THE AGENTS CLUB was at the opening week of 'Les Rencontres Photographiques d'Arles'


Entirely devoted to Photography for the summer, the historical city of Arles stages 50 official exhibitions for the 50th anniversary of ‘Les Rencontres’.
In parralel, the ‘Voies Off Festival’ gathers a path of 230 exhibitions and independant photographic initiatives in unusual places.


Here is our curation…



Observing New York’s street

In the 1930s, Helen Levitt started photographing street life in underprivileged New York neighborhoods such as East Harlem and the Lower East Side: graffiti, people sitting outside on stoops or children playing are some of her central subjects.


New York, 1940

New York, 1980



Mothers, daughters, sisters

Tom Wood’s series was shot on the streets of Liverpool between the early 1970s and the late 1990s. Sometimes posed and sometimes caught on the go, these scenes from street life impact us by the deep sense of intimacy and feminine complicity they convey.

Putting Green, New Brighton, 1985

Burroughs Gardens Girls [Les Filles de Burroughs Gardens], 1984-86



A chronicle of turmoil, 1978-1988 

This exhibition brings together the work of four photographers from La Movida: Alberto García-Alix, Ouka Leele, Pablo Pérez-Minguez, Miguel Trillo.
After several decades of dictatorship and ostracism, Spain’s transition involved a new generation fascinated by modernity and new ideas, which arrived via artists in diverse domains: music, fashion, cinema, painting, and photography.

Miguel Trillo, El Calderón, Rolling Stones concert. Madrid, 1982

 Pablo Pérez-Mínguez, Alaska, Pedro y Fabio, 1979-1985


Bruno Decharme & Cie Collection

Could “raw photography” be classified as art brut (“raw art”), as defined by Jean Dubuffet?
If so, it would include shots, prints, photomontages and photo collages created by self-taught artists, developed outside of conventional art circles, in contexts such as mental institutions, solitude and marginality, both in cities and rural areas.

‘Zorro’, anonymous, 1967

‘Obsession’, anonymous, around 1880



Man-made barriers throughout Europe

Through contemporary documentary photography, the exhibition investigates walls, fences, and their immediate surroundings; specifically, those erected by authorities and still standing today to prohibit people from either leaving or entering the European territory.

Frankie Quinn, Peacelines series, North Belfast, 1994

Sergi Cámara, The Wall of Europe, Spain, 2014




A visit to what is now called “the new Las Vegas”…  For the past fifteen years, Macao has supplanted Las Vegas in terms of the wealth generated by the tremendous earnings of the gambling world. Once upon a time in America, now China…

Eldorado, from The Pearl River series, 2019

Eldorado, from The Pearl River series, 2019



Banana Republic

Recent worldwide events seem to have suspended our own reality. Banana Republic represents this state of political and social disillusionment and disenchantment. The surrealist realism of the series is based on real facts, extrapolated to the same level of fancy that can be found in recent speeches.

Homem-bomba [Suicide Bomber], Paris, 2018

Mãe de família [Mother of the family], São Paulo, 2018



Experimental relationship

Pixy Liao’s ongoing long-term project ‘Experimental Relationship’ began in 2007. In this work, she stages photographs with her Japanese boyfriend, Moro, to explore how national culture influences and dictates interactions in a romantic relationship. In her photographs, Liao often portrays herself in a dominant role, while her boyfriend assumes positions of submission.

Start your day with a good breakfast together, 2009

It’s never been easy to carry you, 2013



Vegetal humanity, as the garden unfur

This exhibition is the visual tale of Mario Del Curto’s 10-year journey around the globe. The photographer explores the relationship between man and nature and beckons us to reflect on a potentially “soilless humanity”. Through strong and symbolic images, he shows the garden in all its forms: nourishing, scientific, ornamental, artistic and political.

Artificial bridge and trees, Dubai, 2018.

Sir James’ Environment, Los Posaz, Mexico, 2014



Destroyed house

 Large-scale architectural installations in buildings slated for demolition are the center of Marjan Teeuwen’s series Destroyed House. In these installations, the force of building and the forces of destruction and decline go hand in hand. Diametric opposites like construction–destruction, falling–standing, and order–chaos are the essence of the human condition. A diabolic conflict.

Destroyed House Leiden 1, 2016.

Destroyed House Mondriaanstraat 1, 2011



The living, the dead, and those at sea

Evangelia Kranioti explores the borderlines of the world and captures individual destinies caught in the net of Man’s trade. cargo ports, highways, the backstage of a carnival, graveyards, war ruins… In the heart of her work. the fresco of a community of outsiders which transcends the borders of the Mediterranean, matrix of exiles.

Anywhere out of the world, from the Exotica, Erotica, Etc. series.

 Miss Without Papers, from the Beirut Fictions series



Free Trade

Mohamed Bourouissa chose the ‘Monoprix’ supermarket to display fifteen years of creation combining photography, video, painting, drawing and sculpture. A superstore provides an interesting context to his body of work, which questions the place of the unemployed and humble members of our society, but also the circulation of money and knowledge.

Electronic bracelet, 2014

L’impasse, from the Périphérique series, 2007



Théa Gueniot, Louise Mutrel, Tomothée Pugeault, Gaël Sillère

The Rencontres d’Arles and the École Nationale Supérieure de la Photographie have backed creative young photographers together for a long time. Reflecting that ongoing collaboration, for several years the festival has offered four graduates the chance to show their work as part of the official program.

Théa Gueniot, not interested

Louise Mutrel, from the Liquid (Ink) Night series, Tokyo, 2019



News from a dream world

Both a symbol of our private and collective imagination, the postcard represents an illusion, always close to hand. It shows us a dream world in which can project ourselves, as in a desirable fiction story. 

Joana Hadjithomas & Khalil Joreige, story of a pyromaniac photographer,  ‘Wonder Beirut’ #22, 1998-2007

John Hinde Studio, On the Road to Keem Strand, Ireland