the second carmignac gestion photojournalism award

PRESS KIT Carmignac Gestion Photojournalism Award July 2011

CARMIGNAC GESTION FOUNDATION

Massimo Berruti, 2010 winner

www.fondation-carmignac-gestion.com

Cover Pakistan, Swat Valley, Mahnbanr (Qilagai), near the Dir border, March 2011:SaidBachà, Lashkar elder from Mahnbanr, returning home with armed Lashkar members afterattending a Grand Jirga in Tehsil Kabal. Leaders like SaidBachà are threatened by theTaliban who accuse them of playing a key role in operations intended todrive them out of the Swat Valley.© Massimo Berruti, VU’ Agency for the Carmignac Gestion Foundation

CONTENTS

A priceless expression imbued with strength and humanity, by Édouard Carmignac ……………… p. 2


Massimo Berruti and Pakistan …………………………….……………………………………… p. 4« Lashkars » : exhibition of the winning reportage ……………………………………………… p. 5About the Lashkars ………….....………………………………………………………………… p. 6Biography of Massimo Berruti …………………………………………………………………… p. 7Previous photo-reportages by Massimo Berruti ………………………………………………… p. 7

Carmignac Gestion Photojournalism Award …………........………………………… p. 10

The 2010 Carmignac Gestion Photojournalism Award ……………………………… p. 11

The Carmignac Gestion Foundation ……………………………………………………… p. 12

Visuals available for the press ……………………………………………………………… p. 14

Carmignac Gestion……………………………………………………………………………. p. 17

Press contact for the Carmignac Gestion Photojournalism Award:

Heymann, Renoult AssociéesAgnès Renoult, Eléonore Grau and Marika BekierTel. : + 33 (0)1 44 61 76 76National press: [email protected] press: [email protected]

PRESS KIT

Massimo Berruti July 2011

Massimo Berruti is not one to watch from afar. The winner of the second Carmignac Gestion Photojournalism Award certainly did not choose an easy place to investigate, spending three months in tribal areas, the cradle of glo-bal terrorism sheltering Taliban and Al-Qaida training camps. To continue the great tradition of photo-reportage, threatened by a serious funding crisis, you need lucidity and courage, a hardened character, and nerves of steel. And this is the path Berruti chose at a very early age.

His first reportage in Pakistan, a land of transitions torn apart by a spiral of murderous violence, was in 2008. A member of the VU’ agency, the young photographer decided to start out in this hotbed of ethnic and politico-religious upheaval and retaliations, of score settling between clans, of ongoing territorial disputes between Pakistan and its Indian and Afghan neighbours – inherited from the British Empire and the 1893 Durand Line, which still separates the region – and of the protection of the Russian, Iranian and Chinese borders. Not to mention the influence of US homeland security: Charles de Gaulle’s laconic summary of this explosive mix as the “Complicated East” has never been more true.

Despite his intrepid venture into this mine-field, Massimo Berruti is no daredevil. This talented, inspired photographer, who can arouse emotions conscientiously with care and decency, is an experienced, cautious, thoughtful professional. He is also determi-ned. Like other members of this group so unique that it should be defended as a pre-cious commodity, Massimo Berruti is not one to take ill-considered risks in search of fame.

Putting his life in danger, however, he chose to share the harsh fortunes of the Pakistani people in their struggle for freedom. He first went to the country’s south for a reportage entitled “Bloodbaths in Karachi (planned murders)”, which won second prize at last year’s World Press awards. Then he ventured to the Swat Valley, north of Pakistan’s tribal areas, to share in the daily life of the Lash-kar civilian militia who are one of the last defences against the Taliban threat as Nato troops prepare to withdraw.

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A priceless expression imbued with strength and humanity

Massimo Berruti does not just have an artist’s eye; he takes a journalist’s view of reality, hiding neither brutality nor surreptitious mo-ments of beauty. His aim is to pursue the truth and report it faithfully in all its tragedy and hu-manity without fear of confronting extremely distressing situations.

Look at the expression of this Lashkar chief, born in this special crossroads of tribal areas on a map of such huge global importance, between Pakistani allegiances and the memory of an Afghan past. This old man is not just pro-tecting his family or his ancestors’ land; above all, he is fighting an internal battle for his soul. He takes no pleasure in continuing this inheri-ted battle and this is visible in the solemnity of his expression.

Indeed, what remains of a normal existence for these communities caught up in conflicts that go well beyond regional level? Quite simply this look, imbued with strength and brothe-rhood, showing courage and dignity. It was in search of these expressions, each capable of surpassing the pain and terror of random death, that Massimo Berruti travelled far from home in an undertaking as difficult as it was noble and ambitious.

And what did the young photographer do just after winning the award for his reportage on the Swat Valley? He went straight back to Pakistan to finish his work among communities that he had come to know and love by sharing in their high-risk existence. His intuition tells him that the documentary report that he began a few years ago is not yet complete.

On paper, his work can be summarised in two words: bear witness. But the next part of the story begins on the ground, as you will see.

Édouard CARMIGNAC

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“More than anything else, I wanted to see somewhere other than Italy. It was the elec-tions in February 2008 that first convinced me to go and work in Pakistan. I thought I would leave immediately after, but then I stayed as the country fascinated me.

Pakistan is a country undergoing immense change, with all the difficulties this implies. Plus I was free to go just about anywhere, unlike in other countries of the region, espe-cially Afghanistan.

I wanted to use my images, however tragic they may sometimes be, to reveal how these people suffer in their daily lives from the terrorism perpetrated by the Taliban, but in particular I wanted to show how they resist with their minimal resources and continue to live despite everything. I am not sure that I have completely achieved this aim with my photos, as terrorism is a complicated, often impalpable, affair that involves wide-ran-ging interests, sometimes from outside the country where it occurs.

It was hard for me to show the feeling of degradation that I witnessed during my trip. Things seem to be deteriorating but the authorities think only of using armed force to curb the Taliban threat, which in my opinion is counterproductive.

Strangely enough, I encountered very few problems working as a photographer in Pakistan. In fact, it turned out to be easier for me to work in Pakistan than in Italy. The people are not violent; Pakistan in general is not a violent country. Of course, the situa-tion for locals is very hard; they may curse those who do them so much harm, question their reasons.

Sometimes the Taliban beat women in public even though this goes completely against Pashtun culture. Yet there is no anger against the US army or even the Taliban terrorists. Rather, people are waiting for eve-rything to blow over, for things to improve. Paradoxically, the only time I really felt threatened was not because of the Taliban but the Pakistani army. In the Swat Valley, a young solider grabbed my camera for no reason and pointed his gun at me. I was pretty scared that day.

My images of Pakistan are in black and white as I almost immediately found colour disturbing, as though it was distracting me from my primary goal. I reverted to black and white to be closer to my subjects. I do work with colour in Italy but it is something I find hard to master; you need a perfect blend of tones. Here, for example, there are lots of blues and purples, which did not always look very good in my first photos. When my technique has matured I will look into it more seriously, but not just yet.”

Massimo Berruti, September 2009.

Massimo Berruti and Pakistan


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Massimo Berruti and Pakistan

Massimo Berruti’s “Lashkars” exhibition revives the spirit of the great reportage, faithfully reflec-ting the bravery of these men and boys who, hour by hour, day and night, overcome the constant fear of another Taliban raid. The selection, which includes 14 panoramas, highlights the emotions of participants in this drama using a diverse choice of compositions to reflect different pers-pectives. It switches between close-ups and wide-angle shots, night scenes and scenes of daily life, abstract evocations and variations inspired by local topography. The images implicitly reveal the continuation of Lashkar ancestral traditions.

Alongside a collection of copies of Renaissance paintings and sculptures housed in the old chapel of the Ecole des Beaux-arts, Massimo Berruti’s photographs do not offer as much contrast as one might have imagined. These testimonies of ar-tistic heritage resonate easily with images where highly symbolic guns are omnipresent, even in intimate scenes, as the same question raised by these works of art is that which manages to call out to viewers, forcing them to contemplate the issues involved.

The 52 photographs appear in chronological order giving a continuous narrative, yet going backwards and forwards, echoing Massimo Berruti’s comings and goings in the Swat Valley region of Pakistan as he completed his reportage and, in particular, in line with the restrictions and inspections imposed by the military authorities.

The winner of the 2010 Carmignac Gestion Pho-tojournalism Award has concentrated on repre-sentations detached from current affairs, favou-ring a humanist approach that looks to break with the Western vision of the Pashtun people, who are often accused of providing a breeding ground for terrorists. Unlike the method of producing news photographs, which are born of urgency, the Carmignac Gestion Photojournalism Award concentrates on an approach that can be descri-bed as an art of remembering, an approach that requires time and presence in high-risk regions.

With no trace of corpses or visible atrocities, the value of Massimo Berruti’s photographs lies in their capture of fleeting moments that will now go down in history.

Nathalie GALLONExecutive OfficerCarmignac Gestion Foundation

Exhibition of Massimo Berruti’s reportage from the Swat Valley (Pakistan)Winner of the 2010 Carmignac Gestion Photojournalism AwardChapelle des Beaux-arts de Paris14, rue de Bonaparte - 75006 Paris,Tuesday to Saturday from 11:00 to 19:00.The exhibition will also be open on Sunday 6 November from 15:00 to 19:00.

A book of Massimo Berruti’s photographs will be published by Actes Sud.


“Lashkars”: exhibition of the winning reportagePashtun civilian militia versus the Taliban (Swat Valley, Pakistan)

Exhibition of the reportage by Massimo Berruti, Winner of the 2010 Carmignac Gestion Photojournalism award4 November - 3 December 2011, Chapelle des Beaux-arts de Paris

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In the tribal areas* where the Taliban and Al-Qaida took refuge after 9/11, local Pashtun communities found themselves at the forefront of the terrorist threat, forgotten in the complex diplomatic game played out between Pakistan and the United States. Exasperated by the atroci-ties of which they were victim, tribes in this area bordering Afghanistan had no other choice than to defend themselves against the reign of terror.

To guarantee their protection, often with their own weapons and supplies, tribal leaders retur-ned to Lashkar tradition of yesteryear, forming militia to meet a specific aim: pursue a criminal, settle a family dispute, reject a law.

In the spring of 2009, the Lashkar militia of the Swat Valley in the north of Pakistan’s tribal regions played a key role alongside the Pakis-tani army in the offensive launched to free the region of the Taliban, which is why they are now particularly open to reprisals by Muslim extremists. In all tribal areas, the Lashkar have paid a heavy human price for their fight against the Taliban and Al-Qaida in recent years. Howe-ver, with Western forces now withdrawing from neighbouring Afghanistan, their support for the security services remains essential.

Many communities are caught up in major conflicts but these Pashtun tribes must confront an extremely dangerous situation of humanita-rian distress in the face of insurgents. Caught in a vice-like grip by the different lands that have historically pitched Pakistan against its Indian and Afghan neighbours, their destitution and isolation are all the more alarming as this region is governed by Pakistan but is not subject to its laws. It remains under special jurisdiction, the Frontier Crimes Regulation (FCR) introduced by British Empire decree in 1901. Special trea-ties were signed but do not give the tribes any constitutional, civil or political rights. Tradi-tionally, it is the tribal elders who choose their representatives in parliament, giving the mullahs considerable leeway to impose their own laws. As with important decisions, civil and criminal cases are heard in meetings of elders: “Jirga”.

Massimo Berruti’s photographs reveal the mili-tia’s daily life, which he shared for three winter months, and in particular the night patrols with all the thought-provoking power of black and white alongside the accuracy and humanity of a talented eye, capable of transcending suffering and fear.

* Federally Administered Tribal Areas (FATA)

About the Lashkars

AFGHANISTAN

PAKISTANFEDERALLY ADMINISTERED TRIBAL AREAS

NORTH WEST FRONTIER PROVINCES

Swat Va

lley

Mingora

BALUCHISTAN

BAJAUR

SOUTHWAZIRISTAN

NORTHWAZIRISTAN

KHOST

PAKTIKA

ORAKZAI

KHYBER

KURRAM

KONAR

NANGARHAR

LAGHMAN

KABUL

LOGAR

PAKTYA

Mardan

Peshawar

Landi Kotal

MOHMANDJalalabad

Asadabad

Nuristan

Kabul

Parachinar

Gardez

Khost

Miranshah Bannu

Kohat

TankWana

Zhob

Islamabad

KhyberPass

0 50

Kilometers

)(

Map by Jeff Ward from DESCENT INTO CHAOS by Ahmed Rashid, copyright © 2008 by Viking Penguin, a division of Penguin Group (USA) Inc.

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About the Lashkars

Massimo Berruti, a 31 year old photographer based in Islamabad, the capital of Pakistan, has, since 2008, been working on a vast documentary covering the Pakistanis’ fight for freedom, after an initial reportage devoted to the elections.

A member of the VU’ agency since 2007, this committed photographer has shown bravery and patience in living within a Pakistani community caught up in extreme violence of a political, religious, ethical and clan-like nature. Summary executions, shoot-outs and targeted assassinations are daily affairs in some towns.

In 2011, his “Bloodbaths in Karachi (planned murders)” reportage came second in the World Press awards and third in the Picture of the Year International awards, after receiving a prize for excellence in 2010. In 2009, his work received the Young Reporter’s Prize at the Visa Pour l’Image Festival.

Previous photo-reportages by Massimo BerrutiBloodbaths in Karachi (2010)

Second prize in the World Press awards and third prize in the Picture of the Year International awards. Located in the country’s south, the financial ca-pital Karachi is home to frequent political, ethnic and religious violence. Targeted assassinations, summary executions and shoot-outs are com-monplace for residents of Pakistan’s largest city. Fear seems to rule as night falls and the streets empty to become the stage for violent score settling.

Floods in Pakistan (2010)

Since the end of July, torrential monsoon rains have poured down on the north of Pakistan, cau-sing extensive damage. The Swat Valley region and northern cities such as Peshawar have been affected by this natural disaster. There are already thought to be 2,000 victims, plus another 15 mil-lion people forced to leave their homes. Although international aid is starting to arrive, the floods are now stretching to the country’s south, raising fears that the human and material cost will rise.

Journalism in Pakistan (2010)

Caught in a stranglehold between the Taliban uprising and government repression, the free-dom of the press has been harmed in Pakistan. According to the latest “Reporters Without Bor-ders” report, it is the country with the highest number of reporters murdered in 2009.In Pakistan, the media and journalists annoy both the Taliban and the authorities. While they try to recount a war being played out at their borders, freedom of expression is not necessa-rily welcome.With dozens of private television and radio sta-tions, the country is experiencing an information revolution similar to that seen in India a decade ago. The media are increasingly aggressive in their coverage of political and socio-econo-mic problems despite the heightening danger. More and more news channels are emerging in Pakistan.The first of these, Dawn News, has been broad-casting since 23 July 2007.Massimo Berruti followed the work of these reporters, special correspondents and presenters of live news channels.

Massimo Berruti Biography

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Peshawar funerals in Pakistan (2010)

Excellence Prize, News Reportage, Picture of the Year International. In the last two years, terrorist attacks by Taliban fighters have claimed more than 2,000 victims in Pakistan. The population is suffering and public opinion lays the blame with US military policy. These attacks are concentrated in the North-West Frontier Province and its capital Peshawar. The attack on 7 December, which resulted in 10 dead and 45 injured, is one of the most recent examples.

Pakistan, Swat Valley (Internally Displaced Persons) (2009)

After receiving and viewing numerous videos showing the violence inflicted on women in the Swat Valley, the Pakistani army decided to launch an offensive against the region’s Taliban. On 15 May 2009, a military operation began in the Swat Valley to drive out the Taliban. Four million people were moved to numerous refugee camps in safer areas. These are commonly called IDPs (Internally Displaced Persons).

Aquila earthquake, Italy (2009)

Aquila is the largest city in Abruzzi and was hit by an earthquake in April 2009. Located in the very centre of Italy, the city is known for its 99 fountains, squares and churches, which have always suffered from tectonic shift. Massimo Berruti went to Aquila to report on the situation. One month later, the city was struggling to cope with the damage. His decision to use panoramic shots heigh-tens the dreadful feeling about the scale of the problem.

Pakistan, the last dogfight (2009)

The 23 March is Pakistan’s national holiday, called “Pakistan Day”. It falls right at the beginning of spring and country dwellers take advantage of this public holiday to celebrate the land’s rebirth. One of the most important moments of the day is the last do-gfight. Dogfights take place only during the cooler season to ensure the animals are kept healthy. For dog owners, this is an excellent opportunity to show off their talent and win a considerable sum of money.

Pakistan, daily terror (2009)

Pakistan is a country at the centre of internatio-nal interests. Its military efforts are supported financially by the United States, which is well aware of the importance of this region in the fight against Al-Qaida. Pakistan has one of the largest nuclear arsenals in the whole of Asia. Since the terrorist attack on the Marriott Hotel in Bombay, travel restrictions and security checks have been stepped up, leading to an increase in arrests, for various crimes, of people who in most cases do not even have enough money to feed themselves.

Military school in Pakistan (2008)

Cadet schools allow children to begin their schooling as future soldiers and officers. Only the richest families can afford to give their children this education. The schools are private and very expensive. However, a military career is one of the most coveted for the privileges and high salaries that it offers.

Previous photo-reportages by Massimo Berruti(cont.)


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Afghanistan, an ordinary desolation (2008)

Massimo Berruti is not an embedded photogra-pher following military convoys. His work in Afghanistan goes beyond images of war, in a conflict whose outcome remains uncertain. This makes him all the more able to present the reality of life for Afghan people, physically and men-tally drained by a war that has been wearing them down for so many years. Drugs, car bombs, the slow but sure onset of madness. All of this can be seen not just in his pictures but in the reality they reflect.

Being blind in Gao, Mali (2008)

Mali is the world’s fourth poorest country. In this region, genetic and other factors have made two million people blind out of a total popu-lation of 20 million. The strong light and the residents of the Niger River where people wash offer only a partial explanation. In this context of extreme need and unrest, a humanitarian initiative has been undertaken by the Air Force, helped by a team of ophthalmic surgeons from Fete Bene Fratelli and AFM AL. The seventh mission, in December 2007, saw more than 700 operations carried out. As is often the case in Mali, blind people are accompanied by a guide-child, chosen from their family or simply bought. Giving these blind people back their in-dependence also means freeing the children who must accompany them throughout their life. The mission carries the name “Return the light”.

Pakistan : Turning Point (2008)

Even more so today, Pakistan lies at the centre of general interest. Many foreign countries are focusing their attention on the role this country plays in the war on Al-Qaida terrorism, and therefore on its impact on regional and interna-tional stability. In this situation, pressure from the United States to establish an air base on the Afghan border could disturb the fragile balance that has so far prevented the country from plunging into civil war. What is the fate of the “country of pure people”? How many contra-

dictions are visible in the country on the verge of a new chapter in its history?

Rome film festival (2006)

The Rome Film Festival is the latest of many in Italy and the first in Rome itself. The festi-val was first held in October 2006. It was the brainchild of former mayor Walter Veltroni and is held at the Music Park built by Renzo Piano.

Roma Residence, Italy (2006)

Roma Residence is a group of buildings at 451 Via di Bravetta, 10 minutes from the Vatican. Each building contains hundreds of beds. The owner is Massimo Mezzaroma, a real estate de-veloper. In agreement with the City Council, the complex is used as temporary accommodation. Due to its past history with the public authori-ties, Roma Residence has become the symbol of dilapidated housing, morale and institutional presence in Rome; a problem weighing on the shoulders of the poor and of every taxpayer, and a history that seems to repeat itself over and over again.

Industrial crisis in Italy (2005)

Italy has enormous wealth but growth in property construction is close to zero. Investment and spending are stagnating. The capital city prefers property speculation to investment in building. These choices have led the country into decline. While the political class argues with newspapers, the chasm with society gets wider, and the two drivers behind our development (small and me-dium-sized enterprises and social negotiations) have misfired.



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With this annual award, Carmignac Gestion looks to support photojournalists who, through their work, are at the forefront of events, protecting the cherished values of courage and independence, transparency and sharing.

In 2009, the Carmignac Gestion Foundation created the Carmignac Gestion Photojournalism Award, aimed at financing a reportage on a given topic directly connected to current affairs. Consisting of a 50,000 euro grant, the objective of the award is to sponsor an in-depth, in-the-field photojournalistic reportage. In addition, the Carmignac Gestion Foundation continues to support winners after they have completed their reports, offering them their own exhibition as well as a monograph. The Foundation also purchases four of the photographs included in the report.

Each year, a panel of judges – all specialists in image and geopolitical issues – selects a project. The decision on how to approach the annual theme is left to the photojournalists who are free to choose a political, economic, social or cultural angle.

The approach taken must follow a clear huma-nist tradition contemplating reality with sen-sitivity, refusing to lapse into caricature or the tyranny of instantaneity, studying the context and learning about the situation so as to report the reality in all its complexity.

By choosing to support a profession in the grips of a severe financing crisis, Carmignac Gestion hopes to give these key witnesses of today’s world the means to go where others will not.

In keeping with the values that motivate its teams, Carmignac Gestion has resolved to defend this personal, committed outlook, by definition in the minority, and, for that very same reason, indispensable.

The Carmignac Gestion Photojournalism Award


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The jury for the second award was chaired by Alain Genestar, Director of Polka Magazine and director of the Polka Gallery, and was composed of:• Christian Caujolle, journalist, author,

exhibition curator and founder of the VU’ agency and gallery

• Susan Meiselas, Magnum agency photo-grapher

• Kathy Ryan, Photo Editor for the New York Times Magazine

• Kai Wiedenhöfer, photographer and win-ner of the 2009 Carmignac Gestion Award

• Olivier Weber, writer, diplomat and roving ambassador for the protection of human rights

• Olivier Laban-Mattéi, independent photo-journalist

• Clément Chéroux, curator of photography at the Georges Pompidou centre and de-puty editor-in-chief of the review Études photographiques.

The topic given to photographers for the second year’s awards was Pashtunistan, a strategic border area between Afghanistan and Pakistan.

Of the 35 entries received, 10 were pre-selec-ted according to the relevance of the project and originality of the angle, as well as the uniqueness of a photographic series reflecting in-depth work carried out locally and telling a story.

The jury analysed each candidate’s ability to offer a different, meaningful interpretation. It also looked for an attachment and understan-ding that went beyond the tension and extreme violence covered by mainstream media.

Three finalists were named after a first-round ballot: Massimo Berruti of Italy, Alfonso Moral of Spain and Simon Norfolk of England.

Massimo Berruti was chosen as the winner of the second Carmignac Gestion Photojourna-lism Award on 26 October 2010. The jury hi-ghlighted the tenacity and strength of character of this photographer able to pursue his repor-tage project with the necessary experience and knowledge of the area in question. The winner’s identity was kept secret until then for security reasons.

Massimo Berruti had offered to immerse himself in the Swat Valley in the province de Khyber Pakhtunkhwa, to follow the daily life of the Lashkars, civilian militia historically put together by former tribal warriors, who place themselves on the front line to protect their fa-milies from the Taliban threat with the support of the Pakistani army. The Lashkars help bring peace to the area and protect it against the risk of bombing and infiltration by insurgents.

In 2007, the Swat Valley on Pakistan’s nor-thern border fell into Taliban hands before coming back under Pakistani army control fol-lowing a 2009 offensive against fundamentalist insurgents (a subject which Massimo Berruti covered at the time). These lands close to the tribal areas are now in the headlines following the death of Osama Bin Laden. At the epi-centre of omnipresent global terrorism, these areas remain at the forefront of a conflict that goes well beyond a regional level. Massimo Berruti carried out his reportage in Pashtunis-tan between January and early April 2011.

The winning reportage will be exhibited from 4 November to 3 December 2011 in the Chapelle de l’Ecole des Beaux-arts de Paris.

The Carmignac Gestion Photojournalism Award2010 Organisation & Themes

2010 award

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Created in 2000, the Carmignac Gestion Foun-dation has its roots in Carmignac Gestion’s corporate collection, which it aims to show to the wider public. Complete freedom of choice, without bias or constraint, explains the richness, uniqueness and eclecticism of this collection, originally built up around Pop Art and the Ger-man School.

Bearing the imprint of an infatuation for original styles and consistently evolving approaches, the Carmignac Gestion Collection today boasts some 150 works from the 20th and 21st centu-ries, including major works by artists such as Andy Warhol, Roy Lichtenstein, Keith Haring, Jean-Michel Basquiat and Gerhard Richter.

Unearthing a generation of artists

The Carmignac Gestion Foundation continues to support the emergence of an entire generation of contemporary artists, bringing together mas-terpieces by Marlène Dumas, Miquel Barceló, Francesco Clemente, John Baldessari, Jenny Hol-zer, Jin Meyerson, Li Tian-Bing, Gao Zengli and Christopher Wool, as well as works by French artists Fabrice Hyber and Philippe Pasqua.

Photography represents another important aspect of the collection with works by Andreas Gursky, Peter Lindbergh, Martin Parr, Doug Aitken, Jeremy Blake and Shririn Neshat, as well as China’s Chen Jiagang. Recent acquisitions highlight young artists from emerging countries, countries in which Carmignac Gestion invests in-tensively. These include the Os Gêmeos brothers of Brazil, and Ayman Baalbaki and Walid Raad of Lebanon.

Dedicated to sharing

The calling of a patron of the arts is not so much to accumulate as to set the wheels in motion, in order to offer a shared heritage to the commu-nity as a whole. The aim of the foundation is to preserve these favourites, selected on the basis of their embodiment, the strength of the compo-sition and the powerful message they transmit, for display to the public. Designed with sharing in mind, from the outset the collection has been exhibited in Carmignac Gestion’s premises and members of staff choose the paintings and photographs with which they wish to decorate their offices.

Bold and inspired, this collection of contem-porary art is intended to be stimulating and a source of social interaction. Each work presents an opportunity to explore a new world and draw on new sources of inspiration.

The Carmignac Gestion Foundation: 10 years of passion for creation

The Carmignac Gestion Foundation

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The Carmignac Gestion Foundation: 10 years of passion for creation An active sponsor

In 2010, the Carmignac Gestion Foundation was sole patron of the Basquiat exhibition at the Museum of Modern Art in Paris, the first of its scale in France. It was the most visited exhi-bition in France last autumn and was rewarded with a Crystal Globe.

Reflecting its long-term commitment to contemporary art, at the end of 2009 the Carmignac Gestion Foundation lent its support to Apichatpong Weerasethakul’s Primitive ex-hibition, also shown at the Museum of Modern Art in Paris. The Carmignac Gestion Founda-tion was thus associated with the success of Apichatpong Weerasethakul’s feature-length film, Uncle Boonmee Who Can Recall His Past Lives, which won the Palme d’Or at the 2010 Cannes Film Festival.

This award not only demonstrates the Foun-dation’s commitment to the avant-garde of contemporary creation but also reflects Carmi-gnac Gestion’s investment philosophy, based on constant research and farsightedness.

New repercussions for the Carmignac Gestion Foundation

For two years, Carmignac Gestion has spon-sored the production of long-term photojour-nalism reports, which are the subject of the Carmignac Gestion Photojournalism Award, which offers one of the highest financial rewards to date.

It also covered theatrical creations, by suppor-ting the production company Sofithéa. Car-mignac Gestion also works side-by-side with Business Angels des Cités (a private venture capital fund with a social mission).

Through this, the Foundation has become the anchor of an ambitious sponsorship policy, which also extends to the charitable sphere. In 2009, the Carmignac Gestion Foundation partnered with CARE to support reforestation projects in Madagascar.

Since the spring, a large part of the collection has been viewable online at www.fondation-carmignac-gestion.com.

The Carmignac Gestion Foundation

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Visuals of works

Pakistan, Swat, Bara Bandai, November 2010: Lashkar members prepare for the “Pehra” (night patrol) in the “Hujra” of a tribe elder, Ahmed Khan, whose photo is set on the wall. In the small photo, he is standing with his two sons who live in the United Kingdom. Three of his bodyguards and one of his nephews were killed by militia in 2008 during fighting against the Taliban regime in the Swat Valley before the successful military operation in May 2009. In Pashtun culture, a Hujra is the place where tribal elders meet to discuss various issues and to maintain relations. Here, the elders sometimes hold meetings – also called “Jirga” – to resolve all kinds of disputes or develop future strategies.© Massimo Berruti, VU’ Agency for the Carmignac Gestion Foundation

Pakistan, Mahnbanr (Tehsil Qilagai), Swat Valley, near the Dir border, March 2011: Lashkar members on the “Pehra” night patrol, posted on the roof of a house near the entrance to Mahnbanr. © Massimo Berruti, VU’ Agency for the Carmignac Gestion Foundation

WARNINGThe rights attached to the works below have been negotiated for use by the press, exclusively in relation to articles about the Carmignac Gestion Foundation.

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Visuals of works

Pakistan, Bara Bandai, Swat Valley, 2010: Lashkar members led by Adrees Lala carry out the Pehra in the village streets. A young member patrols with the adults.© Massimo Berruti, VU’ Agency for the Carmignac Gestion Foundation

Pakistan, vallée de Swat, Mahnbanr (Qilagai), near the Dir border, March 2011: SaidBachà, Lashkar elder from Mahnbanr, returning home with armed Lashkar members after attending a Grand Jirga in Tehsil Kabal. Leaders like SaidBachà are threatened by the Taliban who accuse them of playing a key role in operations intended to drive them out of the Swat Valley.© Massimo Berruti, VU’ Agency for the Carmignac Gestion Foundation

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Visuals of works

Pakistan, Vallée de Swat, Totani Bandai, January 2011: accompanied by a Saiflillah Khan bodyguard, Lashkar elders enjoy the winter sun in the Hujra of the Lashkar leader, Nazim Saifullah Khan Lala. They are waiting for the meeting with Saifullah, one of the most important Lashkar members thanks to his close relations with the army.© Massimo Berruti, VU’ Agency for the Carmignac Gestion Foundation

Pakistan, Vallée de Swat, Mahnbanr (Tehsil Qilagai) near the Dir border, March 2011: armed Lashkar members carry out a “Pehra” (patrol) on a snowbound road leading to the densely populated town of Mahnbanr in the Qilagai Teshil region. Due to the road’s poor condition, Lashkar members are cut off during the winter months, making it harder for them to defend the region.© Massimo Berruti, VU’ Agency for the Carmignac Gestion Foundation

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Over 20 years of independence and convictionFounded in January 1989 by Edouard Car-mignac, today Carmignac Gestion is one of Europe’s leading asset managers.Its capital is held entirely by its managers and staff. In this way, the company’s long-term viability is ensured via a stable shareholding structure, reflecting its spirit of independence. This fundamental value ensures the freedom required for successful and renowned portfolio management.With close to 50 billion euro in assets under management, Carmignac Gestion offers 19 global, specialised or profiled funds, as well as discre-tionary management services.

A sound business model The capital is entirely held by staff, close to 50 billion euro of assets under manage-ment, 170 employees including a team of 22 managers and analysts, a subsidiary in Luxembourg and two representative offices in Madrid and Milan.

An international strategyCarmignac Gestion implements an internatio-nal management strategy, enabling it to capi-talise on opportunities on close to 50 financial markets around the globe (less than 5% of assets are in France). The team of managers and analysts, recruited from all four corners of the world, track and monitor the global stock markets, in particular New York, Tokyo, Lon-don, Paris, Hong-Kong and Sydney. To do this, the managers maintain close ties with stock-brokers on foreign markets as well as with the managers of numerous companies.Carmignac Gestion has also had a Luxembourg subsidiary since 1999, which is responsible for the company’s European development (out-side of France). Its products are authorised for distribution in France, Germany, Switzerland, Italy, Luxembourg, Belgium, Austria, Spain, the Netherlands, Sweden and Singapore.

Press contacts for Carmignac Gestion:

Sponsorship:Silvia Gavinhos+33 (0)1 70 38 38 [email protected]

Citigate Dewe Rogerson:Servane Tasle Tél. : (+33) 01 53 32 78 [email protected]

Carmignac Gestion

www.fondation-carmignac-gestion.com

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the second carmignac gestion photojournalism award

Documents

biography of massimo

douard carmignac

kitmassimo berruti

winnermassimo berruti

path berruti

press contact

national press

comcover pakistan