Every year, eight exhibitions shown during the summer at Rencontres d'Arles travel to China's Jimei x Arles International Photo Festival.
Movie Theater Booth, Times Square, New York City, 1963.
Courtesy of the artist and Howard Greenberg Gallery
Camel Coat Couple in Street Steam, New York City, 1975.
Courtesy of the artist and Howard Greenberg Gallery.
The American colour photography master Joel Meyerowitz began his career in New York in the 60s. As a street photographer, always out and about in the heart of his city, Meyerowitz slips and dodges through the urban fray, his eyes ever on the alert. His complex compositions toy with the notions of imbalance and deframing, and seem suspended as if by a thread. For the first time in France, the Rencontres d’Arles will exhibit forty original prints by Joel Meyerowitz, with a selection of his first photographs in black and white and in colour. joelmeyerowitz.com
I met the Gorgan family in 1995, while studying at the École Nationale Supérieure de la Photographie in Arles. I knew nothing about these communities, and was unaware that this line of Roma had been in France for over a century. My first works were in black and white, placing me in a documentary tradition in the face of what I still found strange. The discovery of several archival documents that they possessed quickly taught me that a diversity of forms and points of view were necessary to take account of the density of life that came into my view. It was in 2013, more than 10 years after those first photos, that we met again, as if it were yesterday. In their company, I lived an experience which surpasses the experience of photography. The exhibition recreates the circumstances of each member of the family, and recounts the story that we wrote together, face to face, then side by side.
NEW DISCOVERY AWARD WINNER
CARLOS AYESTA & GUILLAUME BRESSION
CARLOS AYESTA & GUILLAUME BRESSION
Carlos Ayesta and Guillaume Bression rushed to Fukushima after the March 2011 earthquake and tsunami. To see for themselves. To bear witness. They photographed not to testify but by necessity, because they could not believe their eyes, and that—the unbelievable magnitude of the devastation—turned their amazement into a project. An atypical project deeply linked to the role of a certain kind of documentary photography expected not to tell the truth, but to offer a form of operational neutrality by which photographers situate and express themselves. The show can be split up into a series of repeated perspectives, ever-different angles of analysis and proposals that might seem contradictory, in order to probe a situation as thoroughly as possible, including what is non-visible and non-visual.
Audrey Tautou, Untitled. Courtesy of the artist.
In a series of self-portraits using film photography, and shown to the public for the first time, Audrey Tautou explores her image, playing with her celebrity status by turning herself into her own model. As creator of her own image, she imagines herself, not without humor, from head to toe, in dramatizations which openly bear the signs of their artificiality. These photographic fictions create the space for her long-distance look at herself, and invent another angle on the actress.
STORIES OF THE IMMEDIATE PRESENT
WITH THE COLLABORATION OF JOAN FONTCUBERTA, ANNA PLANAS, AND PIERRE HOURQUET
Julián Barón (1978), Ricardo Cases (1971), Federico Clavarino (1984), David Hornillos (1974), Alejandro Marote (1978), Óscar Monzón (1981), Bernardita Morello (1984), Miren Pastor (1985), Michele Tagliaferri(1980), Fosi Vegue (1976), Antonio M. Xoubanova (1977)
At the beginning of the 2000s, a group of photographers established a collective in Madrid in order to develop their work and create a common intellectual space. This was Blank Paper. Ever since, their photography has continued to develop following a practice that includes collaboration and exchange among its principal characteristics. Far from official institutions and circles, these photographers succeeded in building an independent network of production, exposition, and distribution based on solidarity. This was a risky but necessary venture, as the times brought not only great social change, but also a profound economic crisis. This exhibition gathers together the most recent works of the Blank Paper collective, along with works of other photographers in their orbit. The mutual confidence and complicity created over years of learning together.
IRAN: YEAR 38
66 IRANIAN PHOTOGRAPHERS
Meead Akhi, Azadeh Akhlaghi, Ali & Ramyar, Saba Alizadeh, Hoda Amin, Hawar Amini, Abbas Attar, Fatemeh Baigmoradi, Dadbeh Bassir, Erfan Dadkhah, Solmaz Daryani, Gohar Dashti, Alireza Fani, Hamed Farhangi, Arash Fayez, Shadi Ghadirian, Jassem Ghazbanpour, Azin Haghighi, Ghazaleh Hedayat, Bahman Jalali, Rana Javadi, Poolad Javaher Haghighi, Alborz Kazemi, Babak Kazemi, Kaveh Kazemi, Mehregan Kazemi, Arash Khamooshi, Danial Khodaei, Abbas Kiarostami, Gelareh Kia Zand, Abbas Kowsari, Yalda Moaiery, Sasan Moayyedi, Mehran Mohajer, Mehdi Monem, Amir Mousavi, Sahar Mokhtari, Tahmineh Monzavi, Mehran Naghshbandi, Azin Nafarhaghighi, Mehrdad Naraghi, Morteza Niknahad & Behnam Zakeri, Ebrahim Noroozi, Mohsen Rastani, Ghazaleh Rezaei, Behnam Sadighi, Majid Saeedi, Omid Salehi, Hassan Sarbakhshian, Jalal Sepehr, Bahram Shabani, Noushin Shafiei, Hashem Shakeri, Jalal Shams Azaran, Sina Shiri, Arya Tabandehpoor, Nazanin Tabatabaee Yazdi, Maryam Takhtkeshian, Newsha Tavakolian, Sadegh Tirafkan, Mehdi Vosoughnia, Mohsen Yazdipour, Hasti Zahiri, Maryam Zandi
It is not a coincidence that Iran has so many photographers. When today’s Iranians want to express themselves, they use the tools given to them by history. The modern version of poetry is photography, of course. Images, photojournalism, documentary or art are visual poetry, if you will. With this exhibition, we want to introduce those who are shaping the image of Iran today. A very diverse mix of photographers, artists and filmmakers portraying a country still caught up in revolution and war, but also fast-changing beyond recognition. Iran is both a young and an old country at the same time. Thousands of years of history have come before the 1979 Islamic revolution. We start counting again from that year. Iran: year 38, is to be an exhibition celebrating the culture of visual poetry embraced by Iranians.
NEW DISCOVERY AWARD
THE PARALLEL STATE
The term “parallel state” originated in the 50s to denote NATO-controlled cells in Turkey, whose existence as a “useful enemy” was encouraged by successive political leaders. As Erdoğan rose to power, he was increasingly convinced that he was being undermined by the media, police, judiciary, army, foreign powers— all part of a traitorous parallel state that could be blamed for his mishaps and Turkey’s ills. Martin’s series encompasses the halcyon days of Gezi Park through to 2016’s failed coup and subsequent purges. Indistinguishably intermixed are images taken behind the scenes on Turkish soap opera sets, which serve as a chillingly prescient black mirror to Turkey’s recent history and his own documentation thereof.
THE 2017 BOOK AWARDS
The Rencontres d’Arles book awards were created at the same time as the festival in order to support the swift growth in the publishing of photography books and to help them reach a broader public. There are now three categories of awards: authors’ books, historical books and, since 2016, photo-text books. Each award comes with a €6,000 prize and singles out the best photography books published between June 1, 2016 and May 31, 2017. A jury of photography book experts announces the winners’ names during opening week. Each book is received in two copies: one is deposited at the library of the École Supérieure de la Photographie d’Arles, the other put on public display throughout the festival period.
All the books received for the 2017 Book Awards are exhibited on display in Jimei x Arles International Photo Festival.