documentary photography rendez-vous 20 may > 7 … · photography professionals and amateurs...

FESTIVAL IMAGESINGULIÈRES - CéTàVOIR17 rue Lacan - 34200 Sète / 04 67 18 27 54 / [email protected] www.imagesingulieres.com / www.la-mid.fr /www.lafrancevuedici.fr

12E DOCUMENTARY PHOTOGRAPHY RENDEZ-VOUS

20 MAY > 7 JUNE 2020

MAISON DE L’IMAGE DOCUMENTAIRE

P R E S S K IT / M A R C H 2020

© Bruno Fert

ImageSingulières, a festival that has been supported by the CéTàVOIR association for 12 years, has firmly established Sète as a place for photography, as well as a forum to meet around images.

Images are now ever pervasive and provide us with a certain perception of the world. A fast-moving world that ImageSingulières allows us the time to look at, analyse and try to understand. Photography permits us to take a step back and keep our distance. Gilles Favier is to thank for this, tirelessly enlightening us about the troubles we are currently facing.

The journey offered by this festival takes us to various places, different societies questioning our relationship with others and the movement of people. How can you be yourself under a dictatorship? How can self-development take place when we are displaced? What is our identity?

ImageSingulières will take over the town again this year, taking the residents of Sète, photography professionals and amateurs alike on an eclectic, original and pertinent art trail.

Each year, the town has the opportunity to host a photographer who casts a different eye on our very unique town. Clémentine Scheidermann is no exception. Her individual and sensitive portrait work will be fitting in the Chapelle du Quartier Haut.

I would like to thank the CéTàVOIR association, headed by Valérie Laquittant and Gilles Favier, as well as all the volunteers without whom the festival would not be what it is today and hope that you will indulge in the exhibitions, evening events and debates.

Mayor of SètePresident of Sète Agglopôle Méditerranée

is organized by

in partnership with

WORD FROM THE MAYOR

We certainly do not claim ‘to make the ruins of a world habitable’, but, with each edition of ImageSingulières, we try to analyse major political, social and humanitarian issues helped by photographers with strong and sometimes conflicting views.

Budgeting for such an event is no mean feat for the association leading the project, CéTàVOIR. We decided that it would not be at the expense of the artists, who we wish to treat with goodwill, nor that of our ever increasing and inquisitive visitors, or be detrimental to the environment. Indeed, the footprint of the festival, which is ultimately short-lived, must be minimal. This is one of the team’s objectives and we are mindful of this.

This year, the residency was awarded to a young French photographer, Clémentine Schneidermann, who earned her documentary wings in a deprived part of Wales, stripped of its mining past, where she lived until recently. In Sète, true to form, she went in search of popular culture that naturally also resulted in her crossing paths with Brassens and his friends.‘I am correct in thinking that there are no Sétois from Sète’ said Yves Rouquette, an author from Sète and an Occitanist. The history of the city constantly associated with waves of immigrants does not prove him wrong.

We shall also be offering a collective and collaborative exhibition in the Larosa warehouses on the theme of exile with Bruno Fert, Kitra Cahana, Panos Kefalos, Ad van Denderen, Kamel Moussa and Ahlam Jarban. An opportunity to hold a debate with Edwy Plenel and Mohamed Nour Wana, a migrant Sudanese poet, on this issue.

Nicola Bertasi will also exhibit in the same location with his project in the footsteps of the Vietnam War. His investigation is a clever combination of archives and personal work.

Robin Friend’s ‘Bastard Countryside’ will be at Tarbouriech. The title of this series, inspired by Victor Hugo’s "Les Misérables" that referred to wastelands at the edge of cities, is evocative of the British landscape.

At the Maison de l’Image Documentaire, we are delighted to exhibit Ute Mahler’s Germany, from before the fall of the Berlin Wall, with images of streets and interiors, an extremely sensitive overview of private life in the former GDR.

In the Ancien Collège Victor Hugo Homer Sykes exhibits pre-punk 1970s England. Marylise Vigneau presents her amazing work in called ‘Article 19’, about a law in Pakistan that infringes on freedom of speech, and Romain Laurendeau, winner of the ISEM 2019 Grand Prize, will dramatically immerse visitors into the world of drugs among young West Bank Palestinians.

The programme also includes Marion Gronier with her series of ‘American Monuments’ at the CRAC Occitanie, Vollak Kong and his Cambodian family icons in the Gares & Connexions space and lastly Laura Pannack at the SNCF train station with a caustic portrait of a certain youth generation in northern England.

At The Rio, a retrospective called ‘Hors-Champ’ reveals the behind-the-scenes of French film sets, from the thirties to the New Wave, by Gaston Paris and Alain Adler.

Various events will be taking place: Agoras singulières, debates on themes related to the exhibitions, screenings, documentary films, notably in conjunction with the Embassy of the Kingdom of the Netherlands, as well as the presentation of the Laurent Troude Bursary and ISEM Prizes for documentary photography.

As always, the opening weekend will be welcoming and bustling with meetings, music, etc.

Gilles FAVIER Valérie LAQUITTANTco-founder & artistic director co-founder & director

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PREVIOUS IMAGESINGULIÈRES EDITIONS

imageSingulières #1 > 13 278 visits30 APRIL > 10 MAY 2009

Alain BIZOS, Ernest COLE, Rena EFFENDI, Sohrab HURA, Steeve IUNCKER, Jens Olof LASTHEIN, Market Photo Workshop, Gabriel MARTINEZ, Bertrand MEUNIER, Anne REARICK, Ali TAPTIK, Guy TILLIM.

imageSingulières #2 > 39 042 visits13 > 30 MAY 2010

Michael ACKERMAN, Christopher ANDERSON, Juliana BEASLEY, Dominique DELPOUX, Jacob HOLDT, Gleb KOSORUKOV, Yohanne LAMOULÈRE, Rajak OHANIAN, Elsa et Nicolas QUINETTE, Thibault STIPAL, TAROOP & GLABEL, Pieter TEN HOOPEN, Lars TUNBJÖRK, Jacques WINDENBERGER.

imageSingulières #3 > 45 608 visits03 > 19 JUNE 2011

Letizia BATTAGLIA, Stephan BIASCAMANO, André CERVERA, Elisabeth COSIMI, Bruce GILDEN, Stanislas GUIGUI, Christian POVEDA, Valerio SPADA, Diego LEVY, Ludovic CARÈME, Juan Manuel CASTRO PRIETO, Ricky DÁVILA, George GEORGIOU, Marc GOUBY, Nadja GROUX, Dorothea LANGE, Nicola LO CALZO, Olivier MIRGUET, Jürgen NEFZGER, Tendance Floue, Vanessa WINSHIP.

imageSingulières #4 > 47 141 visits17 MAY > 3 JUNE 2012

Ansel ADAMS, Albert & Verzone, Christopher ANDERSON, Jan BANNING, Patrick BARD, Bruno BOUDJELAL, Gilles CARON, Omar D., Léo DELAFONTAINE, Léon GIMPEL, Katia KAMELI, Sebastián LISTE, Jules Édouard MOUSTIC, Marc RIBOUD, Rafael TROBAT, Stephan VANFLETEREN, Vladimir VASILEV, Tom WOOD, exposition collective “Quand les murs parlent”.


Sergey CHILIKOV, Sébastien COLOMBIER, Valérie COUTERON, Denis DAILLEUX, Bieke DEPOORTER, Richard DUMAS, Exposition collective bande dessinée documentaire, Exposition collective LA FRANCE VUE D’ICI, Samuel GRATACAP, Liz HINGLEY, Jacques KRIER, Galerie LUMIÈRE DES ROSES, Alfred PALMER & Howard HOLLEM, Gaston PARIS, Sergueï PROCOUDINE-GORSKY, Johann ROUSSELOT, Txema SALVANS, Carlos SPOTTORNO, Carel VAN HEES.


Claudia ANDUJAR, Archives Départementales de l’Hérault, Archives Nationales d’Outre-Mer, Martin BOGREN, Roger BALLEN, Ferhat BOUDA, Gianni CIPRIANO, Marie-Laure DE DECKER, Hugues DE WURSTEMBERGER, Cédric GERBEHAYE, Tomasz KIZNY, Léon & Lévy, Eugenia MAXIMOVA, Claire MARTIN, Musée du génocide “S-21“, Adam PANCZUK, Sahel Digital Art, Uriel SINAI, Ad VAN DENDEREN, Thomas VANDEN DRIESSCHE, Pierre-Yves VANDEWEERD.


Nadège ABADIE, Pablo BAQUEDANO, Marie BARONNET, Juliana BEASLEY, Jérôme BRÉZILLON, Carlotta CARDANA, Edward S. CURTIS, Jacob CHETRIT, Jean-Robert DANTOU, Bieke DEPOORTER, Raphaël HELLE, Rodrigo GOMEZ ROVIRA, Yvon LAMBERT, Yohanne LAMOULÈRE, Jens Olof LASTHEIN, Stéphane LAVOUÉ, Emeric LHUISSET, Paula LÓPEZ DROGUETT, Ad NUIS, Cristóbal OLIVARES, PAYRAM, Marion PEDENON, Tomás QUIROGA, Jacob Aue SOBOL, Vladimir VASILEV, Nicolas WORMULL.


Paula LÓPEZ-DROGUETT, Cristóbal OLIVARES, Tomás QUIROGA, Nicolas WORMULL, Rip HOPKINS, Sébastien VAN MALLEGHEM, Guillaume HERBAUT, Christian LUTZ, Samuel BOLLENDORFF & Mehdi AHOUDIG, Kirill GOLOVCHENKO, Flavio TARQUINIO, Anders PETERSEN, Alberto GARCÍA-ALIX, Juan Manuel CASTRO PRIETO, Cristina GARCÍA RODERO, Chema MADOZ, Isabel MUÑOZ, Ricard TERRÉ, Virxilio VIEITEZ, Pablo BAQUEDANO, Paul ARNAUD, Hervé LEQUEUX, Sébastien DESLANDES, Anne REARICK, Frédéric STUCIN, Patrice TERRAZ, Alexandra POUZET.

imageSingulières #9 > 58 109 visites24 MAY > 11 JUNE 2017

Anne REARICK, François KOLLAR, Thibaut CUISSET, Pascal DOLEMIEUX, Denis DAILLEUX, Julien COQUENTIN, Mario RUSPOLI, Christophe AGOU, Nadège ABADIE, Paul Arnaud, Pablo BAQUEDANO, Hervé BAUDAT, Loic BONNAURE, Alexa BRUNET, Jacob CHETRIT, Jean-Robert DANTOU, Mathieu FARCY, Bertrand GAUDILLÈRE et Catherine MONNET, Joseph GOBIN, Nanda GONZAGUE, Raphaël HELLE, Yohanne LAMOULÈRE, Stéphane LAVOUÉ et Catherine LE GALL, Hervé LEQUEUX et Sébastien DESLANDES, Florence LEVILLAIN, Géraldine MILLO, Marion PEDENON / Romain PHILIPPON et François GAERTNER, Alexandra POUZET et Bruno ALMOSNINO, Frédéric STUCIN, Patrice TERRAZ, Vladimir VASILEV, Marie-Noëlle BOUTIN, Gilles COULON, Chimène DENNEULIN, Claudine DOURY, Gabrielle DUPLANTIER, Guillaume HERBAUT, Myr MURATET, Lola REBOUD, Klavdij SLUBAN.


Stéphane COUTURIER, Gabriele BASILICO, ANDREA & MAGDA, Arlene GOTTFRIED, Justyna MIELNIKIEWICZ, Mauricio TORO GOYA, João PINA, Chloé JAFÉ, Alexander CHEKMENEV, Martin BOGREN, MEYER, Loïc BONNAURE, Massimo BERRUTI, Matthieu GAFSOU, Cédric GERBEHAYE, Simona GHIZZONI, Christian LUTZ, Dominic NAHR, Alessandro PENSO, Hannah REYES MORALES, John TROTTER, Gaël TURINE, John VINK, Jacques BOISSAY, Tony BOSCO, Claude CHAMPINOT, Bernard CHARLET, Pierre COUTURIER, Bernard HERMANN, Jean LABORIE, Léon LALANNE, Daniel LAPIED, Claude LECHEVALIER, Claude POENSIN-BURAT, Michel PANSU, Michel ROBINET, Serge TREVISANI, Claude VIGNAL.


Vanessa WINSHIP, Nina BERMAN, Adriana LESTIDO, Nicola LO CALZO, Jon LOWENSTEIN, Ming YAN, Ronan GUILLOU, Nick HANNES, John TROTTER, Mathias DEPARDON, Zahara GÓMEZ, Juan ORRANTIA, Mauricio PALOS, Arthur BONDAR, Alexander ERMOCHENKO, Claire LAUDE, Christopher NUNN, Karol PALKA, Larisa PELLE, Maxim SARYCHAU, Florian TONNON, Olessia VENEDIKTOVA, Marylise VIGNEAU, George SELLEY, Zong HOI YI, Davy, Hei BAI, Max PINCKERS, Elena ANOSOVA, Céline CLANET, Claudine DOURY, Françoise HUGUIER, Anne DE GELAS, Andrea GJESTVANG, Steve IUNCKER, Valentin RUSSO, Ekaterina SOLOVIEVA, Maximilien VAN AERTRYCK et Axel DANIELSON, Manuel CASTILLO, Vicente GONZÁLEZ MIMICA, Carla YOVANE, Frédéric STUCIN et Corina SCHWINGRUBER ILIC.

EXHIBITIONS FROM 20 MAY TO 7 JUNE

> Clémentine Schneidermann / SÈTE #20 - Chapelle du Quartier-Haut> Ute Mahler / ZUSAMMENLEBEN - Maison de l’Image Documentaire> Robin Friend / BASTARD COUNTRYSIDE - Salle Tarbouriech> Vollak Kong / JORNG JAM, “TO REMEMBER” - Espace SNCF Gares & Connexions> Romain Laurendeau / MISTER NICE GUY - Ancien Collège Victor Hugo> Marylise Vigneau / ARTICLE 19 - Ancien Collège Victor Hugo> Homer Sykes / ENGLAND : THE WAY WE WERE 1968-1983 - Ancien Collège Victor Hugo> Nicola Bertasi / LIKE RAIN FALLING FROM THE SKY - Entrepôt Larosa 1> Thematic exhibition / EXILS - Entrepôt Larosa 2

• Bruno Fert / REFUGE• Kitra Cahana / CARAVANA MIGRANTE, TIJUANA• Kamel Moussa / ÉQUILIBRE INSTABLE• Panos Kefalos / SAINTS• Ad van Denderen / GO NO GO• Ahlam Jarban / I WAS BEFORE, I BECAME• Archives Roger-Viollet / RETIRADA

> Laura Pannack / THE CRACKER - Gare SNCF

EXHIBITION FROM 24 APRIL TO 24 MAY> Marion Gronier / AMERICAN MONUMENTS - Centre Régional d'Art Contemporain (CRAC) - Occitanie

EXHIBITIONS FROM 24 MAY TO 28 JUNE > Alain Adler et Gaston Paris, Archives Roger-Viollet / HORS-CHAMP - THE RIO

PRACTICAL INFOAll events are open to the public and free ! (except for Nova Danse Party)

PRIZES > ISEM PRIZES FOR DOCUMENTARY PHOTOGRAPHY > BURSARY LAURENT TROUDE > FORTANT / IS / WIPPLAY COMPETITION > PRIX VUES DE CHEZ NOUS

EVENINGS OF SCREENINGS > NETHERLANDS EVENING > SCREENINGS AT THÉÂTRE MOLIÈRE

PARTY TIME

RENDEZ-VOUS > SCREENING - MEETINGS > BOOK SIGNINGS > AGORAS SINGULIÈRES > CONFERENCE

TRAINING > WORKSHOPS > ESJ RESIDENCY

PROGRAMME 2020

EXHIBITIONSfrom 20 May to 7 June

CHAPELLE DU QUARTIER HAUT

CLÉMENTINE SCHNEIDERMANNSÈTE #20FRANCE

As part of the ImageSingulières Festival, every year the CéTàVOIR association invites a photographer for a residency in Sète. Immersed in the ambience of the city for four to six weeks, the chosen artist has carte blanche to undertake a project on the region and its inhabitants. The French photographer Clémentine Schneidermann was selected by the association for the 2020 edition. At the end of her residency, her work will be exhibited at the ImageSingulières Festival and then at the Maison de l’Image Documentaire from 25th June to 25th July.Clémentine Schneidermann accomplished her first projects in Wales in 2012. At the time she was a young documentary photography student at University of South Wales, Newport. She became interested in depicting the working-class in the United Kingdom and neglected territories. In 2016, she won the Leica Oskar Barnack Newcomer Award for the project that she carried out in the mining region in South Wales. Developing a unique aesthetic, between fashion and documentary, the artist enjoys blending fantasy and reality. By playing with the notion of portrait and the codes of both disciplines, she portrays communities that are often overlooked with humour and poetry. In Sète, Clémentine Schneidermann found these same working-class worlds that she cherishes. Tea dances in the footsteps of Brassens, a native of what he called his ‘singular island’, she returns to the roots of local popular culture. In her portraits the decor is immaculately manicured. The city in winter, that she explored with vitality, was the perfect backdrop for her project.The residency is supported by the City of Sète, the DRAC Occitanie, Sète Agglopôle Méditerranée and the Fonds de dotation Art, Culture et Patrimoine.

THE PHOTOGRAPHER

Clementine Schneidermann is a French photographer. She developed her first series in Wales where she moved in 2012 prior to her studies in documentary photography at University of South Wales, Newport. She is interested in the representation of class and communities in the United Kingdom and started a collaboration with Charlotte James, a Welsh creative director and with groups of children since 2015 in the South Wales valleys. The photographs are a cross between documentary and fashion and are both surreal yet fixed into the real. Her work received the Leica Oskar Barnack Newcomer Award in 2016. Her documentary project "I Called her Lisa Marie" was published by Chose Commune as a monograph in 2018. Her work recently became part of the Martin Parr Foundation collection and is also included in the National Museum of Wales collection.

www.clementineschneider.com/

Residency 2020

© Clémentine Schneidermann

+ Meeting with the photographer Wednesday 20 May 2020, 11am at Espace Georges Brassens followed by a concert. Reduce entry at Espace Georges Brassens until the end of July, on presentation of the festival programme.

+ The exhibition will be shown at the Maison de l’Image Documentaire in Sète, from 25 June to 25 July 2020, and in the autumn at the Jardin Antique Méditerranéen in Balaruc-les-Bains.

MAISON DE L’IMAGE DOCUMENTAIRE

UTE MAHLERZUSAMMENLEBENGERMANY / OSTKREUZ

Ute Mahler (born in Berka in 1949) is one of the photographers from the ex-GDR with the most prominent style. After the fall of the Berlin Wall, with several East German colleagues she founded the agency OSTKREUZ, that has since been very successful. Through the series Zusammenleben (Live together), begun over forty-five years ago, she intended to show the way in which people live together and depict the unsaid in a subtle way. These black and white photos gently, but uncompromisingly, illustrate life in former East Germany. In 1988, Ute Mahler ended this series of infinite possible compositions with men, women, children, friends and strangers, as she felt that she had captured the essentials.

Ute Mahler talks about her work in 2019 with exhibition curator Sonia Voss:

"I was still a student in Leipzig when I began to photograph groups of people. To begin with, they were just random. But they all raised the same question: how do people interact together? (…) I was twenty or so years old. I wanted answers. I wanted to see what was hiding behind the prescribed official false optimism. I was looking for the truth in the inner realm of people’s lives. (…) I met them in their homes, in the street, at parties and in their day-to-day lives that they were living in this country that they called GDR. (…) I carried out this work freely, at liberty; it was very personal in nature and not commissioned. Without any staging. (…) But I took them for myself. (…) I wasn’t looking for anything sensational, I wanted to find something universal, extending from tenuous relationships, family and friendship, depicting happiness, impermanence, despair, resignation and/or proximity. I took my last photo in 1988. I felt that I had found enough answers to my questions. Maybe it was linked to the political upheaval at the time but I’m not sure."

THE PHOTOGRAPHER

Ute Mahler (1949, Berka) studied photography at the Hochschule für Grafik und Buchkunst in Leipzig from 1969 to 1974 and then worked as a freelance photographer. Starting from 1977, she received commissions from Sibylle magazine and the record label Amiga, for which she took fashion photographs and portraits mainly to illustrate the record sleeves of East German rock groups. She also is developing a long-term piece of work called Zusammenleben (Live together), subtly depicting the reality of everyday life in the GDR and the dynamics that exist between private and collective.In 1990, after the fall of the Berlin Wall, Mahler founded the photography agency OSTKREUZ with her six colleagues. Alongside her personal projects, she has taught photography since 2000, firstly at the Hochschule für Angewandte Wissenschaften in Hamburg then at the Ostkreuzschule für Fotografie in Berlin. Since 2009 she has produced various series with her husband the photographer Werner Mahler (Monalisen der Vorstädte, Die seltsamen Tage, Kleinstadt).

www.ostkreuz.de/fotografen/ute-mahler/

© Ute Mahler / OSTKREUZ


TARBOURIECH

ROBIN FRIENDBASTARD COUNTRYSIDEENGLAND

‘Bastard Countryside’ explores the British landscape as a series of metaphors. Each photograph represents a small part of the story of how our modern living is destroying the planet. Although the series has been made in the UK, the subjects and themes are global and invite the viewer to reflect on the actions that have shaped and shifted the spaces they relate to in these pictures.

Many of the photographs in this series possess a magical sadness and inhabit what Victor Hugo described as “that kind of bastard countryside, somewhat ugly but bizarre, made up of two different natures… The end of the beaten track, the beginning of the passions”. Hugo also described how observing a city’s edge “is to observe an amphibian”; thinking of the Paris periphery as a living, breathing creature pushing out and changing everything in its wake, blurring the city/countryside divide. Fast forward two hundred years, and Hugo’s amphibian has grown tentacles on steroids and is not just devouring everything in its path, but shitting and puking incessantly as well. The “Bastard Countryside” is no longer found in the fringe areas, it’s everywhere you look.

Central to this story is the struggle between humanity and nature, two contrasting forces fighting for control. But there’s also a part of Bastard Countryside that resides someplace else; in a fictive realm that gestures towards some unknown, a less certain landscape. With a feeling of things left behind and what is still to come, these pictures tap into our cultural anxiety of what the future holds and how we are leaving this planet broken for generations to come.

THE PHOTOGRAPHER

Robin Friend was born in London but spent his childhood in Melbourne, Australia. His time is split between personal projects and commissions.Exhibited worldwide, his work is featured in the book “Bastard Countryside” published by Loose Joints in 2018.

www.robinfriend.co.uk/

© Robin Friend


ESPACE SNCF GARES & CONNEXION

VOLLAK KONGJORNG JAM, “TO REMEMBER”CAMBODIA / COURTESY GALERIE LEE

‘In one family I was told that that these photos were worth more than their weight in gold’. This is the way that Vollak Kong, a Cambodian artist born in 1983, who studied sculpture and visual arts at the Royal University of Fine Arts in Phnom Penh, regards family photographs that he has reworked by partly painting golden patches on them that he sometimes scratches.

This artistic work, which does not purport to be decorative, highlights in its own way the significance of questions raised by memory that remains, with identity, one of the transversal themes of contemporary creation in a country that continues to overcome the scars of the Khmer Rouge tragedies.

Vollak used one of the few photographs that existed in his family to ask his mother –who had never spoken to him about it– about this period. It is a very simple studio portrait, depicting two young girls. It was taken before the war and they made themselves beautiful for it by buying new dresses, as well as having their hair and make-up done before going to the photographer. The remaining print is in bad condition as it had been folded into four. When the Khmer Rouge, after gaining control of the capital on 17th April 1975, emptied the city of its inhabitants, many people buried their money, jewellery and photographs as these items identified them as bourgeois, enemies to be destroyed. Others, like Vollak’s mother, burned photos. But she kept one that she folded and carried in her bundle, hidden in clothes despite the risk.

Today, it’s the only memory remaining of the time before, a time of happiness. And her artist son transformed it into an icon, in a country and culture where there is no tradition of this kind.

Christian Caujolle

THE PHOTOGRAPHER

Vollak Kong (born in 1983) studied fine arts and sculpture at the Royal University of Fine Arts in Phnom Penh. He also graduated from the National Institute of Education with a degree in teaching (Phnom Penh, 2007). He studied photography with Stephan Janin. Over the past few years, Vollak has participated in workshops and interacted with artists from France, Poland, Japan, Andorra, Sri Lanka and Thailand. In 2007, he formed the group “Stiev Selapak” (“Art Rebels”) with other artists from his generation. In the same year, Vollak was appointed Cambodian curator for the Art and Culture of the Mekong project. While pursuing his works, he teaches in secondary schools.

www.cargocollective.com/JorngJam/Kong-Vollak-WORK-HARD

© Vollak Kong / Courtesy Galerie Lee


ANCIEN COLLÈGE VICTOR HUGO

ROMAIN LAURENDEAUMISTER NICE GUYFRANCE / HANS LUCAS

Israelians and Palestinians live side by side, sometimes intermingled, but always in partitioned areas. Almost everything differentiates them and yet, in recent years, drug use has continued to increase on both sides. The latest fashionable substance for youth is “Mister Nice Guy”.

Mister Nice Guy is a synthetic cannabis 50 to 100 times more powerful than marijuana and much more dangerous. It comes in the form of grass onto which various products have been sprayed: acetone, pesticides, speed and sometimes even rat poison. The high is short and violent and addiction is immediate. The impact on health is disastrous: kidney and liver problems, dizziness, delirium and paranoia, depression.

This drug first arrived quietly in the Palestinian Occupied Territories: via Israel where it was legal up to 2013 and very popular with young conscripts in the Israeli army. Since its introduction, labs have grown up like mushrooms in the neighbouring West Bank.

The association Al Sadiq’s detox centre is in Al’Eizariya in the West Bank, a few kilometres as the crow flies from Jerusalem, but on the other side of the wall. It is found in one of the numerous Palestinian “buffer zones”, left to themselves, and among the most affected by drug trafficking and use. It is one of the only treatment centres in the Palestinian Occupied Territories. It is also the oldest and the toughest. With its practice of total confinement and withdrawal without drugs, il accepts around 30 patients for periods of several months. These addicts are younger and younger, and almost all have succumbed to “Mister Nice Guy.

THE PHOTOGRAPHER

After training as a photographer, Romain contracted kerataconus, an ailment that progressively deforms the cornea. During the years of this illness, he explored intimacy, through introspective series which were fed by his doubts.In 2009, a corneal transplant saved his sight. It was a liberation. He was overwhelmed by a thirst for freedom and the desire to understand the world. Since then he hasn’t stopped travelling in order to document the human condition in all its aspects, social, economic and political. In Senegal, for 3 years he worked on topical subjects, in particular gold miners.Since 2014, he has worked on a long-term and fundamental project on a country little covered by the French press : Algeria.

www. romainlaurendeau.myportfolio.com/

© Romain Laurendeau / Hans Lucas

ISEM Grand Prize 2019 for documentary photography



MARYLISE VIGNEAUARTICLE 19FRANCE / ANZENBERGER

Article 19 of the constitution of the Islamic Republic of Pakistan says:

“Freedom of speech: Every citizen shall have the right to freedom of speech and expression, and there shall be freedom of the press, subject to any reasonable restrictions imposed by law in the interest of the glory of Islam or the integrity, security or defense of Pakistan or any part thereof, friendly relations with foreign States, public order, decency or morality, or in relation to contempt of court, commission of or incitement to an offence.”

These “reasonable” restrictions are often exploited against different groups of people such as minorities, journalists, human rights activists, atheists, homosexuals, etc. They are interpreted as a freedom to disregard others’ faiths or perceptions. They produce outcasts. Status quo and ruling alliances, liberty- fearing and frustrated people led by radical, obscurantist or manipulative clerics, all acting in the name of a so-called decency, build a wall around these fabricated pariahs and silence them. In the recent years, the enforcement of Pakistan's blasphemy laws remain a significant concern, as well as new laws to extend controls over the right to freedom of expression online. Killings and attacks on journalists, media workers and human rights defenders remain endemic and characterized by ongoing impunity.

This story takes place in Lahore and constitutes a series of portraits of people whose way of thinking, living, loving, is obviously against the official Pakistani narrative. It is a story of suffering but also of resilience and hope. After long conversations, these images have been carefully staged to respect the safety and therefore the anonymity of the people pictured. Each of them is named "Noor", a name that means light and is used indifferently for women and men. They are the cracks in the system through which change may arise. This work is dedicated to the memory of Asma Jahangir, a Pakistani lawyer who dedicated her life to defending minorities and died in Lahore in 2018.

THE PHOTOGRAPHER

Raised in a conventional Parisian family, Marylise Vigneau developed an early taste for peeping through keyholes and climbing walls. Her “Compared Literature” thesis, at the Sorbonne, was about cities as characters in Russian and Central-European novels; where and when the clearest narrative gets lost in a heady, haunting uncertainty. Despite her fascination with literature, over time her mode of expression has become photography, without her knowing precisely why - maybe the mix of precision, immediacy, truth and lies which is behind every image. What attracts her first and foremost is how human beings are affected by borders both physical and mental, this fugitive space where an unexpected, bold and fragile act or glimpse of freedom can arise.She is represented by the Anzenberger Agency in Vienna.

www.marylisevigneau.com/

© Marylise Vigneau / Anzenberger



HOMER SYKESENGLAND : THE WAY WE WERE 1968-1983ENGLAND / GALERIE LES DOUCHES

This exhibition retraces the first twenty years of his career: two decades fully immersed in everyday life, folklore and the transformations of a United Kingdom in crisis, in a society prey to doubt reinventing itself through pop-rock culture.

“Homer Sykes belongs to the talented generation of British photographers such as Martin Parr, Chris Killip, Graham Smith, Chris Steel Perkins and Tony Ray-Jones; a generation that, from the outset, envisaged photography in terms of style and promotes aesthetical choices, midway between information and creation.”

Michaël Houlette

THE PHOTOGRAPHER

Homer Sykes was born in 1949. The work of the British photographer remains largely unknown in France. This Canadian-born English photographer became a photojournalist at the start of the 1970s. As a freelance photographer, he worked for magazines such as The Observer, The Telegraph, Time and Newsweek Magazine and covered conflicts in the Middle East and Northern Ireland. But Sykes soon focused on his own country, examining typically British customs and traditions.

www.homersykes.com/

© Homer Sykes / Galerie Les Douches


ENTREPÔT LAROSA 1

NICOLA BERTASILIKE RAIN FALLING FROM THE SKYITALY / HANS LUCAS

"[…] The last modern but not contemporary war was Vietnam. It was after the Nazis, before the internet. It was the last conflict to leave a mark on public opinion that is still recognized today. After Vietnam, wars became more abstract, more routinized, more anchored to specific battles. Despite this, interest in the progress of the American conflict in Vietnam has more or less dried up because of its gradual distancing from the keyword of this new century: the present moment. What remains of the conflict then?

"The dioxin remains in the land, a broken territory, hundreds of weapons in museums, unexploded devices in cultivated fields, bomb holes – all of this remains. Above all, the feeling of what the conflict was, remains. The witnesses remain, the memory of those born after 1975 remains. War is fear. The eyes of a woman who had to “jump over corpses” to save herself, remain. It was like rain falling from the sky. This is a sentence uttered by an old farmer from Can Gio, an almost poetic phrase. Like rain. Before realizing what was happening, this country man mistook this ecocide for the most natural event in the world. We cannot possibly imagine what it means to wake up one morning and see your world has been completely destroyed by a substance similar to water, thrown from some military aircraft. We can still find the words, signs, and faces of the war, though, because they are frozen there. […] "

Nicola Bertasi

THE PHOTOGRAPHER

Born in Milan, Italy in 1983. Independent photographer. Since 2014 represented by Hans Lucas Studio. Photography projects in Europe, United States, Middle East, Cuba, Vietnam and India. Since his childhood he has been fascinated by the infinite possibilities of visual storytelling as a photographer but also as a writer and editor. He works and studies to develop his personal research attempting to conjugate documentary photography and human engagement.He grew up in Liguria and studied in Milan. His studies culminated in a master’s degree in modern history. He works for magazines and institutions.

www.nicolabertasi.it/

© Nicola Bertasi / Hans Lucas


ENTREPÔT LAROSA 2

THEMEEXILE

Sète is a port historically built on waves of immigration.

‘I am correct in thinking that there are no Sétois from Sète, but there are people from the mountains, Provençals, Catalans, Swiss, Italians, Spanish, North Africans and a few French people from the cold that this town made its citizens as long as it remained popular’ wrote the Occitan writer Yves Rouquette.

The migrant crisis forces us to react and this collective exhibition will cover the roads to exile in Africa, Eastern Europe as well as in Central America. We are collaborating with L'Atelier des Artistes en Exil and the Reception Centre for asylum seekers in Sète as it is important to us to compare the tragic experiences of migrants with the proposals of our guest photographers and filmmakers.

With the participation of SOS Méditerranée

Screenings :

- Les Corps interdits, de Jérémie Reichenbach, 12'30, 2016.

- Esperança, de Cécile Rousset, Jeanne Paturle et Benjamin Serero, 5'30, 2019.

- Estate, de Ronny Trocker, 7'25, 2016.

© Bruno Fert


ENTREPÔT LAROSA 2

BRUNO FERTREFUGEFRANCE

"In 2016, I went to meet the migrant populations who cross the Mediterranean to reach Europe. I decided to photograph inside the provisional shelters that they set up within refugee camps, ‘jungles’ and reception centres. These photographs of the insides of their tents, huts and bedrooms are accompanied by accounts given by their inhabitants.

"This work portrays exile by depicting interiors where migrant populations live, from their arrival in Europe to moving to proper accommodation. I chose to focus on them through their homes as these shelters capture their individuality and personalities. They reflect their lives at a difficult time. What interests me is the way in which these men and women recreate a home with their few possessions, those that they keep throughout their journeys in memory of their former lives, others that they make or buy to improve their everyday lives, transform their refuge and forget about their plight.

"Living is what we all have in common. Whether we are nomadic or sedentary, we all live. From this point in common I want people to relate, to put themselves in the shoes of others by observing their living spaces.

"I began this series of photographs in the Calais Jungle where I came across strikingly ingenious interiors. I expanded it into several places in Europe where migrant populations are forced to stop their journeys to find the means to cross a border or wait for the go ahead from slow and unfathomable European administrative authorities. I travelled on the Aquarius, faced with Libyan territorial waters. I went to Samos, Athens and Katsikas in Greece and Vintimille in Italy. Then in France I went to reception centres, private homes and solidarity hosts, basically with exiles who had found acceptable living conditions."

THE PHOTOGRAPHER

Bruno Fert is a photographer and graduate of the École Nationale Supérieure des Arts Décoratifs. Through his images he seeks to uncover political and social issues by revealing them to us from a particular perspective. His work examines concepts such as identity and territories. Bruno Fert strives to make places speak, to search for signs of those who lived there, to reconstruct the threads of their stories in images. His photographs have won many awards including at World Press Photo 2007. ‘Refuge, dans l’intimité de l’exil’ is his second publication.

www.brunofert.com/

© Bruno Fert

ThemeExile


ENTREPÔT LAROSA 2

KITRA CAHANACARAVANA MIGRANTE, TIJUANACANADA / MAPS

Until it reached the US border, the migrant caravan that set out from San Pedro Sula, Honduras, on 12 October 2018 had largely been a success. Leaving the city with only 160 individuals, the caravan ballooned to ten times that size by the third day, as people streamed in to join from all over Honduras and neighboring El Salvador. By the time the group reached southern Mexico, having overwhelmed authorities at both the Guatemalan and Mexican borders, the United Nations estimated that there were over 7,000 people—easily the largest caravan yet to come out of Central America. The unprecedented spectacle quickly captured the world’s attention and became a symbol for what is becoming known as the ‘Central American Exodus’—the mass movement of people fleeing staggering, relentless violence and abject poverty in the ‘Northern Triangle’ countries of Honduras, El Salvador, and Guatemala.

Mid-November, the caravan arrived in Tijuana, and the migrants were trapped between life-threatening violence and an unsympathetic, byzantine US immigration system. After a grueling 4,000 kilometer journey, the dream of America was agonizingly close.

THE PHOTOGRAPHER

Kitra Cahana (b.1987) is a documentary photographer, filmmaker and TED speaker. Her work explores important social, anthropological and spiritual themes. Born in Miami but raised in Canada and Sweden, Cahana earned her B.A. in philosophy from McGill University and her M.A. in visual and media anthropology from the Freie Universitat in Berlin. She is a contributing photographer to National Geographic Magazine.Kitra is the recipient of numerous grants and awards, including two Canada Council Grants for the Visual Arts, a TED Senior Fellowship, a Canadian screen award, a Pulitzer Center for Investigative Reporting grant, a 2013 International Center of Photography’s Infinity Award, first prize for the 2010 World Press Photo, a scholarship at Fabrica in Italy and the Thomas Morgan internship at the New York Times.

www.mapsimages.com/photographers/kitra-cahana

© Kitra Cahana / MAPS

ThemeExile


ENTREPÔT LAROSA 2

KAMEL MOUSSAÉQUILIBRE INSTABLEBELGIQUE

‘Équilibre Instable’, about young people in south-eastern Tunisia after the revolution, was undertaken between 2012 and 2016. It has appeared in several exhibitions and a book has been published by Bec en L’air.

“…Kamel Moussa belongs to the generation of photographers who have understood that in an age when we are being inundated with images, the difficulty is not the production of images, but avoiding the clichés that we face. For him, as for them, authenticity has less to do with an illusory conformity with real life than with a determination to keep the clichés of globalisation at a distance. Distrusting as much incisive objectivity as narcissistic egotistic aesthetics, between documentary-style description and artistic vision, he has chosen this fine balance, that single-handedly keeps you on your guard, to describe the difficulties his country faces. With him, we start to understand that looking —really looking— is already resisting…”

Jean-Marc Bodson, extract from the book

THE PHOTOGRAPHER

Belgo-Tunisian photographer, resident in Brussels. He studied at the Agnès Varda School of Photography in Brussels and then at the Higher School of Image Arts « Le Septante Cinq » in Brussels too. The favorite themes of his work are the exploration of the notions of identity and belonging as well as the fragility and ambiguity that characterize young people. He favors long-term work while trying to photograph people in their own environment.

www.kamelmoussa.com/

© Kamel Moussa

ThemeExile


ENTREPÔT LAROSA 2

PANOS KEFALOSSAINTSGRÈCE

"Why ‘saints’? The correlation between the title of my book and its subject matter is not an obvious one. I chose the word ‘Saints’ because, to me, it is the signifier of a spiritual search. What I was looking for with my work was a missing spiritual connection: something linking me with the people portrayed in these photos, or linking them with my city, or me with the lingering shadow of my past.

"In the fall of 2012, my involvement in an unrelated work brought me to Victoria Square, in downtown Athens. In these early stages my goal was to capture the everyday life of the children – most of them refugees from Afghanistan – that worked and played on the square. It quickly became about much more than that. It became about childhood – that broken mirror image of adult life – and the forces tearing it apart: fragility and unconstrained freedom, the brutal violence of war and the instinctive expression of child’s play.

"The Saint is he who opens to the sinner the way to atonement and transcendence. The bond I formed with three of the children and their families released a tension that took away all my innermost fears. They taught me that the truest connection would come by looking at their world as a photographer ultimately should: through my own eyes. By delving into intimate feelings and personal truths, the memories and primeval impulses that struggled inside me to reach the surface were suddenly free to pour forth.

These photos don’t tell any stories. They are a free association of images, reflections of the way I felt about our encounter."

THE PHOTOGRAPHER

Panos Kefalos made a name for himself with the book “Saints”, published in 2016 by Fabrica in Italy, a personal chronicle based on young Afghan migrants and their families in Athens. He lives and works on his personal projects in the centre of the Greek capital.

www.panoskefalos.com/

© Panos Kefalos

ThemeExile


ENTREPÔT LAROSA 2

AD VAN DENDERENGO NO GOPAYS-BAS

“Almost 35 years ago while shooting a story in eastern Turkey, I saw a then brand new phenomenon: the start of today’s massive immigration. Before that time, people only fled across the border in times of war and waited there for better times to return back home.

"But in 1986, I saw hostels near the border full of young men who had absolutely no intention of going back. Their future plans were totally different. These immigrants wanted a safe and better life which their own country could not give them due to unrest and unemployment, and therefore they were on their way to Europe.

"35 years later not much has changed. Immigrants keep coming to Europe, the routes may have changed and the name of the conflicts. But they are still seeking shelter and looking for opportunities I still hear the words of the British prime minister Tony Blair after the 58 deaths in a truck at Dover (18 June 2000). ‘We are going to sail with submarines in the Mediterranean to stop them’.

"The catastrophe at Dover was only the beginning. In 2015 Angela Merkel responded to the arrival of more than a million immigrants to Germany with the statement ‘Wir schaffen das’. The result was that nationalist parties in Europe made every effort to stop the immigrants and keep them away.“

In ‘Go No Go’ van Denderen leads us along the edges of Europe where immigrants try to reach the West along smugglers’ path with varying success.

THE PHOTOGRAPHER

Ad van Denderen was born in 1943 in Zeist, in the Netherlands. He lives in Amsterdam.After a first body of work on the conditions of life in prison, Ad van Denderen chose to focus his photography on long term projects only. His main subjects are: apartheid in South Africa, peace in the holy land, and migration within the Schengen countries.Few photographers today are so characteristic – and exemplary – of a tradition of documentary photography whose function is both to reveal the state of the world and to put it in a state of crisis in front of its own representation.After his training at the press reporters’ school, he rapidly knew he had to develop personal projects in order to go beyond the limits imposed by the medium. He was able to associate these projects with his need to explore and document the contemporary world.

www.agencevu.com/photographers/

© Ad van Denderen / VU'

ThemeExile


THE PHOTOGRAPHER

Born in 1992 in Sanaa, Yemen, Ahlam Jarban has a degree in petroleum geology. She then became interested in painting and street art, participating in many events and exhibitions in Sanaa. She endured the Yemeni Civil War and the challenge of being a woman in a closed, patriarchal society based on ethnic discrimination before passing through Jordan, arriving in France in 2018. She joined the Atelier for Artists in Exile and started at the École nationale supérieure des beaux-arts in Paris in September 2019.

She will produce a work, ‘I was before, I became’, in situ in Sète, leading us to question the identity of migrants while endeavouring to break with stereotypes that continually associate migrants with death, blood, ignorance and destruction.

She incorporates the endless administrative documents that asylum seekers are repeatedly asked for that in turn also enlighten us about their past. Who were they before being migrants?

In collaboration with the CADA of the Bassin de Thau.

AHLAM JARBANI WAS BEFORE, I BECAMEATELIER DES ARTISTES EN EXIL

ENTREPÔT LAROSA 2

© Ahlam Jarban

ThemeExile


ENTREPÔT LAROSA 2

AGENCE ROGER-VIOLLETLA RETIRADAFRANCE

The arrival of Franco’s forces in Barcelona on 26th January 1939 marked the beginning of the exodus of Republicans to France. The French government disregarding all universal principles did not give them the dignified welcome that they deserved when crossing the border. In less than two weeks 500 000 refugees plagued by the cold, fear and hunger, two-thirds of whom were women and children, managed to cross the border. This mass exodus was documented by the French press as a whole at the time. Unpublished images which shed some light on this tragic chapter in history remain in the Roger-Viollet archives.

Photographs from the newspaper Excelsior are circulated by the Roger-Viollet photo agency.

The daily newspaper Excelsior, created in 1910, was the first French newspaper to dedicate a major place to photography. Since inception, its clear-cut ambition was to publish twenty or so photographs in each issue, including the front page. Between 1914 and 1918, Pierre Lafitte, its founder, sent reporters each day to photograph France at war.

© Excelsior – L'Equipe / Roger-Viollet

ThemeExile


GARE SNCF

LAURA PANNACKTHE CRACKERENGLAND / INLAND

A vast wasteland stands between the two estates. ‘Tibby’ ; its cul de sac of residential houses curls around a small playground. Kids push prams with their hands above their heads or zip past on bikes.

Through a narrow alleyway you enter the Cracker ; rolling grass lined with blackberries and stinging nettles. Motorbikes, peds and quads bark loudly every day and at all times. The boys race them until they burn out, perfecting the art of the wheelie. Horses are usually kept in the back gardens or local stables and are just as popular.

The girls nestle around small fires despite the baking summer sun. On my second trip I discovered an entirely black Cracker, sporting the occasional patch of grass that had escaped a burning.

On the adjacent side lies ‘The Lost City Estate’. Most of the boys meet at Jack Barrett’s bars (a metal fence that lies to the opening of the field). They perch and exchange stories, cigarettes and zoots alight referring to each other affectionately as ‘Mush’

I ‘m drawn to this area for its insular community. Everyone knows each other and the name. The community chose the name ‘The Lost City’ as they felt forgotten. With limited entertainment or inspiration and a lack of role models these young people do feel lost. The police battle against them. I want to explore the friendships, the unique language and tradition of the area and the characters that for me ; should not be lost or ignored.

© Laura Pannack / InLand

THE PHOTOGRAPHER

Laura Pannack is a London based photographer.Renowned for her portraiture and social documentary work, she seeks to explore the complex relationship between subject and photographer.Her work has been extensively exhibited and published worldwide, including at the National Portrait Gallery, the Houses of Parliament, Somerset House and the Royal Festival Hall in London.

www.laurapannack.com/

+ As every year, with the faithful support of Gares & Connexions, the ImageSingulières festival takes over the Sète SNCF sta-tion, its corridors, its lobby, its facade. All year long, we will see a selection of Clementine Schneidermann’s work, an anthology of the 2020 programme.This year the festival’s programme will also be shown in the Montpellier Saint-Roch train station.


CENTRE RÉGIONAL D'ART CONTEMPORAIN - OCCITANIE

MARION GRONIERAMERICAN MONUMENTSFRANCE

‘All Americans know the joke concerning their ancestors, that says that it’s a real shame that the Plymouth Rock didn’t land on the Mayflower Pilgrims rather than the reverse. This wisecrack never seemed very funny to me. It is hateful, vindictive, and what is more it contains a very bitter truth. The immobility of this rock has indeed represented the extermination of Indians, the slavery of blacks and the spiritual debacle of these Europeans without house or home who now call themselves Americans when they have never been able to resolve the problem of their belonging, to both the continent that they fled and the one that they conquered.’

James Baldwin, Sans allusion, 1964

Taking their portraits both depicts the stigma regarding the harshness of their current situation and brings to the surface the ghosts that haunt their history

With the support to documentary contemporary photography of the Centre national des arts plastiques.

THE PHOTOGRAPHER

Marion Gronier was born in 1976.She discovered photography after two years of preparatory classes in literature, a Film Studies MA and a DESS (postgraduate diploma) in cultural mediation. Three years as an assistant at Agence VU’ honed her perspective. She began taking photographs in 2003, driven by personal projects which, very quickly, began to focus on faces. Her photography has since explored portraiture. For her, human faces are an endless source of fascination and mystery. A face, captured by photography, takes time to display, before our very eyes, tiny tremors and inner turmoil. It oscillates, vibrates, plunges and constantly changes.It is like a reflection of us and yet as distant as a ghost watching us through the depths of time.

www.mariongronier.com/

© Marion Gronier

EXHIBITIONfrom 24 April to 24 May

+ Opening of the exhibition on Friday 24 May at 6pm at the CRAC - Occitanie

THE RIO

AGENCE ROGER-VIOLLETHORS-CHAMPFRANCE

You always make a discovery when you delve into the rich archives of the Roger-Viollet photo agency.

If you focus your research on “cinema”, you will come across a few gems, memories as well as revelations about our favourite stars.

Gaston Paris, the tremendous photographer who was part of the weekly VU magazine, founded in the thirties, the first to give photography its rightful place, and Alain Adler who continued in the fifties and sixties, documenting off-camera moments on French film sets for us cinema buffs to enjoy.

Photographs by Alain Adler and Gaston Paris are part of the Roger-Viollet collection that belongs to the Bibliothèque Historique de la Ville de Paris, and by public service concession are made available by the Roger-Viollet photo agency.

THE PHOTOGRAPHERS

Gaston ParisGaston Paris was born in 1903 and from the 1930s was one of the cornerstones of the weekly magazine Vu founded by Lucien Vogel in 1928. He was the only salaried employee among the photographers, sharing the pages of the magazine with Laure Albin-Guillot, Germaine Krull, André Kertész, etc. He increased the number of reportages: cinema, sport, song, theatre, the site of the new Trocadéro, etc. Parallel to his conventional work as a photojournalist at the time, he provided many strange and personal small reportages, inspired by the surrealist movement. He excelled in staging strange scenes and was one of the main contributors to Détective magazine from the end of the 1930s to the 1950s; between horror and Grand Guignol (theatre specialising in horror), he recreated dramas full of gangsters and adultery... He died in Paris in 1964. Bought by Roger-Viollet shortly after the photographer’s death, the 15,000 photographs by Gaston Paris make it possible to follow how his gaze developed and to grasp the familiarity he had with his models, Simenon, Cocteau, Jouvet and Piaf, and discover the charms of the swimsuit competitions at the Piscine Molitor, the Folies Bergère and studios of Yves Brayer and Moïse Kisling. Alain AdlerFrom 1954 to 1964, the photographer Alain Adler explored French film sets. The decade boasts a wealth of productions, from the beginnings of New Wave with ‘A bout de souffle’ by Jean-Luc Godard and ‘Tirez sur le pianiste’ by Claude Chabrol, to the durability of French quality films by Claude Autant-Lara and Jean Delannoy, upon which it was built. The actors and actresses are not to be outdone: Delon, Belmondo, Gabin, Regianni, Micheline Presle, Micheline Morgan and Annie Girardot, iconic actors of the time, appear before the lens of the photographer who captured them either in action or relaxing. The Roger-Viollet photo agency, that acquired the photographer’s collection in 1990, has digitised over 12,000 negatives.

© Gaston Paris / Roger-Viollet

EXHIBITIONfrom 20 May to 28 June

AROUND DOCUMENTARY REPORTINGfrom 20 May to 7 June

DOCUMENTARY FILMS SHOWINGS

A selection of documentary films will complement the themes developed in the exhibitions.

THE RIO

CINÉMA COMOEDIA

PROGRAMMING IN THE WORKS

THÉÂTRE MOLIÈRE

How many talented photographers, in France or elsewhere, lack the means to finish a project? How many, after spending several months documenting a subject, stop. Because their subject is more complex than they had thought, because it requires more time than they imagined. Photographers then go on to other things hoping to find a more lucrative story, requiring less of their own funding.

It is in order to support these difficult projects that the ImageSingulières festival, the news service Mediapart and ETPA, the photography school in Toulouse, have committed themselves since 2018 to two awards :

The ISEM Grand Prize is open to photographers around the world. With an endowment of 8000 euros, it is intended to help complete a documentary project already in progress. The prize is to be used to finalise the winning work. Once the winners are announced, the project will be presented in portfolio form on Mediapart and once completed, will be exhibited at ImageSingulières.

The second prize, ISEM Young Photographer Prize is for those under 26 years of age residing in France. With an endowment of 2000 euros, it is also to support a work in progress and will be published on Mediapart. The winner may also attend a 3rd year Masterclass at the ETPA.

Programme :• Candidatures accepted from 13 January to 29 March• Finalists announced and screening of the winners’ and finalists’ works on Saturday 23

May at the Théâtre Molière during ImageSingulières in Sète• Publication of the two winning portfolios on the Mediapart website (www.mediapart.fr) • Exhibition of the Grand Prize winner's work at the festival ImageSingulières 2021.

ISEM Prizes award 2020During the evening of screenings on Saturday 23 May at the Théâtre Molière

2019 winnersISEM Grand Prize : Romain Laurendeau

ISEM Young Photographer Prize : Maxime Matthys

2018 winnersISEM Grand Prize : John Trotter

ISEM Young Photographer Prize : Valentin Russo

ISEM DOCUMENTARY PHOTOGRAPHY PRIZES2020 / 3rd EDITION

PRIZES

PRIZES

VUES DE CHEZ NOUS PRIZESCHOOLS MEDIA COMPETITION

For the third year running, ImageSingulières and CLEMI invite classes at all levels to describe in images their daily lives and their surroundings. The students and their teachers produce a photo-essay to submit to the national Mediations competition, rewarding the best school media for the VUES DE CHEZ NOUS prize.

The winning photoessays are published on www.lafrancevuedici.fr

www.lafrancevuedici/pedagogie.php

FORTANT / IS / WIPPLAY COMPETITION“AROUND WINE - THE HUMAN ELEMENT”11 MARCH - 22 APRILPRIZE GIVING THRUSDAY 21 MAY / 16H30

THE LAURENT TROUDE BURSARY2ND EDITIONFRIDAY 22 MAY / 22H

Along with Fortant, historic partner and patron of the festival, ImageSingulières is organising a competition open to amateur photographers and wine-lovers. For this 6th year, the theme is the link between wine and humans.The competition awards three prizes which are chosen by a panel of professionals in the fields of photography and wine during the festival’s opening weekend. In 2019, the website WIPPLAY joined us.

For more information and competition rules : www.wipplay.com

EXHIBITION ON THE WALLS OF THE CHAI COLLECTIONFROM 20 MAY

The Laurent Troude association, the SAIF, Libération, Divergence Images and ImageSingulières launch the 2nd edition of the Laurent Troude Bursary for new press photography.

This bursary is for photographers under the age of 30 who struggle to practise their profession and bring their talent to the fore, due to lack of means.

© Christian Schwarz - Winner of 1st prize 2019

© « Grandir avec le rugby à Madagascar », Victor Avendano, lycée Sarda Garriga, Saint André, lauréat catégorie lycée

© Théo Combes - Lauréat 2019THÉÂTRE MOLIÈRE

CHAI COLLECTION - FORTANT

THURSDAY 21 MAYNETHERLANDS EVENINGTribute to Netherlands documentary filmFROM 19HWith the support of the Embassy of the Kingdom of the Netherlands

THE RIO / 19H « A Valparaiso » by Joris Ivens et Chris Marker, 1962, 22 min« Zoo » by Bert Haanstra, 1962, 11 min« To Sang Fotostudio » by Johan Van der Keuken, 1997, 32 min

ANCIEN COLLÈGE VICTOR HUGO / FROM 22HScreening by Ed van der Elsken« Beppie » by Johan van der Keuken et Ed van der Elsken, 1965, 38 min

Open to the public/free entryCatering and bar at the venue

THE RIO & ANCIEN COLLÈGE VICTOR HUGO

For our evening film projections, after the challenge of the Théâtre de la Mer in 2019, where we were lucky to have wonderful weather and which left its mark, we are moving on in search of a new experience. Two evenings at the Théâtre Molière, a magnificent late 19th century Italian style theatre which was lovingly restored a few years ago. A jewel within which to hold beautiful evenings of discovery.

FRIDAY 22 MAYSCREENINGS AT THE THEATRE MOLIERE21H / DOORS OPEN AT 20H

FIFV : the 10 years of the Valparaiso festival, ChileCarte blanche for the InLand collective« True West » by Anne Rearick« Les Barbares » by Jean-Gabriel Périot« Noire Méditerranée » by Théo Combes, 2019 winner of the Laurent Troude BursaryPresentation of the 2020 Laurent Troude Bursary« Brésil » , in collaboration with the magazine 6MOIS

Free entry / limited number of seats

EVENING SCREENINGSOpening weekend20-24 May

THÉÂTRE MOLIÈRE

THÉÂTRE MOLIÈRE

© Florent Joliot

© Loïc Bonnaure

SATURDAY 23 MAYSCREENINGS AT THE THEATRE MOLIERE21H / DOORS OPEN AT 20H

Carte blanche for the OSTKREUZ agencyPresentation of the 2020 ISEM Prize for documentary photography « Les Oiseaux », Éditions Xavier Barral, with Albarran Cabrera, Graciela Iturbide, Leila Jeffreys, Michael Kenna, Yoshinori Mizutari, Bernard Plossu, Pentti Sammallanti et Terri Weifenbach.« Les Habitants », Artavazd Pelechian

Free entry / limited number of seats





SALLE GEORGES BRASSENS

THE FESTIVAL BAR

AFTER EXPOS

PHOTOBOT PROPHOT

NOVA DANSE

SAMEDI 23 MAI / 22H30 - 2H

In the courtyard of the Ancien Collège Victor Hugo, under the plane trees, the ephemeral festival bar will offer bio fruit juices and local beer, Bouzigues oysters and the always welcome local Fortant wines. All you need to cool off in a friendly and eco-responsible ambience.

Wednesday 20 to Friday 22 May: 11h - midnightSaturday 23 May: 11h - 21hSunday 24 May : 11h - 19h

To create an ambience at the day’s end, DJ Paul Brisco will set up his turntables at the Ancien Collège during the opening weekend. In a relaxed “after” mood at the bar counter or on the dance floor, your choice!

From Wednesday 20 to Friday 22 May: 19h - midnightSaturday 23 May: 19h - 21h

Open to the public/free entry

Have your portrait taken by the PhotoBot set up at the Ancien Collège Victor Hugo by our partner PhotoBot Toulouse. Immortalise your festival visit and leave with your print!


Nova Danse! A soundclash in b2b (or more) from the Radio Nova team. A warm and eclectic set. In the spirit of Grand Mix de Radio Nova: a marathon mix of world, disco, hip-hop, house and bass music. Between sophisticated tracks and sweet laidback sounds. In short, anything goes…

Open to the public / 5€

PARTYTIMEOpening weekend20-24 MAY


© Loïc Bonnaure

The Espace Georges Brassens, whose director Catherine Mata was extremely helpful to the photographer Clémentine Schneidermann during her residence in Sete, will host a meeting with her. The photographer will discuss selected photographs and describe for us her experience in Brassens’ city. Also an opportunity to discover the world of Georges Brassens, exploring this museum dedicated to the Setois poet.

A musical interlude will close the event.

www.espace-brassens.fr

Open to the public/free entryLimited places/reserve online

ESPACE GEORGES BRASSENS

CLÉMENTINE SCHNEIDERMANNSCREENING - MEETINGWEDNESDAY 20 MAY / 11H

RENDEZ-VOUSOpening weekend20-24 May

LES AGORAS SINGULIÈRESDISCUSSION FORUMS21 AND 22 MAY - 15H

The political climate, social upheavals and of course the alarming state of the photographic profession bring us together - the public, journalists, photographers, and other players in the world of photography. Here everyone can present their project and debate it with festival-goers.



EDWY PLENEL & MOHAMED NOUR WANACONFERENCESATURDAY 23 MAY - 15H

A debate on the theme of exile and welcome with Edwy Plenel, founder of Mediapart, and Mohamed Nour Wana, Sudanese writer and poet, a political refugee in France and a member of the artists in exile workshop.


SALLE GEORGES BRASSENS

© Clémentine Schneidermann

© ImageSingulières 2017

HISTOIRE DE L’ŒILGUEST BOOKSHOP20-24 MAYBOOK SIGNINGS EVERY DAY AT 10H30 AND 18H

The Marseille bookshop Histoire de l’oeil, which specialises in contemporary art forms and creativity, will offer a selection of photographic books reflecting the festival’s programme and will organise book signings and meetings in its space during the opening weekend.

www.histoiredeloeil.com


TRAINING19-31 May

HÉLÈNE BOURGONWORKSHOP / RADIOPHONIC MEETINGSSATURDAY 30 AND SUNDAY 31 MAY

ESJ EDITORIAL BOARDRESIDENCE19 - 23 MAY

This workshop will help you discover the profession of journalist in the field learning radio, sound and editing techniques, through to producing reports, interviews, sound portraits at the heart of the EXILS exhibition at the Entrepôts Larosa. The workshop is run by Hélène Bourgon, journalist for Radio France, RFI and RTS Switzerland, and co-founder of www.1538mediterranee.com.

Since 2016, a group of students from the Ecole Supérieure de Journalisme (ESJ) Pro in Montpellier has installed a website at the heart of the festival during the opening weekend to cover the event. Using text, sound, videos and photos they create, they will produce and put online a “long format” multimedia production demonstrating the richness of the ImageSingulières exhibitions, as well as showing the festival corridors and participants.

ANNE REARICKWORKSHOP / DOCUMENTARY STORYTELLINGTHURSDAY 21 TO SATURDAY 23 MAY

One workshop, three days, to discover Sète, the “Ile singulière”, land of inspiration to Valéry and Brassens. A city that resembles no other. Three days to lay the basis for a documentary project with Anne Rearick, a great American photographer.

Price and inscription : www.imagesingulieres.com


ENTREPÔTS LAROSA


© Anne Rearick / Sète #17

© Hélène Bourgon

© Loïc Bonnaure

FESTIVAL RECEPTION - MAISON DE L’IMAGE DOCUMENTAIRE17 rue Lacan 34200 Sète / 04 67 18 27 54 / [email protected] www.imagesingulieres.com / www.la-mid.fr

TOURIST INFORMATIONOffice de Tourisme de Sète / 60 Grand’Rue Mario Roustan / 04 99 04 71 71www.ot-sete.fr

GROUP VISITS20 MAY TO 7 JUNE / ALL EXHIBITION SITES

We offer guides visits of the exhibitions, free and open to all. Our cultural outreach volunteers are there for you at each festival venue. We also welcome school groups by appointment. Tailor-made tours can be arranged. An educational file is available on demand.

Free / by appointment

For more information and reservations:Camille Baroux / chargée du service des publics04 67 18 27 54 / [email protected]

Visitors can find the imageSingulières collection of books produced from its photographic residencies in Sète, limited edition prints, guest photographers’ works, posters, t-shirts and other goodies.

Credit cards accepted / Culture Pass

BOUTIQUES DU FESTIVAL20 MAY TO 7 JUNE / 10H - 19H

ACCES TO THE WHOLE EVENT IS OPEN AND FREE !

PRACTICAL INFORMATIONS

MAISON DE L’IMAGE DOCUMENTAIRE CHAPELLE DU QUARTIER HAUT

ANCIEN COLLÈGE VICTOR HUGO© Loïc Bonnaure

© Loïc Bonnaure

EXHIBITION HOURS20 MAY TO 7 JUNE 2020Every day from 10h to 19h

EXHIBITION 24 APRIL TO 24 MAY 2020Marion Gronier / CRAC (Centre Régional d'Art Contemporain) : every day (except Tuesday) from 12h30 to 19h / weekends 14h to 19hEXHIBITION 20 MAY TO 28 JUNE 2020Hors-champ / The Rio : Wednesday to Sunday 11h to 23h

OPEN TO THE PUBLIC/FREE ENTRY

12e RENDEZ-VOUS DE LA PHOTOGRAPHIE DOCUMENTAIRE

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GARE SNCF

ESPACE SNCF G&C

SALLEG. BRASSENS

CHAI FORTANT

THÉÂTREMOLIÈRE

ANCIEN COLLÈGE V.H.

ENTREPÔTSLAROSA

CHAPELLE

MID

CRAC

THE RIO

TARBOURIECH

Site en partie accessible aux personnes à mobilité réduite

GARE SNCF 20 place Cambon

ESPACE SNCF GARES & CONNEXIONSPlace de la gare

ANCIEN COLLÈGE VICTOR HUGO3 rue Raspail

CHAPELLE DU QUARTIER HAUT 42 bis Grande Rue Haute

MAISON DE L’IMAGE DOCUMENTAIRE 17 rue Lacan

SALLE TARBOURIECH THÉÂTRE DE LA MER Promenade Maréchal Leclerc CRAC (jusqu’au 24 mai)26 Quai Aspirant Herber

THE RIO (jusqu’au 28 juin)7 Quai Léopold Suquet

ENTREPÔTS LAROSA1978 Avenue Gilbert Martelli

CHAI FORTANT9 Quai Paul Riquet

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THÉÂTRE MOLIÈRE Avenue Victor Hugo

SALLE GEORGES BRASSENSRoute de Cayenne

ESPACE GEORGES BRASSENS67 Boulevard Camille Blanc

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LES RENDEZ-VOUS

VERS ESPACE BRASSENS

EXHIBITIONS

EVENTS

with the support of

REGIONAL PRESS RELATIONS& FESTIVAL OFFICE Association CéTàVOIR

Lucie Guitard Tél. : +33 4 67 18 27 54

[email protected]

NATIONAL PRESS RELATIONSRelations Media

Catherine Philippot & Prune PhilippotTél. : +33 1 40 47 63 42

[email protected]@relations-media.com

WWW.IMAGESINGULIERES.COM

CONTACTS

ImageSingulières, a festival organised by CéTàVOIR in partnership with

the City of Sète

PRO

documentary photography rendez-vous 20 may > 7 … · photography professionals and amateurs...

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