proposition finale de l’expo est largement basée sur le texte. C’était pour moi une manière de montrer la faiblesse des images pour parler de toute la complexité du sujet.

AW: Where did this ongoing story start?

DF: It derives from the initial fascination revolving around immortal blood cells on the one hand, and on the other, the personal life of Henrietta Lacks.

The last path that she took, the one linking the hospital where she died to the family plot where she is buried, represents in my eyes a metaphor for this transitional state between life and death, between science and emotion, between individuals and politics. I started my investigation by focusing on the key words that were representative of the underlying tension that was behind this lovely scientific story: segregation, change, contamination, appropriation, spacetime.

The outcome of this exhibition will reflect my thoughts on all these subjects. In the exhibition space itself, I recreated a path for the viewer to take: one side displays the poetic and artistic angles (large landscapes, microscopic photos of HeLa blood cells), and on the other side are the scientific and political aspects (texts, data, archives). I do hope that these thoughts about life and death come across as a result of this, but it is also a commentary, rather a “meta” of the appropriation of what happens in science and art. I too found myself taking on Henrietta Lacks’ historical past, just like the scientists who used her blood cells. This is, in my opinion, an ethical issue, one that we should consider when trying to represent a personal history that is not our own.

AW: How does one photograph the immortal state?

DF: I have no idea. All we can do is show the world a concrete representation of what we are aiming to express. For example, I photographed HeLa blood cells with the Curie Institute in Paris. I don’t feel that I am photographing immortality in a direct sense, but what I do show is one of the aspects in which it manifests itself. Immortality exists within a time frame, one that is not ours and so one can only photograph a fragment of its existence.

The last part of the exhibition is largely text-based.

It was my way of showing that images alone are insufficient in talking about a subject as complex as this. interview by Ana Welter

MF : L’édition 2016 présentait huit expositions directement issues des Rencontres d’Arles.

Qu’en sera-t-il cette année ?

BA : En avril dernier, avec Sam Stourdzé et Rong Rong, nous avons pu sélectionner huit expositions de l’édition 2017 en tenant compte des attentes du public chinois et des univers photographiques que nous souhaitons lui faire découvrir : les tirages vintage et exceptionnels de Joel Meyerowitz pour Iran, year 38, le travail du collectif Blank Paper, de Mathieu Pernot et d’Audrey Tautou, ainsi que le Prix Découverte d’Arles et l’exposition Photo Book.

MF : Quelles découvertes cette édition propose-t-elle ?

BA : Cette année, nous donnons carte blanche à une dizaine de commissaires chinois et étrangers qui vivent ou entretiennent un lien privilégié avec la scène de la photographie en Chine. Un programme intitulé Local Action ancre le festival dans son territoire géographique. À partir de cette année, un focus sur un pays d’Asie permettra de mieux percevoir les vibrations d’une scène régionale : en 2017, c’est l’Indonésie. Un pan de la programmation sera également axé sur le travail des collectifs de photographes, structures qui se créent souvent dans des périodes dites de crise, à l’instar de Blank Paper ou de MES 56.

MF : Quelle est la place accordée aux femmes photographes dans ce festival ?

BA : Je ne saurais dire combien de femmes photographes sont finalement retenues pour cette édition, mais nous avons fait appel à des curators féminines car leur vision est essentielle dans ce domaine encore largement dominé par les hommes. L’an dernier, la photographe Silin Liu a gagné le Prix Découverte Jimei x Arles et elle est aujourd’hui exposée à l’atelier Mécaniques. Silin n’est heureusement pas un cas isolé de la photographie en Chine : de nombreuses jeunes femmes commencent à émerger.

MF : Comment percevez-vous cette place au sein des institutions et événements photographiques/culturels en Chine de manière plus globale ? Pensez-vous qu’une politique de valorisation soit pertinente ? Quelles initiatives peut-on imaginer ?

BA : En Chine, il est difficile de parler du travail d’artistes féminines sans tomber dans le cliché qui consiste à monter une « exposition de femmes ».

Il est important de valoriser la place des femmes dans le domaine de la photographie, de leur donner les moyens d’être plus visibles sans insister continuellement sur l’aspect féminin de l’exposition dès que trois artistes femmes sont réunies, car c’est un peu réducteur pour leur travail. En ce moment, nous travaillons justement sur la possibilité d’un prix avec un partenaire privé.

MF : La nouvelle de la mort de Ren Hang en février dernier a suscité, outre une forte émotion dans le monde de la culture, de très nombreux hommages à cet artiste singulier et à son œuvre tout aussi particulière. Comment cela s’est-il traduit en Chine, où son travail a été censuré à plusieurs reprises ?

BA : La disparition de Ren Hang a été vécue comme un choc en Chine, particulièrement au sein de la jeune scène créative dont il était très proche.

Sur les réseaux sociaux, ça a été un véritable razde-marée car il représentait une scène indépendante, un esprit rebelle « malgré lui » dans lequel toute une nouvelle jeunesse se reconnaissait : à travers ses photos, Ren Hang ne cherchait pas à dénoncer ou à provoquer, mais tout simplement à traduire un état d’esprit, un sentiment joyeux de son appartenance à une nouvelle génération ouverte à toutes les expériences et toutes les situations. Il est vrai que son travail a été censuré, mais finalement pas plus que celui de beaucoup d’autres créateurs. Ce qui compte, c’est que son travail circule, et il circule intensément ! C’est bien là une des particularités de la Chine. entretien par Marie Fantozzi

karen paulina biswell la vuelta

chapelle saint-martin du méjan Ellas is the result of an excursion into the life of women, through an admiration for the primal, for extreme states, vulnerability, and a reflection of contemporary society’s underestimation of these elements.

Never judging and without censoring myself, I let and encourage these women to be themselves, so as to explore different aspects of desire, femininity and sexuality. I never tell them to be anything in particular, I just recognize certain qualities that I am attracted to and allow these qualities to come through. Qualities that come from dualities, such as power and vulnerability and self-confidence and doubt. Also mysteriousness and plainness, transcendence and the material world.

They are, maybe, in the spirit of Manet’s Olympia, imperfect Goddesses, but they’re strong enough to stir us. I try to make this panorama interesting, hopefully smart and thought-provoking, and always through my own particular perspective. Whenever someone creates something, the method has to reflect the theme. So, naturally, it all begins by my choosing the female characters who will give life to this work, authentic human beings within the confines of a system. Not conventional or traditional beauties. I’m always very focused and connected to these women. I work with the female body in a very intimate way.

These images begin by questioning the structures and mores within the systems we live in. The notion of freedom, that an artist could be free, truly free, permeates the work, just as much as the need to reflect on notions of harmony and beauty. The theory of art is never separated from the practice of art, from life itself. It is in the interaction with these women, in understanding who they are, and being able to see their force, that I am able to represent this and thus create a new reality. The creation of a new reality through art, and in my case, through the lens of a camera, is never an easy endeavor. The results, the actual photographs, pose uncomfortable questions.

They show elements of life that are mostly ignored.

The title of the series, Ellas, evokes and highlights the gendered dimension in this body of work. It also shows these women located in a space outside of day to day conventional life, in a sort of suspended reality and on the edge of society.

I have always wanted to engage the viewer, the spectator. Just as vital as the creation of a lasting image is the possibility of my work being a bridge, a gate, a passageway to somewhere else, into the viewers’ own beings and imaginations and minds.

Creating these ‘Alice in Wonderland’ situations, suspending time and space and daring to go through the looking glass through art. I like films very much, John Cassavetes being one of my all-time favorite directors. I consider my photographs, images and visual stories as a language very close to film. I make them in a similar way. Although they come from life, they are not an imitation of life. These people, although very real, become something else or more themselves depending on circumstances. Life cannot be imitated, nor should it. We see films to escape or to go deeper into life, to learn something, to think. I have always wanted and still want the viewer to experiment a journey in front of my work, into their own infinity, with their own body, mind and soul.

My work deals with the complex and unequal power relations in society and between people. What factors decide how we are perceived in this world and how do they affect the balance of power between us? The world being created in my photographs represent a kind of private utopia. The women in my pictures are either casually leaning or striking poses, being at least imaginatively, or in this new reality, the subjects of their very own fairy tales. In this process I am also creating heroes for myself. I want my characters in the photographs to resonate a certain power and strength. These characters can be complex, ambiguous and intense. It is likely that my work represents and reflects a certain type of strength, and an archetypal and mythological narrative that the contemporary world might not easily recognize.

But in the end it may simply be a celebration of the power and complexity of being a real human being.

For me, photographs are the performance of my own dreams. A borderland, always on the boundaries of reality and fantasy.

There is always something that comes from inside of me in regards to what I am going to do. As Michelangelo would say, “certa cosa che mi viene in mente” (‘a certain thing that just comes to me’).This is a mystery impossible to explain. But I can try to explain what happens next. These images that I make are the result of months and even years of continuous work. I am never physically removed from the subjects in the photographs. Although I am the image maker, I also form part of the image. These characters become a part of me. I become the Indian, the mother, the student and the prostitute. During the time spent on the process a behavior begins to develop. It is a story in process. I am trying to develop a language. There is a certain meditative quality to this process of working patiently, being at the disposition of its needs. I become vulnerable and a different kind of strength begins to grow inside of me. My approach to photography is composed of a variety of related yet disparate methods and modes of making.

The themes mainly revolve around the human condition, especially in regards to sexuality, power, the body, eroticism, freedoms and limitations and what it means to be alive. They mean to push at the boundaries of photography and morality and explore the allegorical margins of our society.

For me the process of photography does not entail trying to ‘capture’ anything. If anything it is quite the opposite. I am trying to free up the image from so many constraints and mores imposed while living within the confines of a system, without censor and without limits.

édition Karen Paulina Biswell

karen paulina biswell

Shadi Ghadirian, Qajar, 1998 Courtesy of the artist and Silk Road Gallery

GIDeon mendel drowning world un monde qui se noie ground control

On the picturesque of catastrophe: Drowning World is an on-going project started ten years ago by Gideon Mendel. A London-based South African photographer, Mendel began his career in the 1980’s in his home country where he documented the struggle against Apartheid. Since then, he has been devoting his art to some of the most important socio-political issues impacting both Africa and the world. After years raising awareness about HIV/AIDS in Africa in ways that gave the affected people an agency for self-representation through images and words, Mendel set out to photograph flooding across the world.

It all started in 2007 with floods in the UK and India (later both photographed in 2014) that happened within weeks of each other. What struck him, he says, were “the contrasting impact of these events and the shared experiences of those affected.” His investigative approach led him to pursue this topic in Haiti (2008), Pakistan (2010), Australia (2011), Thailand (2011), Nigeria (2012), Germany (2013), Philippines (2013), Brazil (2015), Bangladesh (2015), the USA (2015), and France (2016).

Drowning World is a visual attempt to capture the magnitude of climate change through portraits of flood survivors taken in deep floodwaters, within the remains of their homes, or in submerged landscapes, in the stillness of once lively environments. In this context of urgency, local inhabitants still take a moment to pause for Mendel’s camera. Keeping their composure, they cast an unsettling yet engaging gaze. These images taken across the world bear witness to a natural disaster that stands no geographical or cultural divide. They compel the viewer to reflect on our impact on nature and, ultimately, on our own attachment to our homes and personal belongings.

Beyond the documentary aspect of this project, Gideon Mendel’s work subtly treads on the fine line between photojournalism and portraiture, a genre of which he pushes the boundaries by setting its décor in unlikely environments. Each portrait gives an identity to individuals, couples or groups of people who would otherwise be reduced to statistics. They also reveal their personalities and status through their clothes, style, and even elegance.

Likewise, traces that have resisted the power of waters are reminders inscribed on wiped-out streets and empty houses. These narratives take the form of writings on boards or pictures on walls. Mendel also draws our attention to abandoned or lost photographs to which he lends a new lease of life as found images, still lives, or objects containing anonymous memories. A disastrous element, water also contributes as a form of creative process. Washed-out pigments create new painterly patterns; damaged films produce soft tones and mysterious haze, while architecture and landscape are reflected in the sparkling natural mirror.

Over the years, Drowning World has evolved into four distinct components presented at the Rencontres d’Arles 2017. The Submerged Portraits discussed above, the Flood Lines recording “the physical incursion of rising water through intimate living quarters and public spaces,” the Watermarks which are water- and

Élise Fitte-Duval mud-damaged images either found by Mendel or given by homeowners. In Arles, they are gathered as an installation entitled Tideline presenting the entire collection of 322 prints from eight countries. Finally, The Water Chapters is a video component developed in parallel to Mendel’s incursion into these flooded spaces. Composed of nine ‘chapters’, the videos “explore the traumatized landscapes and capture individual, family, and community responses.” In addition to being moving counterparts to his still images, the sound of appeased waters, the rowing paddles, the slow pace of walking in water, the voices and sometimes the desolate silence are also strong immersive elements adding to the viewer’s experience of this work.

Through its depiction of devastated landscapes and the attractiveness of its colors and compositions, Drowning World tears us between an appreciation of the drama unfolding before our eyes and the mesmerizing picturesque offered for our contemplation. Yet Gideon Mendel’s images are not meant to numb our senses.

Rather they endeavor to awaken all of us from a state of normalcy, complacency and the false impression of safety one gets when seeing faraway catastrophes in the media. As the title itself indicates, we have only got one world, one planet that we share, and its raising waters should be a concern to us all. text by Christine Eyene Christine Eyene is a French-Cameroonian art historian, critic and curator based in the UK. She is a Research Fellow in Contemporary Art at the University of Central Lancashire and is also writing a thesis on South African photographer George Hallett at Birkbeck, University of London. Christine has been collaborating with Gideon Mendel for many years and has exhibited Drowning World at Tiwani Contemporary, London (2013) and Mendel’s new work on the Calais refugee camp at Yamamoto Keiko Rochaix gallery (until August 5th 2017).

Commissaire de l’exposition : Mark Sealy

vivre les pieds dans l’eau

living on the waterfront

Élise Fitte-Duval est photographe documentaire et portraitiste. La série Vivre les pieds dans l’eau documente les inondations dans la banlieue de Dakar (Sénégal) et aborde les problèmes liés à l’environnement. Cette série a remporté le prix Casa Africa pour une femme photographe décerné en 2011 lors des Rencontres de Bamako, biennale africaine de la photographie. Originaire de Martinique, Élise Fitte-Duval vit et travaille à Dakar.

Élise Fitte-Duval is a documentary and portrait photographer. The series Vivre les pieds dans l’eau (Living on the waterfront) documents the floods in the suburbs of Dakar, Senegal, and addresses the problems related to the environment. This series won the Casa Africa prize for a woman photographer awarded in 2011 at the Rencontres de Bamako, the African Bienniale of Photography. Born in Martinique, Élise Fitte-Duval lives and works in Dakar.

Ana Welter : Gideon Mendel participe à cette 48ème édition avec Drowning World, son travail sur l’eau. C’est un sujet que vous avez présenté aux Rencontres de Bamako 2011 et pour lequel vous avez été primée. Qu’est-ce qui vous a amenée à concevoir votre série Vivre les pieds dans l’eau ?

EFD : J’ai voulu montrer comment des gens luttent au quotidien face à une adversité, un problème local inscrit dans un contexte international. Il s’agissait de rendre visuellement la façon dont les inondations récurrentes dans la banlieue dakaroise affectent les personnes qui les vivent, non seulement en réalisant leurs portraits, mais aussi en photographiant les lieux et les objets pour produire une narration. Je retrouve cela dans le travail de Gideon Mendel. J’admire le fait qu’il ait développé cette approche dans le monde entier.

Ana Welter: Gideon Mendel is part of this 48th edition with Drowning World, his work about water. This was a subject that you presented at the Rencontres de Bamako Festival in 2011 and for which you were awarded.

What brought you to conceive your series of photographs Vivre les pieds dans l’eau (Living on the waterfront)?

EFD: I wanted to show people’s day-to-day struggle with adversity, a local issue within an international context. It was a way of visually showing how the recurring floods in the suburbs of Dakar affect their inhabitants, not by just taking their portraits, but also by photographing the place and objects so as to create a narrative.

I see this theme in Gideon Mendel’s work. I admired how he succeeded in developing this approach around the world.

AW : Au Sénégal où vous vivez, quelles sont les effets du changement climatique ? Et ailleurs sur le continent ?

EFD : C’est un sujet qui m’interpelle car c’est l’un des défis majeurs que nous devons affronter pour assurer l’avenir du monde, même si je ne suis pas une spécialiste de l’environnement.

Le littoral sénégalais, qui occupe toute la façade ouest du pays, subit les effets de la montée de l’eau combinés aux pressions anthropiques. Cela affecte les populations de pêcheurs qui s’installent au bord de l’eau et les zones de villégiature touristiques. Il y a également d’autres effets à l’intérieur du pays que je n’ai pas photographiés : la sécheresse, la déforestation, etc.

AW : Pouvez-vous nous parler de Retratar un Clima ?

EFD : Retratar un Clima (2014-2015) fait suite à Visages d’un mouvement citoyen, série réalisée pendant les élections à Dakar (2011-2012) dans un climat politique influencé par les printemps arabes. Les rappeurs de Y’en a Marre ont utilisé la contestation populaire pour soulever les problèmes d’injustice sociale et tenter de créer une responsabilité citoyenne devant l’enjeu politique. Les politiciens ont utilisé la contestation populaire pour faire campagne. J’avais envie d’aller voir ailleurs comment ce type d’organisation fonctionne. La préparation des élections après le soulèvement du mouvement 15-M des Indignés à Madrid m’a offert l’occasion de documenter des citoyens qui s’organisent pour remettre en question leur système démocratique.

J’ai fait le portrait de proximité de certains militants et suivi des manifestations politiques en essayant toujours de juxtaposer les détails et les lieux de vie d’une personne avec les événements. Il s’agit toujours de créer une narration par la juxtaposition. En 2015, le Burkina Faso est le troisième pays où j’ai pu me rendre dans cette optique, mais je voudrais pouvoir y retourner.

AW : Que voulez-vous montrer lorsque vous faites une photographie ?

EFD : En dehors du fait que j’essaie d’obtenir une harmonie dans le cadre du 24x36, je prends une image qui correspond à l’idée qui m’interpellait au départ.

AW: In Senegal, where you live, what are the effects of climate change? And on the continent as a whole?

EFD: This is really a subject close to my heart because it is one of the major challenges in insuring the future of our world, even if I am not an environmental specialist. The Senegalese coastline, which makes up the whole of the western façade of the country, is experiencing the disastrous consequences of the rising sea levels combined with other manmade issues. It is affecting the fishing community who are settled by waterfront and the tourist vacation zones. Equally, there are other consequences resulting from climate change that I didn’t photograph: drought, deforestation, etc.

AW: Can you tell us about Retratar un Clima?

EFD: Retratar un Clima (2014-2015) is the second part of Visages d’un mouvement citoyen (Faces from a civic movement), a series of photographs that I did during the Dakar elections (2011-2012) within a political climate that was influenced by the Arab Spring events. The rappers Y’en a Marre used the protests of the people in order to show problems of social injustice and attempt to instill civic pride with regard to the political ramifications. Politicians used this popular protest for their campaigns. I wanted to see how this sort of situation works elsewhere. The leading up to the elections after the uprising of the 15-M movement of Madrid’s Indignados gave me the opportunity to document the people and how they organize themselves in order to question their democratic system. I did some close-up portraits of some activists and followed the political marches, always trying to juxtapose the details and the place of where the person lived with the events themselves. In 2015, Burkina Faso was the third country where I went with this idea in mind, but I need to come back there.

AW: What are you trying to show when you take a photograph?

EFD: Outside the fact that I’m searching for harmony with the 24x36 format, I take the photographs that come about from an initial idea.t.

AW: Six years have gone by since Bamako.

What direction has your work taken since then?

EFD: This is what I have achieved in six years: I have extended my series in order to improve my statement and with consideration to all those issues concerning social documentation. The series of portraits NaturL done in the studio in 2013 came about due to the necessity of questioning our place in the world in a more conceptual way.

édition AW : Six ans ont passé depuis Bamako. Quelle direction vos travaux ont-ils pris ?

EFD : Voici ce que j’ai accompli en six années : élargir des séries pour parfaire mon approche tout en réfléchissant à l’à-propos du documentaire social. La série de portraits NaturL réalisée en studio en 2013 vient du besoin d’interroger notre être au monde de façon plus conceptuelle.

48

gidEon mendel Jeff et Tracey Waters, Staines-upon-Thames, Surrey, Royaume-Uni, février 2014, série « Portraits submergés » Avec l’aimable autorisation de l’artiste / Jeff and Tracey Waters, Staines-upon-Thames, Surrey, UK, February 2014 from the "Submerged portraits" series. Courtesy of the artist..

éLISE FITTE-DUVAL Une jeune femme rentre dans sa maison complètement envahie par l’eau dans le quartier Djiddah Thiaroye, Pikine, Sénégal, 7 septembre 2009

Isabelle Evertse

delivering a magazine I started the magazine adventure in 2012, with piK magazine. I was living in Grenoble, France at the time, a town best known for its scientific research and engineering companies. Photography therefore played a very small role there, and books, exhibitions, talks, etc., in this field were particularly rare to come across. I started thinking about ways to keep in touch with the photography community, and the idea of an online magazine came to mind. Internet is pretty much everywhere! I had the perfect tool to get involved from a distance, so why not exploit this opportunity regardless of my physical location?

work and hear the feedback, grow from the comments and just enjoying sharing in public what I had been working on for months by myself with my computer. It’s this type of exhilaration that makes me never regret choosing print. This combined with all the featured photographers’ feedback once they receive the issue, hearing how much it contributed to showing and promoting their work is worth all the effort. Afterwards comes the more technical side of things, with many trips to the post office and in the early days, trips to bookstores to talk distribution. Two years after the first issue I started doing this via a distributor, mainly for practical reasons: I just had my first child and the workload suddenly became immense. It was hard to keep up the pace, and delegating was essential if I wanted to maintain the rhythm. Financially it was costing in the beginning. Anyone in the publishing business will tell you that the fees are high and it’s not always easy to break even. In my situation though, it was worth spending a little for better returns in the long run and of course a visibility difficult to obtain otherwise.

starting to feel the need to change things up a little. I started thinking of other ideas. I knew I wanted to stick to the magazine format as I am particularly fond of the concept, but I was looking to open the boundaries and work with other people. I didn’t want to simply start a project with a set colleague. I was looking for something where each publication was a totally new experience. The idea of inviting a different curator to work with me on each issue came to mind, and I launched the first issue of Co-Curate Magazine in February 2016. As soon as I got the idea of co-curating, I knew straight away that Aaron Schuman would be the best fit. We went through similar processes to the beginning of piK yet this time everything was to be done together.

We exchanged many, many, many emails on themes, layouts, photographers’ selection, etc., and it took us six months to get everything finalized.

We constructed the magazine step by step with one main guideline: bringing the exhibition on paper. Another one of my frustrations in Grenoble was the lack of photography exhibitions.

My hope through this concept was to allow the exhibition experience to travel and access those who can’t enjoy them in person. The second issue, co-curated alongside Frédérique Destribats, came out in February 2017. The arrival of my second child slowed down the working pace

once again, but Frédérique and I maintained a great level of communication and we became more than simple colleagues, we became close friends. I am sincerely thankful for the wonderful work experiences that I have had so far with Aaron and Frédérique, and the third issue is yet again taking shape under a unique collaboration alongside Andy Adams.

I grew from the first solo project learning from all my mistakes along the way. Creating your own magazine is definitely a challenge and a lot of hard work if you are on your own, but it will be worth every minute of your time! I have earned more professionalism, friendship, respect and trust than with any other project. I am glad I took a rocky road on my own and I am thrilled to now share all of this with amazing curators in the field. Readers: if ever you are considering constructing your own magazine, think carefully of your finances of course, take the time to map out your business plan, and if a window presents itself seize it and don’t look back, you are in for an incredible adventure!

hors cadre

I researched various blogs online, different platforms and formats and I contacted a few photographers whose works I felt strongly about. After a couple of emails, one of the photographers asked me why it wasn’t going to print. I realized I didn’t really have the answer, and I asked myself indeed, “Why isn’t it going to print?!” The one thing I felt was missing from my online project, was the face to face contact with the customer that I was hoping to get at some point. There is something pretty great when sharing a photography book or magazine with another person.

It’s intimate yet comfortable at the same time.

It’s always a discovery no matter which way you look at it. Print would give me that extra edge. I could sell copies online and via bookstores, and I could travel to photography fairs to share the product in person. I got extremely excited about the idea! I figured I needed all the information in detail, before deciding on anything and I set out to get various quotes from printers. Once done, I had all the calculations laid out, how much I could spend, how much I could sell the magazine for, how I could pay myself back, etc. I then made a safe choice finance-wise: a 52-page limited edition at 100 copies. I liked the idea of a small print, it made the adventure that much more special. This was something I felt I could manage at my starting point scale. It required minimum storage in my home and I felt confident I could sell a target amount to pay back the price of printing.

Now I had the cut out of the final product, all I needed was the content!

I constructed piK with photographers’ portfolios. It was a simple process displaying existing images and texts in an order of my choice. The challenge was in selecting seven bodies of work that worked together in the same issue. The selection process was long and nothing was ever set in stone until I found the right energy within the group of images. Once I had all the images where I wanted them, I translated all the accompanying texts to have French and English side by side, making the magazine available to a wider audience. This was possibly the most tedious moment for me: translating can be extremely challenging (especially when it isn’t your degree), keeping the tone, maintaining the balance from one language to another is something I learnt the hard way here! Doing all of this by myself was a lot more work than I had expected, mistakes were made, and in the beginning my whole family played a big role helping me out, re-reading everything and double checking all the texts. After each issue it was an amazing feeling when I picked up the copies at the printers; discovering the final product, turning the pages one by one, a small moment of total bliss before the chaos of launching the magazine, distributing it to bookstores, promoting it online, etc., would then take off.

And when the chaos begins, it comes as a whirlwind. The first few weeks feel never-ending. I usually planned a launch in a gallery or a bookstore. I travelled there for the occasion and presented the latest issue. Opening nights were always an intense experience, adrenaline rush before public speaking (not my forte originally… it took some practice to get a little more comfortable with the process, but I still get stage fright every time!). Meeting new faces, explaining the issue, sharing the images, talking about the photographers and basically bathing in the ambiance. It’s a great night to embrace all the hard

And so the adventure continued for ten issues.

At the ninth issue I knew that the tenth would be the last of piK magazine. I thoroughly enjoyed every minute of this project, but I was

Isabelle Evertse Photographer, editor, writer Co-Curate Magazine

nouvelle revue sur la création africaine | new quarterly about africa arts critical thoughts paris (colette, artcurial, 0fr, palais de tokyo, la régulière...), abidjan, lagos, londres, amsterdam, marrakech, rabat, bruxelles & à arles chez actes sud somethingweafricansgot.com

Thu-Van Tran and Indira Tatiana Cruz (pages 75-79) How can a print be fleeting? The principal technical challenge of the proto-photographic technique was about knowing how to conserve the image, and photography was really only “invented” when we learned how to capture its durability. Since then, the economics evolving around photography has mainly been about preserving images for museums or collectors; however, many artists deliberately revoke this golden rule of thumb. Some of them print on paper without the use of fixative, which inevitably leads to a progressive disappearance of the image when exposed to the light. Other photographers print their images on surfaces that are incapable of sustaining the image on a long-term basis. This type of radical re-assessment concerning the durability of the photographic object is not very frequent; it is iconoclastic in the true sense of the term. In actual fact, issues concerning short-lived or immaterial art, in terms of ownership and how to conserve them, whilst frequently applied to contemporary fine art, this is rarely the case for photography.

The series of photos Digression autour de l’Éruption du Mont Pelée (2013) (A digression from the eruption of Mount Pelee) from the Franco–Vietnamese artist Thu-Van Tran (born in 1979), and whose work is centered around fragmentation, dispersion, de-structuring and erasure, consists of twenty copies of photographic images that are wrapped in black origami paper on which the transcript of a survivor of the catastrophe is written. These images are obtained from photograms and from their contact with an image from the 1902 explosion. Since these photographs haven’t been fixed, they deteriorate every time they are taken out of their black envelope: light subsequently eliminates that which it initially was able to reveal. Looking at them destroys them.

In the same vein, the Franco-Colombian artist Indira Tatiana Cruz (born in 1975) photographs female nudes in front of a distressed wall in an abandoned factory. The image is printed out on tracing paper that has been doused in silver gelatin, which is not really suitable for this sort of paper: treated in the trays and together with the washing process, the photographic image slowly dissolves, so that the final photo takes on the same deteriorated state as the eroded wall. We can’t be sure if these traces, these marks, these drips are real or merely due to the print’s deterioration.

The image itself melts into its own chaos and the naked body disappears with it. The fragility of this, regarding the representation of the image, is the same as that we have with our own bodies and also that which occurs with the degradation of the painted walls. The collector is confronted with the dilemma ensuing from this programmed erasure of the photograph and the potential disappearance of his acquisition.

Alison Rossiter (Alison Rossiter’s work was presented in 2013 in Arles and won the Discovery Award) (pages 161-163) The American photographer Alison Rossiter (born in 1953) works exclusively with out-of-date photographic paper. Worried that she wouldn’t be able to find the right paper in this digital age, she bought a large quantity of this on eBay. She then received a batch of paper that’s been out-ofdate since 1946: not wanting to throw it out right away, she decided to see what she could do with it. By developing a few sheets and without exposing them to the light, she discovered that due to its deterioration from the silver salt and the gelatin, the humidity and through the unsealed boxes being exposed to the light, certain shapes started to appear once the paper was developed. Fascinated by this discovery, she bought hundreds of batches of out-of-date paper (always of the silver gelatin black and white kind), the oldest one dating back to 1900. On order to make these often unexpected forms appear, she uses a very particular process: no shots are taken and she limits her work to the darkroom. She adapts herself to her materials: in some cases, she plunges only parts of the paper into the developing bath, and in doing so, some very geometric abstract landscapes emerge; at other times, she pours the developing liquid directly onto the paper, where the resulting drawings bring to mind tornadoes, or clouds. So, when the paper has traces of the light that has seeped through its wrapping or where there may be the finger prints from the person who handled it before putting it right back in the box, she develops this and makes these prints reappear. In each case, in her eyes, it is about revealing these dormant images, these images

Morgane Adawi Surfaces sensibles

Le Boudoir

anna-karine quinto Boudoir [budwaʁ], du verbe bouder = se mettre à l’écart À l’invitation du collectif Hans Lucas, leboudoir2.0 se réunira pour une 3ème édition lors des Rencontres d’Arles du 4 au 9 juillet dans le bel hôtel particulier des Antiquités Dervieux au 5 rue de Vernon.

hors cadre

tatiana cruz

of no particular significance, without any link to reality, but which are present in the materials and that which she has at her disposal, rather like a sculptor unfolding the latent form that lies within a block of crude marble. The photographic process is the only subject of her photographs; her images are merely a testament to their own creation. Confronted to the obsolescence of photographic film and the disappearance of all materials that are associated with it, she likes to extend its lifetime. When old traces are revealed, like fingerprints, for example, she says that she sees her work as being that of an archaeologist and that she tries to revive the history that has been buried within the matter. Her whole work is determined by the passing of time: the titles of her works are all made up of the paper’s brand name and two dates, that of the expiration date of the batch and the date of its development. Her

work also points to the absence of their author: Alison Rossiter doesn’t “take” photographs; her images are only the finished result of how she manipulated them in the darkroom.

Marc Lenot (born in 1948, graduated from French Polytechnic School and the M.I.T., and holder of a Masters degree from EHESS) submitted in June 2016 a thesis on experimental photography at the Sorbonne University-Paris I under the direction of Michel Poivert. He also wrote about the Czech photographer Miroslav Tichý. Winner of the Critics prize in 2014 awarded by the French section of AICA (International association of art critics), he was as such the editor of Estefanía Peñafiel Loaiza, fragments liminaires (les presses du réel, 2015). He is also the author of the Lunettes Rouges blog about contemporary art published by the French newspaper Le Monde (http://lunettesrouges.blog.lemonde.fr/). He spends his time between Paris and Lisbon.

Agenda Jouer contre les appareils (De la photographie expérimentale) can be found in all “good bookshops”, and in particular in the Actes Sud bookstore in Arles. (€25) Marc Lenot will present his book on Tuesday 4th of July at 3pm in the Fanton Courtyard along with the historian and photographer Michel Poivert, the photographer Henri Foucault and another photographer.

He has been invited to present, in a 3-part series, the findings from his research on Tuesday 4th, Thursday 6th and Saturday 8th of July in the early evening for the “Nuits des Rencontres d’Arles au Théâtre Antique”; he will show and comment on fifty contemporary experimental photographers over the course of these three days.

Imaginé comme un laboratoire nomade d’images concrètes, leboudoir2.0 est une plateforme expérimentale de partage, une communauté online et in real life qui souhaite replacer les photographes au cœur de notre société ultra médiatisée. C’est un projet en constante évolution où l’idée de collectif reste centrale.

L’aventure leboudoir2.0 a commencé à l’issue d’une conférence qui concluait, peut-être sur le ton de la boutade, que la seule vraie révolution de la photographie actuelle était le selfie. Cela ne correspond pas à ma pratique quotidienne ni de la photographie ni des réseaux sociaux, et en aucun cas à la fertilité des pratiques photographiques que j’observe autour de moi. Michel Poivert, l’un des participants à la table ronde, avait d’ailleurs déploré l’absence d’artistes sur le plateau.

Je rêvais depuis longtemps de participer aux Rencontres d’Arles, et le jour même de cette conférence, j’ai eu la possibilité d’y louer un espace. Une exposition, une sorte d’inventaire des territoires d’exploration de la photographie, incluant les espaces numériques jusqu’alors trop négligés dans les programmations officielles, s’est très vite mise en place. Tout aussi vite, j’ai également eu envie d’en faire un espace de rencontre pour relancer le débat sur la photographie en offrant une parole libre aux artistes qui la questionnent, ainsi qu’au public qui en est tout autant submergé que fasciné au vu du succès des festivals de photographie partout dans le monde. L’une des idées au cœur du projet consiste à créer du lien entre le photographique et son public. leboudoir2.0 s’inspire de la tradition des salons littéraires, espaces situés à la limite du public et de l’intime, lieux d’émancipation intellectuelle des femmes où l’on discutait actualité, philosophie, littérature, morale, art, culture… Certains croyaient que leboudoir2.0 était un cercle exclusivement féminin. Il n’en est rien. Sans intention, les femmes y sont à égalité, parfois majoritaires.

Cela me laisse à penser que les assemblées majoritairement masculines sont une volonté, consciente ou inconsciente. Quand il y a talent ou compétence, le genre n’intervient pas. En revanche, dès qu’intervient une idée de pouvoir, le masculin prévaut.

« Pour une nouvelle éthique de la création et de la diffusion des images », « Archives, fictions et mensonges », « Migrants, représentations et miroirs » figurent parmi les thèmes abordés cette année. Notre collectif impromptu, qui aime à se définir improbable tant il réunit des voix très diverses qui n’ont pas peur des oppositions, abordera également « Les stratégies de représentation du corps », « La pudeur en photographie », « Adolescences, regards sur notre avenir », « Appropriation, mort et tabous » et « Photographie, enquêtes et autres sciences de l’exploration », pour ne citer que quelques-unes de nos pistes de réflexion. Seront réunis cette année : Valentina Abenavoli, Akina Books, AM Projects, Isabelle Arvers, Brigitte Bauer, Pierre Bessard, Karen Paulina Biswell, Alex Bocchetto, Olga Bubich, Chiara Capodici, Melissa Carnemolla, Piergiorgio Casotti, Gabriela Cendoya-Bergareche, Natasha Christia, Federica Chiocchetti, Adolfo Cordova, Scarlett Coten, Karin Crona, Hannah Darabi, Frédérique Destribats, Philippe Dollo, Duccio Doretti, Margaux Duquesne, Isabelle Evertse, David Fathi, Andrea Ferrari, Tony Gentile, Léa Habourdin, Émilie Hallard, Dragana Jurisic, Hester Keijser, Federica Landi, Luce Lebart, Truth Leem, Claude Lemaire, Baptiste Lignel, Mila Lignel, Loeïza Jacq, Amak Mahmoodian, Marine Mane, Tanvi Mishra, Novella Nour, Nobukho Nqaba, FranKc Orsoni, Sara Palmieri, Tommaso Parrillo, Caroline Pelletti, Richard Petit, Giuliana Prucca, Rachel Rom, Maria Teresa Salviati, Mariela Sancari, Ottavio Sellitti, Francesca Seravalle, Karolina Spolniewski, Carlos Spottorno, Julia Tikhomirova, Lorenzo Tricoli, Didier Volckaert, Nadine Wietlisbach, Alex Yudson, Alba Zari, Anna Zekria, toute l’équipe d’Halogénure, toute l’équipe d’Hans Lucas évidemment, ainsi que d’autres encore à annoncer prochainement qui vous proposeront leur propre expérience du photographique contemporain et des questionnements qu’il soulève.

Dans la construction des programmes, je tente d’appliquer mes principes les plus intimes, lesquels passent par l’expérimentation, le doute et la multiplicité des points de vue, en rassemblant des personnalités et des travaux dont les différences se révéleront fertiles par leur juxtaposition.

Il y sera aussi évidemment question de livres, ces espaces de savoir et de transmission qui sont à mon sens la clef de voûte d’un monde libre et démocratique, mais existe-t-il un marché pour les livres photographiques qui ont tant à dire ?

Nous en débattrons.

Cette année, la programmation se construit autour de la performance photographique en complément des conversations ouvertes plus classiques. Nous introduirons donc une nouveauté : « On my knees with […] », une invitation à la lecture collective d’un livre, d’un portfolio ou d’un objet photographique, à la manière des veillées familiales autour de l’album de famille.

Notre approche multimédia du support photographique et notre désir de donner la parole à des regards lointains se concrétiseront dans les projections « Screenings from abroad », une collection de films photographiques sélectionnée en collaboration avec Maria Teresa Salviati qui sera présentée le soir du 6 juillet, date du vernissage officiel de l’exposition Supernatural conçue par l’équipe d’Hans Lucas sous le commissariat de Sophie Knittel et Michel Slomka, dès que la nuit sera tombée.

Alors venez ! Réunissons-nous, regardons de la photographie, parlons de photographie, rencontrons des photographes ! La photographie fait son show !

Mother’s Miyako Ishiuchi

irène attinger En 1992, la grande société japonaise d’impression Dai Nippon Printing Co., Ltd. fondée en 1876 décide de constituer une importante collection représentative de la photographie japonaise depuis le début des années 1950 pour la Maison Européenne de la Photographie. Chaque année entre 1993 et 2006, la collection de la MEP s’est ainsi enrichie d’une ou deux séries majeures des maîtres de la photographie japonaise. Constituées aujourd’hui de 540 œuvres, ces séries révèlent la place essentielle prise par le Japon dans l’histoire de la photographie mondiale. Parmi les 21 photographes japonais de la Donation Dai Nippon, on retrouve Miyako Ishiuchi, qui a reçu le Prix International de la Fondation Hasselblad en mars 2014 pour les 35 ans de son importante carrière. La citation du prix souligne : « Sa force de caractère et sa vision intransigeante ont donné lieu à certaines des représentations les plus puissantes et personnelles du Japon d’après-guerre. […]

En utilisant la caméra et tout son potentiel esthétique pour étudier l’intersection des aspects politiques et personnels de la mémoire, Ishiuchi Miyako a été à la fois pionnière et modèle pour les artistes plus jeunes, notamment en tant que femme travaillant dans le domaine, dominé par les hommes, de la photographie japonaise. » Shomei Tomatsu et Daido Moriyama l’ont reconnue comme un membre de plein droit de la génération de photographes qui a donné une image critique de l’influence culturelle américaine et de la mutation du Japon des années 1970.

Née en 1947, Miyako Ishiuchi a grandi à Yokosuka, une ville portuaire où, depuis 1945, une base américaine a succédé à une base navale de la marine impériale japonaise. Aujourd’hui encore, Yokosuka est la plus grande installation navale des États-Unis à l’étranger. La présence de milliers de soldats a profondément marqué l’enfance et la jeunesse de Miyako Ishiuchi. En effet, Yokosuka était un endroit particulièrement dur pour les femmes en raison de la violence sexuelle qui y régnait. Photographiant sa propre ville d’une manière à la fois authentique et personnelle, Miyako Ishiuchi a écrit : « Je prenais ma revanche avec mes photos de Yokosuka. » Par ses photographies brutes, rugueuses, scarifiées et proches du style de la revue Provoke, Miyako Ishiuchi est parvenue à restituer la réalité nue de cette ville, les traumatismes qu’elle inflige et les cicatrices qu’elle porte. Le livre propose un itinéraire dans une ville présentée comme laide, sans charme, anonyme. Un peu partout, des fils de fer barbelés et des clôtures grillagées hachent le paysage.

Apartment est le premier livre publié de Miyako Ishiuchi, même si les images de Yokosuka Story sont antérieures. Comme elle l’explique dans la postface du livre, la série doit exprimer une texture brute, communiquer le sentiment du monde dans lequel elle vit. Le livre et l’exposition associée lui ont valu le quatrième prix annuel du Kimura Ihei Award for Photography. Le livre a aussi attiré l’attention pour la qualité de sa production.

Tout sur ma mère annonce la première page de Mother’s (Sokyu-sha, 2002) face à un portrait de sa mère morte à l’âge de 84 ans d’un cancer du foie en décembre 2000. Elle est à la portière de la voiture qu’elle conduisait encore deux mois avant son décès. Cette mère est un personnage, une femme de caractère qui a vécu des temps tumultueux. Immigrée en colonisée par le Japon dans les années 1930, conductrice de camion au Japon pendant la guerre, elle a vu celui qu’elle avait épousé en Mandchourie, que tout le monde croyait mort à la guerre, réapparaître en 1947 alors qu’elle était enceinte de l’homme avec lequel elle vivait. Ce n’est qu’une semaine avant la naissance de sa fille et après avoir indemnisé son mari qu’elle a obtenu le divorce par consentement.

Ce petit livre regroupe les photographies des ultimes objets que sa mère lui a légués ainsi que certains détails de son corps photographiés la dernière année de sa vie. Au-delà de la banalité des objets et du corps vieilli, l’émotion est là aussi très présente. La photographe l’exprime dans un texte à la fin de l’ouvrage : « Pendant de nombreuses années, j’ai été attristée par l’incapacité de communiquer avec ma mère, mais après la mort de mon père, alors que la discorde entre nous commençait finalement à se calmer, elle est décédée. Quelle ironie. Tandis que quelqu’un qui avait toujours été là ne l’était plus, je me suis retrouvée confrontée à la réalité de cette perte de substance. L’impuissance et le regret ont déferlé sur moi avec un chagrin dépassant l’imagination. Il ne me reste aujourd’hui que les choses que ma mère m’a laissées. Je les mets en lumière une à une pour que leur image s’imprime sur une photographie en une sorte d’adieu que je lui adresse. » Lors de la Biennale de Venise en 2005, Miyako Ishiuchi a présenté des images et une installation vidéo de Mother’s dans le pavillon japonais.

Depuis, elle continue à travailler sur l’espace proche, le corps, la peau et les cicatrices, en particulier pour Frida by Ishiuchi (Editorial RM, 2013), où elle a immortalisé les vêtements et objets personnels conservés dans la salle de bains de Frida Kahlo.

VIVIANE SASSEN roxane II A muse can offer an artist both inspiration and a means to express that inspiration. (S)he is an embodiment of ideas as well as the perfect canvas to project ideas upon. This makes the artist and muse intertwine in the actual artwork; it becomes impossible to tell the dancer from the dance.

Acclaimed fashion and fine art photographer Viviane Sassen has made a second photobook around her muse Roxane Danset, simply titled Roxane II (Odee Publishing, 2017). The photographer and stylist had met upon the suggestion of Jop van Bennekom and Gert Jonkers, founders of the magazine Fantastic Man, to shoot

hors cadre a story together as a kind of preview for the Gentlewoman magazine the men were about to launch. Sassen describes how she was instantly blown away by Danset’s presence, when she first met her on a windy mountain in Tenerife: “I thought she looked like a movie star from the 1920’s, she’s a classic beauty. There’s something very elegant and at the same time very modern about her. I guess she reflects the kind of woman I would like to be but never will be.”

From mysterious to cheeky, glamorous to romantic, in their first collaboration Roxane (Odee Publishing, 2012), Sassen rather seemed to capture the many sides of her muse. Every image in the book seems to express another performance of herself, showing the rich palette of one extraordinary personality. Not in two images does Danset look the same, yet this very versatility is what makes her an infinite source of inspiration for Sassen.

The book cover of Roxane bears the outlines of Roxane’s face wearing something that resembles a mask or hat, suggesting a theatre of disguises and roles. On the cover of Roxane II her body’s silhouette becomes like a river with its branches flowing into multiple directions. In this second collaboration with Danset, Sassen is sculpting the outlines of her muse’s body into new compositions, intergrading her own presence through expressing her image of her. It’s as if Sassen reflects the inspirations she’s getting from Roxane directly back onto her muse. Again Danset goes through multiple metamorphoses, but this time through the paint Sassen applied to her images of her. She becomes part of the artist’s sketchbook; is painted upon like a canvas; she doesn’t only cast shadows but shadows are casted upon her. In numerous images, Danset’s naked body is absorbed in shadow plays, or what we have come to know as Sassen’s signature style. What sets this collaborative series with

Danset apart from the photographer’s previous works is the subsequent artistic process applied to the image after it has been taken. The depth of the picture constantly shifts between colored light, shadows and paint applied to Danset’s body and Sassen’s painting onto the photographic surface, sculpting her image into concepts and abstractions. Body parts become independent forms, defining painterly compositions.

In his famous book Ways of Seeing (1972), John Berger separated the presence of a man and a woman by stating that men look at women, whereas women watch themselves being looked at.

Berger writes: “She comes to consider the surveyor and the surveyed within her as the two constituent yet always distinct elements of her identity as a woman.” In other words, the surveyor of woman in herself is male, according to John Berger: the surveyed female. In 1973, the British feminist film theorist Laura Mulvey coined the term “the male gaze”, similarly arguing that the cinematic apparatus of classical Hollywood cinema inevitably put the spectator in a masculine subject position, with the figure of the woman on screen as the object of desire. Roxane II could be considered an expression of the female gaze. The book opens with a frontal view of the muse’s face. While her portrait is repainted red with heavy black lines as if an African mask, her eyes pierce through. On the adjacent page, the imprint of a breast becomes like an eye, the nipple as a red pupil in soft pink, looking straight back at you.

Berger suggested that nudity is a form of dress: to be naked is to be oneself; to be nude is to be seen naked by others. In the average European oil painting of the nude, the principal protagonist is the presumably male spectator in front of the picture. According to Berger, the exception to this rule is when the painter’s personal vision of the particular woman he is painting is so strong that it makes no allowance for the spectator.

Berger writes: “The painter’s vision binds the woman to him so that they become as inseparable as couples in stone. The spectator can witness their relationship—but he can do no more (…). He cannot turn her into a nude.” The performance of Danset’s body and face in Sassen’s photographs is the muse’s own; the way Sassen has put her in the structure of her compositions is keeping us from an immediate sight of her muse.

The image becomes an experience rather than a sight—a performance between the artist and her model.

Whereas Roxane I could be considered an exploration of the many identities one woman can have, Roxane II is rather a collection of reflections on womanhood. In one image on a spread, Danset’s shadow of her body is casted upon medical folders laid out on the ground. The envelopes read ‘cabinet d’imagerie médicale’. This medical reference suggests a perspective on the body for what it is and how it functions, rather than how it could be used as a sexualized object by order of the male gaze. Menstruation becomes an aesthetic expressed in red paint on her groin; repeating oval and circular forms become symbols of female fertility. From the fertile to the sexual, in each image Sassen transforms her muse into a goddess, the wise mother, the sexual Venus, the innocent and playful child, the rawness of nature… Most of the images function in conjunction with an image on the adjacent page, creating diptychs that complement each other like mirrors. Or as Maria Barnas puts it in the introductory poem You and I she wrote for the book: “Each eye casts a different reflection, each reflection a different eye.”

Mirjam Kooiman Mirjam Kooiman (b. 1990, Netherlands) is an art historian (University of Amsterdam) and curator at Foam Photography Museum Amsterdam, where she curated exhibitions by Awoiska van der Molen, Daisuke Yokota, Ren Hang, Harley Weir and Ai Weiwei to name but a few. She previously served as a curator-in-training at the photography collection of Amsterdam’s Stedelijk Museum. She has written for L’Internationale Online and she is a regular contributor to Foam Magazine.

Mirjam lives and works in Amsterdam.

Roxane II, Viviane Sassen, oodee books ed. of 1,000 copies + 30 limited editions 124 pages

VIVIANE SASSEN Untitled, Roxane II, 106

VIVIANE SASSEN Untitled, Roxane II, 042

Stanley Greene 1949 - 2017 else. A friend then invited me to Mauritania. As life would have it, I got into a bit of a struggle, into a discussion, into an argument, and basically said, “I’m going back to Paris!”

Unfortunately, as fate would have it, I got on the wrong bus in Mauritania, and ended up in a war, landing with Tuareg tribesmen. They saw my camera, pointed at it and said, “You have a camera, take pictures!” They took me to a refugee camp, and made me photograph people dying.

I got good at covering wars, and then probably, it made me keep doing it. The intensity of life in a war zone, the heightened sensations brought on by the nearness of death, and the determination to do good. There are times I question my motivations. One of the things I’ve questioned of late is, “Why do I still want to cover wars?”

The point of the matter is a huge sense of curiosity, but also because I feel that there are only a handful of us that actually want to go out and try to be some kind of truth takers, to photograph the darkness and the hidden corners of a crisis.

The creation of NOOR aimed at becoming the light that was going to shine over those dark corners and show the evil of the world. And today, quite honestly, the world has become very evil. People as me and many of my colleagues have become more necessary than ever before. I think it’s important to continue to do this job. I think it’s important not to forget that you always have to give something back. So, I guess that in a strange way, it is my way of giving something back. I am no illusion, nor am I bulletproof. I have no bravado to think that there is something romantic and adventurous of being a war photographer – and I hate the terminology. I do know though that in the dark recesses of my own soul there is this feeling that I really want to be out there, shooting what is happening in the world today.

I also would like to take it to another level, but find another way to document what is happening without going through the same clichés, repeating myself, going over and over again, and try to make and say something different in a new way. I always use jazz musicians as references because when you think of Miles Davis, when he came out with Kind of Blue, he could have basically quit. However, he decided to continue creating music.

I think it’s very important for all of us to continue to make some kind of expression, whether it be it with a trumpet, a guitar like Keith Richards or a camera, as I humbly hope that’s the way people see me, someone trying to make a difference, to understand, to find different ways to tell stories which have been told before but with a new spin, giving a new insight, thus offering people a better understanding of the story.”

Stanley Greene, août 2016

interview by Pierre Mohamed-Petit for Visa Paper OFF the wall 2016 All images ©Stanley Greene / Noor

STANLEY GREENE / NOOR

South Sudan, 1993

HORS CADRE

Throughout his life journey, Stanley’s photographs were born from the desire to discover the vastness of the world. A world for him that has been torn between passion, crisis, love and horror. With touches of poetry, his photographs are the frames of a movie, the film of his life, where he captures frame by frame his personal, his sentiments and emotions, as well as the will to shine the light over the dark corners.

“I’ve always seen myself as clandestine, gathering pieces of evidence and secrets. Dealing images with my cameras. It remained essential for photographers to scour the ground unimpeded, using the only weapons we know: our cameras, our notebooks, and of course, our voices that make us the unwelcomed pest of aggressors around the world. Witnesses are inconvenient. Yet, as most of my colleagues will agree, countries such as Sudan, Iran, Somalia, Syria, Iraq, Afghanistan, and Chechnya are becoming harder and harder to cover.

In the world of spot news, publications don’t want to pay long engagements in complicated zones because it’s getting much harder to afford it. Authorities block access and the lack of infrastructure and personal security make logistics a nightmare.

Despite the odds, sometimes unique opportunities make a difference and those are rare moments. They never cease to satisfy a profession that is otherwise only demanding and thankless. Journalism rewards you with long days and even longer nights.

For photographers, there is no such thing as taking pictures from a hotel or a place of safety. When you often pack your belongings along with your feelings in a suitcase until you can return to reality, few colleagues in this perpetual emotional yo-yo are able to maintain a relationship, money in the bank, or sanity.

And of the rest of us not born under that star, you never stop trying to find it. For the last 30 years, I have borne witness to the long histories of yesterdays and tomorrows. Changing realities have watched the end of Kodachrome, film, and black & white photography as we knew it.

The digital age, births of new dawns, rising and falling of empires, evasions of countries, liberations of others, mass migration, deportations, displacements, famines and the harvest of humanity, conflicts, wars, and destruction… Sometimes I wonder if society is just lusting for atrocities.

It was not my intention to become a war photographer. I was a fashion photographer in Paris. I had gone to the Berlin Wall almost for a lark. Later, because I felt the fashion industry became more like a meat market, I decided to try my hand at something

STANLEY GREENE / NOOR

“They saw my camera, pointed at it and said, ‘You have a camera, take pictures!’

They took me to a refugee camp, and made me photograph people dying.”

A model poses for a fashion shoot.

France, Paris, 1980’s .

direction créative | rédaction en chef | Œil photo anna-alix koffi sEcrétariat de rédaction claire le breton contributeurs agnès varda Karen Paulina Biswell fannie escoulen laurence cornet Ghazal Golshiri IrÈne attinger ANA WELTER isabelle evertse anna-karine quinto Christine Eyene M a r i e Fa n toz z i m i r ja m ko o i m a n Pa u l i n e K l e i n o l fa f e k i A l i c e Pfeiffer Marc Lenot pierre m o h a m e d - p e t i t G R A P H I S M E arnaud maillard VERSION ANGLAISE inka ernst feat. | liliana angulo cortés viviane sassen kate ba r ry a n n e l acost e s o p h i e w e b e l dav i d fat h i bérénice angremy GIDeon mendel Élise Fitte-Duval a n a h i ta G a b a h i a n N E WS H A TAVA KO L I A N tat i a n a cruz Morgane Adawi dune varela paz erraZuRiz vicki ospina marie bovo Annie Leibovitz Shadi Ghadirian stanley greene

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