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
PHOTO | BRUT
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
WALLS OF POWER
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
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
Start your day with a good breakfast together, 2009
It’s never been easy to carry you, 2013
MARIO DEL CURTO
Vegetal humanity, as the garden unfurls
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
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
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
AN UNUSUAL ATTENTION
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