Granted, the exhibition “Images à la Sauvette” at the Fondation Cartier-Bresson (January 11 – April 23, 2017) is a great opportunity to see most of the photographs published in the eponymous –and mythical– album, be it for the first time or once again. Undoubtedly, it will be an interesting discovery for neophytes, and a refresh of pleasant memories for long-time amateurs of Henri Cartier-Bresson’s work. But it seemed there were no surprises, nothing original, until I happened on a short 1’40’’ film, shown in a nook, in which we can see the Frenchman at work (although he apparently hated being photographed of filmed), caught in action by the American photographer Gjon Mili. The scene takes place during the celebrations for the Chinese New Year in New York, in 1959: paper dragons, firecrackers, a crowd… nothing extraordinary, just partying. But in the midst of this crowd, we see a man dancing, jumping, bouncing around in whirls and zigzags, gently elbowing his way, taking a step back, two steps aside, three steps forward, ready for anything.
Two series of photographs by Paolo Gioli are currently on show at SAGE Paris gallery, until November 6, including these images of ancient sculptures, bathed in a green light that gives them an eerie presence.
This wall of photographs will be on display at Paris Photo; to find out more about them, you can read the little book in which I wrote on those series – I will sign it at the gallery’s booth (C30) during the fair, Saturday, November 12, 3pm. Come!
The current MAMVP exhibition, curated by Jan Dibbets, is based on the artist’s idiosyncratic conception of photography; alternatively, “The Memory of the Future”, presented at the Musée de l’Élysée in Lausanne (May 25 – August 28, 2016) and curated by its new director, Tatyana Franck, grew out of a meticulous study of the museum’s artistic and technical collections. This difference in perspective can be read in the exhibitions’ titles: Dibbets’ “Pandora’s Box” is poetic and allusive, Franck’s “Memory of the Future” is more formal and, at the same time, paradoxical.
The latter is situated in the Musée de l’Élysée’s beautiful villa, which the institution will leave in a few years for a new and bold building designed by an extraordinary Portuguese agency, near Lausanne’s train station (cue the inveterate Parisian reactionary lamenters spewing their usual venom on the shores of Lake Geneva). With this move, the institution will be joining a new cultural platform (named only days before its inauguration).
“The Memory of the Future” starts off by revisiting ancient image-making techniques, creating a dialogue between vintage photographs unearthed from the reserves and artworks by contemporary artists exploring these techniques today. Contrary to Dibbets’ exhibition in Paris, the emphasis here is on the materiality of the image, its texture, its condition, its physicality… there is even a device created by a research lab enabling 3D renditions of photographs —an invention you would expect to see in relation to sculpture rather than photography. Continue reading
The Rencontres d’Arles 2015 were widely decried for their lack of women photographers: only one woman actually had a solo exhibition last year (not taking into account the Discovery Award). What’s worse, it wasn’t very good, and very stereotypically “feminine” in its theme and title, the “Coup de foudre”, i.e. [love] “At First Sight”. The message seems to have gone through to the organizers for this year’s edition –there’s even a Madame Figaro Photo Award (after the woman weekly supplement to the daily Le Figaro) for one woman photographer’s work on display in Arles.
So, an effort has been made, at least quantitatively; in terms of quality, the exhibitions are moderately interesting (as it is the case overall, in my eyes), and only one stands out from the pack, Laia Abril’s. Precisely, her exhibition has garnered widespread acclaim, and won the Award by a landslide (as I have been told).
The starkest contrast on view at the Rencontres d’Arles 2016 can be found at the Méjan, one floor below the yellow-tinted exhibition of Tkachenko’s white photographs. It’s not a clash between two photographic styles, but a radical opposition between two ethos, two ways of relating to the photographed subject and therefore to the world –two philosophical standpoints, in fact. The subject at hand is Butoh, the Japanese danse –a rebel, introspective, radical and subversive art form– created by Tatsumi Hijikata and Kazuo Ohno at the end of the 1950s. Continue reading