CURATORS' MEETING JEU DE PAUME, PARIS - MINISTÈRE DE LA CULTURE
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Jeu de Paume, Paris
CURATORS’
MEETING
7 novembre 2019
Les projets sélectionnés >
1 Guillaume Blanc
Doctorant en histoire de la photographie /
Phd in the history of photography
Université Paris 1 Panthéon-Sorbonne, France
blancguillaume@hotmail.fr
Quand nous serons tous aveugles/
When we’re all blind
Jean-Christian Bourcart
To Brigitte Ollier who asked her in 1999 “when
is the end of the photograph?”, Jean-Christian
Bourcart replied, “When we are all blind.” Far from
formulating a simple provocative tautology, the
photographer indicated in fact the fundamental
question that crosses his work: that of the look,
of which he emphasizes the central role in the
arrangement of contemporary human relations. À Brigitte Ollier qui lui demandait en 1999 « c’est
quand la fin de la photographie ? », Jean-Christian
From an exposure to retrospective character, and Bourcart répondait : « Quand nous serons tous
from its first series to the most recent, its ethical aveugles. » Loin de formuler une simple tautologie
and political concerns are translated by various provocatrice, le photographe indiquait en fait
modes—that range from voyeurism to contemplation l’interrogation fondamentale qui traverse son
through the mirror—all of which relate to sight and œuvre : celle du regard, dont il souligne le rôle
visibility. This presentation will be an opportunity central dans l’agencement des relations humaines
for Guillaume Blanc to convince potential partners contemporaines.
to produce an exhibition based on his project. The
topicality of the questions he raises, at a time when À partir d’une exposition au caractère rétrospectif,
the political scene is more than ever occupied by et depuis ses premières séries jusqu’aux plus récentes,
phenomena related to visibility (think of the “yellow ses préoccupations éthiques et politiques sont
vests”), seems to him to be of interest to the public traduites par divers modes – qui s’échelonnent du
at the-beyond the monographic dimension of the voyeurisme à la contemplation en passant par le
exhibition. miroir – qui ont tous trait au regard et à la visibilité.
Cette présentation, sera pour Guillaume Blanc
l’occasion de convaincre des partenaires potentiels
de produire une exposition à partir de son projet.
L’actualité des questions qu’il soulève, dans un
moment où la scène politique est plus que jamais
occupée par des phénomènes liés à la visibilité
(pensons aux « gilets jaunes »), lui semble pouvoir
intéresser les publics au-delà de la seule dimension
monographique de l’exposition.
coproduction
Jean-Christian Bourcart, série Day of Wrath, 2018
3
2 Damien MacDonald & Aline Pujo
Curators, Sarl AAA – Aline Art Adviser, France
damien.douglas.macdonald@gmail.com
FACE OFF
Liste en cours de constitution : Jean-Christian Bourcart, Guérilla Girls, Thomas Johnson, Thomas Lemut, Maxime
Mathys, Natacha Nisic, Jennifer Murphy, Frank Smith, Aalam Wassef, Jean-Claude Wouters.
En cours de négociation : Raphael Dallaporta, Joana Hadjithomas & Kalil Jorege, Anna Maria Maiolino, Susan
Meiselas, Marta Minujín, Nour Ouayda, Daniela Ortiz, Collection d’anonymes, Julia Scher, Nil Yalter.
First censorship erased faces, now it forbids erasing
them. This exhibition concerns the way censorship
has mutated. What is a face? What is its place in
our selfie society where intolerance and censorship
resurface? The phrase of Lévinas became famous:
“the face means the infinite.” But what fate do we
have for him? We use the term “shooting” without Au préalable la censure effaçait les visages, désormais
thinking about it to refer to photography. A camera elle en interdit l’effacement. Cette exposition
is a weapon, for what it shows and for what it censors. concerne la manière dont la censure a muté.
This exhibition is a journey in the company of living Qu’est-ce qu’avoir un visage ? Quelle est sa place
creators among historical archives and contemporary dans notre société du selfie où l’intolérance et la
works. Each artist delivers a testimony about censure refont surface ? La phrase de Lévinas est
disappearance and erasure. The exhibition is a devenue célèbre : « le visage signifie l’infini. » Mais
silent tribute to those whom the world looks at, quel sort lui réservons-nous ? Nous utilisons sans
and which photography allows us to envision. y songer l’expression « shooting » pour parler de
photographie. Une caméra est une arme, pour ce
The collective has a partnership with the Geneva qu’elle montre et pour ce qu’elle censure. Cette
Photography Centre and the New National Museum exposition est un parcours en compagnie de créateurs
of Monaco. With the FACE OFF project, he aspires vivants parmi des archives historiques et des œuvres
to interest institutions to co-produce the exhibition. contemporaines. Chaque artiste livre un témoignage
à propos de la disparition et de l’effacement.
L’exposition est un hommage silencieux à ceux que
le monde dévisage, et que la photographie nous
permet d’envisager.
Les commissaires ont invité à cette présentation le
Centre de la Photographie de Genève et le Nouveau
Musée National de Monaco. Avec le projet FACE
OFF, ils aspirent à intéresser des institutions à la
coproduction de l’exposition.
coproduction
4
3 Sabyl Ghoussoub
Curateur, France
www.sabylghoussoub.com
sabylghoussoub@gmail.com
Amer amour
Letizia Battaglia
The exhibition is a retrospective of the work of
the Italian photographer Letizia Battaglia. Letizia
devoted her entire life to testifying and fighting the
mob. Between murder scenes (up to five per day) and
family pain, arrests of criminals or trials, she creates
portraits of women and children. She seizes the daily
life, the streets, the landscapes and extreme poverty L’exposition est une rétrospective du travail de la
of this city where rats sometimes devour the fingers photographe italienne Letizia Battaglia. Letizia
of sleeping babies. “I always have this dream in my consacre toute sa vie à témoigner et à combattre la
head, in my body, in my heart, even if I am tired, mafia. Entre les scènes de meurtre (jusqu’à cinq par
this desire for beauty that is justice. Because justice is jour) et la douleur des familles, les arrestations de
beauty, because justice governs my life.” During these criminels ou les procès, elle réalise des portraits de
years, it will take some 600,000 photos, photos that femmes et d’enfants. Elle saisit le quotidien, les rues,
finally give a face to the victims of the Cosa Nostra. les paysages et l’extrême pauvreté de cette ville où les
Sabyl Ghoussoub hopes to find a space to host this rats, parfois, dévorent les doigts de bébés endormis.
exhibition project. « J’ai toujours ce rêve dans ma tête, dans mon corps,
dans mon cœur, même si je suis fatiguée, cette envie
de beauté qu’est la justice. Parce que la justice,
c’est la beauté, parce que la justice gouverne ma vie. »
Pendant ces années, elle prendra quelques 600 000
photos, des photos qui donnent enfin un visage
aux victimes de la Cosa Nostra. Sabyl Ghoussoub
espère trouver un espace pour accueillir ce projet
d’exposition.
coproduction
Palerme, 1986
5
4 Nathaniel Gaskell
Curator of Photography, Museum of Art
& Photography (MAP), India
map-india.org
nathaniel.gaskell@map-india.org
Studio Suhag: Portraits de l’Inde
Suresh Punjabi
In the early 2000s, a portrait studio in the industrial
town of Nagda, Northern India, had its archives
of over 50,000 negatives blown onto the street in
a monsoon storm. These were chanced upon by
the British anthropologist Christopher Pinney,
and a small book was published. Subsequently, the
negatives were donated by the studio proprietor and
photographer, Suresh Punjabi, to the Museum
of Art & Photography (MAP) in Bangalore, Au début des années 2000, un studio de la ville
South India. industrielle de Nagda en Inde du Nord a vu ses
archives de près de 50 000 négatifs s’envoler dans la
MAP is now engaged in cataloguing this collection rue lors de la mousson. Elles furent récupérées par
and caring for it through its recently established l’anthropologue britannique Christopher Pinney et
conservation center. The museum is also preparing un court ouvrage a alors été édité. Depuis, les négatifs
for a major retrospective of Suresh Punjabi’s work, ont été donnés par le studio et le photographe,
and seeks exhibition partners around the world Suresh Punjabi, au Musée d’Art et de Photographie
as part of its broader mission to bring the history de Bangalore en Inde du Sud.
of Indian photography to new audiences, and to
encourage research and scholarship on its recent Le MAP est maintenant engagé dans le catalogage
acquisitions. et la restauration de la collection dans son nouveau
centre de conservation. Le musée prépare aussi une
grande rétrospective du travail de Suresh Punjabi,
et chercher des partenaires partout dans le monde
pour faire connaitre la photographie indienne à de
nouvelles audiences, et encourager la recherche sur
ses nouvelles acquisitions.
itinérance
6
5 Laure Véron
Chargée des expositions itinérantes,
Jeu de Paume – Paris
laureveron@jeudepaume.org
Le Supermarché des images/
The Supermarket of Images
There has been a complex and decisive relationship
between art and economics since ancient times. But
for over a century we have been faced with a challenge
that is far bigger than the art market, collectors or
patrons. What we face now is the commodification
of all that is visible.
The photographs, drawings, paintings, videos, films,
digital works and multimedia installations selected for
this exhibition explore the making of the great image L’art et l’économie entretiennent des relations
market that structures our perception. They point up complexes et décisives depuis la plus haute Antiquité.
the raw materials that go into creating these images, Mais l’enjeu auquel nous sommes confrontés depuis
the enormous reserves and databases they accumulate plus d’un siècle est bien plus vaste que celui du
in, the human (or non-human) toil involved in their marché de l’art, des collections ou des mécènes. Il y
creation, and the fluctuations in their value as they va, ni plus ni moins, de la marchandisation du visible
circulate around the world. en général. Les photographies, dessins, peintures,
They offer critical angles and unexpected perspectives vidéos, films, créations numériques et installations
on images that we tend to think we can help multimédia choisies pour cette exposition explorent
ourselves to, as if from the shelves of an imaginary la fabrique du grand marché des images qui structure
supermarket. notre regard. Ces oeuvres mettent en exergue les
matières premières qui composent les images, les
Tours for the exhibition. immenses stocks ou banques dans lesquels elles
s’accumulent, le travail qui participe à leur création,
la fluctuation de leurs valeurs ainsi que la vitesse de
leurs trajectoires et de leurs cristallisations au cours
de leur circulation globalisée. Elles proposent des
points de vue critiques et des perspectives inattendues
sur les images dont nous croyons disposer comme
en libre-service, dans les rayons d’un supermarché
imaginaire.
Recherche d’itinérance.
itinérance
Martha Rosler, Cargo Cult, 1966-72
From the series: Body Beautiful, or Beauty Knows No Pain
Photomontage Courtesy: the artist and Galerie Nagel Draxler Berlin/ Cologne
7
6 Caroline Cournède
Curator, MABA - Fondation des Artistes, France
https://www.fondationdesartistes.fr/lieu/maba/
c.cournede@fondationdesartistes.fr
Le Serpent noir/ The Black Snake
Cécile Hartmann
“There will come a black snake that will bewitch
men and destroy the earth” Prophecy of Black Eagle,
circa 1930.
Cécile Hartmann’s work always bears the trace of
latent, underground events that transpire or (re)
appear on the surface of the works presented. « Viendra un serpent noir qui envoûtera les hommes
The film The Black Snake and its ramifications et détruira la terre » Prophétie de Black Eagle,
(photographs, sculptural elements, wall-paintings vers 1930.
and sound creation) also stand on these fragile Le travail de Cécile Hartmann porte toujours
gaps between visibility and invisibility, dicible and la trace d’évènements latents, souterrains qui
indistinguishable, reality and fiction, organic and transparaissent ou (ré)apparaissent à la surface des
inorganic, strength and instability. œuvres présentées. Le film Le Serpent Noir et ses
Questioning the contemporary violence in ramifications (photographies, éléments sculpturaux,
challenging treaties signed with Aboriginal peoples wall-paintings et création sonore) se tiennent, eux
that guaranteed the protection of their lands, and the aussi, sur ces fragiles interstices entre visibilité et
ecological damage caused by the development of the invisibilité, dicible et indicible, réalité et fiction,
oil sources there. Cécile Hartmann’s groundbreaking organique et inorganique, force et instabilité.
project unfolds around the metaphor of the black Questionnant la violence contemporaine qui
snake, the giant Keystone XL pipeline that carries s’exerce dans la remise en cause des traités signés
more than 700,000 barrels of impure residues avec les peuples autochtones qui garantissaient la
every day, crossing Indian reserves to reach open pit protection de leurs terres, et les dégâts écologiques
operations in Alberta. causés par l’exploitation des sources pétrolifères qui
Two years after the struggles of Standing Rock and s’y trouvent. Le projet inédit de Cécile Hartmann
Sacred Stones, the artist thus shares the archive of se déploie autour de la métaphore du serpent
this “time after” in this new episode of contemporary noir, le pipeline géant Keystone XL qui transporte
history where struggles have already given way to the quotidiennement plus de 700 000 barils de résidus
first alterations of the landscape and life forms. The impurs, traversant des réserves indiennes pour
aim is to find partners with a view to disseminating rejoindre les exploitations à ciel ouvert de l’Alberta.
this project in other cultural structures. Deux ans après les luttes de Standing Rock et Sacred
Stones, l’artiste partage ainsi l’archive de ce « temps
d’après », dans ce nouvel épisode de l’histoire
contemporaine où les luttes ont déjà laissé la place
aux premières altérations du paysage et des formes de
vie. Il s’agit pour elle de trouver des partenaires dans
le but de diffuser ce projet dans d’autres structures
culturelles.
itinérance
Cécile Hartmann, Image extraite du film Le Serpent Noir, (Badlands, Dakota
du sud, lieu de la prophétie de Black Eagle) / Image from the film
The Black Snake, (Badlands, South Dakota, Black Eagle prophecy site), 2019
8
7 Véronique Souben
Director, FRAC Normandie Rouen, France
Curator Véronique Souben, Audrey Illouz et Nathalie Giraudeau
www.fracnormandierouen.fr
v.souben@fracnormandierouen.fr
La photographie à l’épreuve
de l’abstraction/Photography to the test
of Abstraction
Walead Besthy, Laure Tiberghien, Liz Deschênes, Thomas Ruff, Zoe Leonard,
Adrian Sauer, Stan Douglas, Catherine Opie,
For the fourth edition of the Normandie
Impressionniste festival, the Frac Normandie
Rouen associated with the Centre photographique
d’Île-de-France as well as the Micro-Onde,
centre d’art contemporain de l’Onde proposes
an exhibition program dedicated to abstraction in
the field of contemporary photography. Until now, Pour la quatrième édition du festival Normandie
this subject has not been the subject of any major Impressionniste, le Frac Normandie Rouen associé
exhibition in France. au Centre photographique d’Île-de-France ainsi
Intrinsically linked to the development of new qu’au Micro-Onde, centre d’art contemporain
technologies, such as digital technology, but also de l’Onde propose un programme d’expositions
to real trends that are now taking place in dédié à la problématique de l’abstraction dans le
photography, the diversity of approaches that champ de la photographie contemporaine. Ce sujet
contribute to questioning the possibility of abstract n’a en effet, jusqu’à présent, fait l’objet d’aucune
contemporary photography will be revealed in exposition d’importance en France. Intrinsèquement
the three exhibitions. liée à l’essor des nouvelles technologies, comme
le digital, mais aussi à de véritables tendances qui
A bilingual edition bringing together specialists parcourent aujourd’hui la photographie, la diversité
in this field will help to give a high visibility to this des démarches qui concourent à s’interroger sur
subject still very little discussed in France and may la possibilité d’une photographie contemporaine
arouse the interest of foreign institutions for these abstraite sera révélée au sein des trois expositions.
exhibitions to be resumed.
Une édition bilingue convoquant les spécialistes dans
ce domaine concourra à donner une grande visibilité
à ce sujet encore très peu abordé en France et pourra
susciter l’intérêt d’institutions étrangères pour ce que
ces expositions soient reprises.
itinérance
Stan Douglas 2012_0147, 2013
Impression jet d’encre couleur montée sur dibond
200.3 x 156 x 7 cm
© Stan Douglas. Courtesy of the artist, Victoria Miro and David Zwirner
9
8 Katarina Pierre
Museum Director, Bildmuseet, Sweden
www.bildmuseet.umu.se
katarina.pierre@bildmuseet.umu.se
Inside and Outside
Nancy Holt
In summer 2021 Bildmuseet presents the first
European survey exhibition of the American
artist Nancy Holt. Launching on the summer
solstice, a day of twenty-four sunlight, Nancy
Holt: Inside and Outside shows five decades of
artistic experimentation through more than fifty
artworks—many of which have not been seen in
public for more than four decades. From concrete
poetry, to drawings, earthworks, photography, film, En été 2021, Bildmuseet présente la première
architectural installations, sculpture and audio- exposition européenne de l’artiste américaine
works, Nancy Holt: Inside and Outside narrates the Nancy Holt. Le solstice d’été, une journée de vingt-
unique and important contribution Holt has made to quatre rayons de soleil, Nancy Holt: Inside and
artistic practice of the last fifty years. Holt change the Outside montre cinq décennies d’expérimentation
idea of what art could be, asking difficult questions artistique à travers plus de cinquante œuvres d’art,
about perception and understanding of humankind’s dont beaucoup n’ont pas été vues en public depuis
place on the planet. plus de quatre décennies. De la poésie concrète aux
Katarina Pierre hopes to find a partner institution dessins, terrasses, photographie, films, installations
for the Nancy Holt exhibition and exhibition architecturales, sculptures et œuvres audio, Nancy
proposals from other institutions that she finds Holt: Inside and Outside raconte la contribution
interesting for Bildmuseet to collaborate on. unique et importante de Holt à la pratique artistique
des cinquante dernières années. Holt changer l’idée
de ce que l’art pourrait être, poser des questions
difficiles sur la perception et la compréhension
de la place de l’humanité sur la planète.
Katarina Pierre espère trouver une institution
partenaire pour l’exposition Nancy Holt et des
propositions d’expositions émanant d’autres
institutions avec lesquelles elle serait intéressée
par la collaboration de Bildmuseet.
itinérance
Nancy Holt, Sun Tunnels (1973-76), Great Basin Desert, Utah.
Collection Dia Art Foundation with support from Holt/Smithson Foundation.
Photography: Nancy Holt
© Holt/Smithson Foundation and Dia Art Foundation,
Licensed by VAGA at Artists Rights Society (ARS), New York.
109 Jeanne Mercier et Bérénice Saliou
Curator, Afrique in visu, and artistic director,
Institut des Cultures d’Islam, France
www.ici.paris
info@afriqueinvisu.org / berenice.saliou@ici.paris
Feeling the Spirit
Nabil Boutros, Samuel Fosso, Rahima Gambo, Maïmouna Guerresi, Eric Guglielmi,
Bruno Hadjih, Bénédicte Kurzen & Sanne de Wilde, Mohammed Laouli, Nicola Lo Calzo,
Giya Makondo Wills, Josèfa Ntjam, Léonard Pongo, Btihal Remli, Tabita Rezaire
When one evokes the word belief, a whole
imagination accompanies it. For some, it is
akin to religion, for others to the sacred, to the
unpredictable, to the myths or to a mental state.
It is above all a conviction: the fact of believing.
We can see both the religions that we think we know
about like Islam, Judaism or Christianity, but also
vernacular beliefs and traditional rites, preserved
for centuries. All the projects presented here were Lorsque l’on évoque le mot croyance, tout un
inspired by, or were born of, surveys and experiences imaginaire l’accompagne. Pour certain, cela
on the spiritual in the broad sense. The relationship s’apparente à la religion, pour d’autres au sacré,
between images and beliefs is questioned because very à l’imprévisible, aux mythes ou encore un état
early on photographers were witnesses or visionaries mental. C’est avant tout une conviction : le fait de
of the numineux (which comes from the experience croire. On y entrevoit à la fois les religions que nous
of the sacred). pensons connaître comme l’Islam, le Judaïsme ou le
The exhibited artists do not propose an inventory. Christianisme, mais aussi des croyances vernaculaires
All seek to immerse the viewer in experiences that et des rites traditionnels, préservés depuis des siècles.
are both singular and shared. They convey counter- Tous les projets présentés ici, ont été inspirés par,
narratives where beliefs mix history, genealogies, ou sont nés d’enquêtes et d’expériences sur le
family traditions, resistance to colonization and new spirituel au sens large. La relation entre images
forms of beliefs. They raise the question: What will et croyances est interrogée car très tôt déjà les
future generations believe? With this presentation, photographes furent les témoins ou les voyants du
the Institute of Cultures of Islam is seeking future numineux (qui relève de l’expérience du sacré).
collaborations for the circulation of the exhibition. Les artistes exposés ne proposent pas un état des
lieux. Tous cherchent à immerger le spectateur
dans des expériences à la fois singulières et partagées.
Ils véhiculent des contres-récits où les croyances
mêlent l’histoire, les généalogies, les traditions
familiales, les résistances à la colonisation et de
nouvelles formes de croyances. Ils soulèvent ainsi
la question : En quoi croiront les générations
futures ? Avec cette présentation, l’Institut des
Cultures d’Islam recherche des collaborations futures
pour la circulation de l’exposition.
itinérance
Benedicte Kurzen / Sanne de Wilde, Land of Ibeji, 2018
© Benedicte Kurzen / Sanne de Wilde, courtesy Noor Images
1110 Anne Morin
Curator, diChroma photography, Spain
www.dichroma-photography.com
anne@dichroma-photography.com
“Black Light”
Margaret Watkins
It is an exhibition Retrospective of this Canadian
photographer which was very important in the
history of photography at the turn of the 20th
century, in pictorialism and modernist photography,
with Clarence H. White, and also in advertising
photography.
This retrospective exhibition of Margaret Watkins
work titled “Black Light” shows 120 of her
photographs, all vintage dating from 1914–1939. Il s’agit d’une exposition Rétrospective de cette
Of these photos are portraits and landscapes, photographe canadienne qui a été très importante
modern still lifes, street scenes, advertising work, dans l’histoire de la Photographie au tournant
and commercial designs. du xxe siècle, dans la photographie pictorialiste et
The presentation of this project to international moderniste, auprès de Clarence H. White, et par
curators and institutions is important because it is ailleurs dans la photographie de type publicitaire.
a photographer whose work has not acquired the place Cette exposition rétrospective de l’œuvre de Margaret
it deserves in the history of photography. The fact Watkins intitulée « Black Light » montre 120
of presenting it should arouse a great deal of interest de ses photographies, toutes vintage de 1914 à 1939.
among these institutions in order to restore this De ces photos sont des portraits et des paysages, des
legitimate place and, through the organization natures mortes modernes, des scènes de rue, des
of international exhibitions, much of his work travaux publicitaires, et des dessins commerciaux.
unknown to the public. La présentation de ce projet auprès de commissaires
et institutions internationales est importante car
il s’agit là d’une photographe dont l’œuvre n’a pas
acquis la place qu’elle mérite dans l’histoire de la
photographie. Le fait de la présenter devrait susciter
un grand intérêt auprès de ces institutions afin
de redonner cette place légitime et par ailleurs de
donner à voir, grâce à l’organisation d’expositions
internationales, une grande partie de son œuvre
inconnue du public.
itinérance
Head and hand, v.1925
12Les projets réseaux >
1 Valentine Umansky
Curator of Lens-Based Arts, Contemporary
Arts Center, Cincinnati, USA
www.cincycac.org
vumansky@cincycac.org
Fire/Flies (FotoFocus Biennial)
Une sélection d’une quarantaine d’artistes
The CAC is planning an ambitious exhibition
project titled Fire/Flies, which will span three cities
(Cincinnati, Columbus, and Covington) in two states
(OH, KY) that have historically played crucial roles
in deciding political outcomes. Positing fireflies Invité à inventer un projet curatorial pour la biennale
as a metaphor of the eternal resistance against the de photographie FotoFocus, le plus grand festival de
blinding lights of power, the exhibition aims at photographie des États-Unis, qui aura lieu en octobre
challenging our understanding of what is made visible 2020, Valentine Umansky, Curator of Lens-Based
and what remains in the margins; what operates Arts au Contemporary Arts Center de Cincinnati,
under our eyes and what is kept hidden until its a fait le choix de convier Jo-ey Tang (anciennement
incandescent nature sparks into a fire of rebellion. curateur au Palais de Tokyo et désormais basé à
Fire/Flies will be one of the core chapters of the Columbus) et Renée Mussai (Autograph, Londres)
2020 edition of the FotoFocus biennial and mark à collaborer autour d’un projet d’exposition intitulé
an unprecedented attempt at creating a collaborative Fire/Flies. Ce dernier, qui s’étendra sur trois villes
curatorial project that shifts the Midwest’s position (Cincinnati, Columbus et Covington) et deux États
to place it at the center of the photography world. (Ohio et Kentucky) dont on connait le rôle politique
Further, the project will elicit critical reflection historique de « swing state » est une opportunité
aimed at broadening our understanding of ourselves unique de penser ensemble un territoire complexe.
as individuals and as a society. Ensemble, et avec Alfredo Jaar en tête, ils ont choisi
les lucioles comme métaphore incandescente d’une
They are open to extending to further partner résistance éternellement renouvelée contre les
institutions. They hope that they may find ways to lumières aveuglantes du pouvoir, ainsi que la figure
expand the awareness about the FotoFocus biennial du « harraga » qui brûle les frontières en brûlant ses
as it is the largest in the US, and that we plan on papiers. L’exposition interroge de fait le pouvoir
developing partnerships with European institutions de la photographie à rendre visible et à laisser hors-
in the near future. champ ; elle évoque la nature de la lumière émise
par les lucioles et leur capacité, unique dans le règle
animal, àsynchroniser leurs flashes, un mécanisme
qui rappelle celui de la communication humaine ;
l’union des forces qui fait mur.
Fire/Flies marque une première tentative de projet
commun dans le cadre de la biennale, mais aussi une
réécriture des territoires de l’art, qui replace le Midwest
au centre de la carte mondiale de la photographie.
Présentant son projet au Jeu de Paume, l’équipe
curatoriale espère participer à la promotion de
FotoFocus sur la scène internationale et continuer
à enrichir son projet par des collaborations trans-
nationales.
coproduction
Alfredo Jaar, Lament of the Images, 2002
152 Susanne Østby Sæther,
Behzad Farazollahi, Christian Tunge
Curator of Photography and New Media,
Henie Onstad Kunstsenter, in collaboration with MELK
initiative for New Scandinavian Photography, Norway
http://hok.no/en/ and https://www.melkgalleri.no
sos@hok.no
New Visions:
Triennial for Photography and New Media
Erin m. Riley, Paul Magi Sepuya, B. Ingrid. Olson, Louisa Clement, Victoria Fu, Asger Carlsen, Ingrid Eggen, Lucile Boiron,
Lucas Blalock, Nico Krijno, Sara Cwynar, Hannah Whitaker, Carmen Winant, Roe Ethridge, Annette Kelm, Wolfgang Tillmans,
Morten Andenæs, Torbjørn Rødland, Johan Rosenmunthe, Letha Wilson, Timur Si-Quin, Viktoria Binschtok, Linn Pedersen,
Daisuke Yokota, Maya Rochat, Sara VanDerBeek, Viviane Sassen, Owen Kydd, Espen Gleditsch, Andrea Grützner
In 2017 Henie Onstad Kunstsenter launched an
ambitious five-year photo program, which aims
to reinvigorate the institution’s deep, historical
commitment to photography. Spearheading the
photo program is the development of a new triennial
for photography and new media, which will
showcase recent developments in photography En 2017, Henie Onstad Kunstsenter a lancé
and camera-based art more generally. In line un ambitieux programme de photographie
with the avant-garde legacy of Henie Onstad, the quinquennale qui vise à revigorer l’engagement
triennial aims to foreground artists that are working profond et historique de l’institution envers la
experimentally with photography (also extending photographie. En tête du programme photo est
to sculpture, installations, video and VR). The le développement d’une nouvelle triennale pour
inaugural edition brings together recent work of la photographie et les nouveaux médias, qui mettra
30 international artists and will fill all three spaces en évidence les développements récents dans la
of the ground floor at Henie Onstad (1800 m2). photographie et l’art par caméra plus généralement.
Their purpose is to initiate dialogue with potential En ligne avec l’héritage d’avant-garde de Henie
future partners and exhibition venues for the Onstad, la triennale vise à mettre en avant des
triennial, and to present the concept for a relevant, artistes qui travaillent expérimentalement avec la
international curatorial collegium and relevant photographie (s’étendant également à la sculpture,
feedback. Moreover, as we aim for the triennial to installations, vidéo et VR). L’édition inaugurale
diversity both its selection of artists and audiences, rassemble les travaux récents de 30 artistes
they would also like to establish dialogue with non- internationaux et remplira les trois espaces du
Western curators. They aim to establish institutional rez-de-chaussée à Henie Onstad (1800 m2).
partnership in a long term perspective for the project Leur objectif est d’initier le dialogue avec les futurs
and the next edition, in 2023. partenaires potentiels et les lieux d’exposition pour
la période triennale, et de présenter le concept
d’un pertinent, collégial curatorial international
et pertinent retour d’informations. En outre,
comme ils visent à la diversité triennale à la fois sa
sélection d’artistes et de publics, nous aimerions
également établir un dialogue avec les conservateurs
non-occidentaux. Ils visent à établir un partenariat
institutionnel dans une perspective à long terme
pour le projet et la prochaine édition, en 2023.
coproduction
Viviane Sassen
163 Nuno Ricou Salgado
Artistic Director, Procur.arte, Portugal
www.parallelpl atform.org
nuno.salgado@procurarte.org
Parallel - European Photo
Based Platform
Several artists (around 90)
Challenging and eclectic, contemporary photography
defies boundaries and definition.
Once a cultural object, photography then became
a cultural-social-artistic practice which engages a
wide range of aesthetics, technologies and actors, Stimulante et éclectique, la photographie
most of them overlapping and intersecting. Parallel contemporaine défie les limites et la définition.
is a platform that brings together creative European Autrefois objet culturel, la photographie est
organisations committed to promoting cross-cultural devenue une pratique culturelle, sociale et artistique
exchanges and mentorships in order to set new qui fait appel à un large éventail d’esthétiques,
standards in contemporary photography. Members de technologies et d’acteurs, dont la plupart se
include museums, galleries, cultural centres, chevauchent et se recoupent. Parallel est une
festivals, art schools and publishers—18 vibrant plate-forme qui rassemble des organisations
European cultural hubs, from 16 countries, that will européennes créatives engagées dans la promotion
participate in selecting and hosting emerging artists des échanges interculturels et des mentorats afin
and curators, organising exhibitions and promoting d’établir de nouvelles normes dans la photographie
artistic networking. contemporaine. Les membres comprennent des
musées, des galeries, des centres culturels, des
They would to find partnerships—museums, festivals, festivals, des écoles d’art et des éditeurs – 18 centres
galleries, publications—either willing to become culturels européens dynamiques, provenant de
members of the platform and host exhibitions 16 pays, qui participeront à la sélection et
and other events; either Media partners willing à l’accueil d’artistes émergents et de conservateurs,
to promote the platform’s activities in the form à l’organisation d’expositions et à la promotion
of articles, interviews, advertising, etc. du réseautage artistique.
Platform is co-funded by the Creative Europe Ils voudraient trouver des partenariats – musées,
Programme of the European Union. festivals, galeries, publications – soit désireux de
devenir membres de la plate-forme et d’accueillir
des expositions et d’autres événements ; soit des
partenaires médias désireux de promouvoir les
activités de la plate-forme sous la forme d’articles,
entrevues, publicité, etc.
Platform est co-financée par le programme Europe
Créative de l’Union Européenne.
coproduction
Roisin White
17Autres projets >
Marc Barbey
Estate Manager, Collection Regard, Germany
www.collectionregard.com
mbarbey@collectionregard.com
Retrospective
Hein Gorny
Hein Gorny (1904–1967) was one of the most sought after photographer of his
generation with an extraordinary broad range in his practice. He was published
in Germany and internationaly in the most respected magazines, especially in
France. A fallen star that awaits to be presented in the best international venues.
He wants a chance to come forward on the retrospective of Hein Gorny.
Gail Buckland
Curator, Terra Esplendida, Portugal
https://www.terraesplendida.com/en/
gail.buckland@gmail.com
Antropología Fantástic: Photographs
Lucia Herrero
Lucia Herrero’s four photographic projects—Tribes, Species, Reindeer Man and Bata
form Antropología Fantástica—can best described as magic realism.
Part documentary, part fantasy—Lucia Herrero is master of a new genre of photographic
storytelling. She starts with finding people whose everyday lives fill her with awe and wonder
and then gives them license to express themselves imaginatively but with photographic precision.
In Herrero’s photography, her subjects are both part of the real world and also
part of a larger, imaginative world based on collective memory, history, culture,
and community. Each picture is larger than what meets the eye.
Opportunity to present the work of a remarkable Spanish photographer
whose work is original, storytelling powerful, and, fun.
19Antonio Carloni and Veronica Nicolardi
Director, Project Manager, OTM Company srl, Italy
http://www.otmcompany.it/it/
https://www.cortonaonthemove.com/en/
veronica@cortonaonthemove.com
Understanding Climate Change — Experience exhibition
invcollaboration with National Geographic Society
Understanding climate change – Experience exhibition is an immersive exhibition that
captivates visitors with visual storytelling and sensory experiences, allowing them to
discover the mechanisms and effects of the transformation of the Planet Earth due
to global warming.
Hundreds of shots taken by the great masters of National Geographic photography tries
to tell the deep transformation of the Earth caused by global warming: from the melting
of perennial glaciers to extreme weather phenomena. Digital installations, olfactory
stimuli and interactive stations alternate in the exhibition itinerary, which is divided into
distinct moments: experience, awareness and call for action.
Participating in the international mobilization for guarantee a green future for new
generations, they would like the exhibition to travel in the next years through Europe,
so they would like to meet partners interested to support, collaborate and host the
exhibition.
Gintaras Cesonis
Chief Curator - Lithuania
www.kaunasgallery.lt
gintaras@kaunasgallery.lt
Kosmos
Antanas Sutkus
Antanas Sutkus bought his first camera in 1953, aged fourteen, and almost
immediately he was making compelling images. It would be tempting to say that
photography has dominated his life ever since, but what has really dominated
is the great love and concern for the people that his photographs document
and express. What accumulated all this time was a profound chronicle of life in
Lithuania. Family. Work. Play. Joy. Hardship. Hope. Humour. Interaction.
Frustration. Loneliness. Poetry. Mystery.
The curator desire exhibition exchange with this presentation.
20Joachim Charbit & Caroline Burlacot
Director, Association L’art, témoin des émergences, France
www.arttemoinemergence.com
arttemoinemergence@gmail.com
Art as a Witness
Salomeya Bauer, Nadim Choufi, Moufouli Bello, Richard Laté, Pradeep Thalawatta, Srun Rida
We, Caroline Burlacot and Joachim Charbit, have created the association Art as
a Witness, association of law 1901 aiming to promote and gather artistic testimonies
from emerging artistic scenes.
The association organized this year shootings and interviews in 6 eclectic artistic scenes.
The countries we have chosen have all experienced major social, economic and demographic
changes in recent decades, and are now in a climate of peace. Our work analyzes the influences of
the highlights of the history of each country on artists, their work and more generally
on local contemporary art.
To find a team, museum or producer interested in coproducing the documentary and exhibition.
Sandrine Colard
Curator, The Walther Collection, Germany/USA
www.walthercollection.com
artur@walthercollection.com
The Way She Looks: A History of Female Gazes
in African Portraiture
Yto Barrada; Jodi Bieber; Mimi Cherono Ng’ok; Samuel Fosso; David Goldblatt; Seydou Keïta; Lebohang Kganye; Sabelo Mlangeni;
Santu Mofokeng; S.J. Moodley; Zanele Muholi; Grace Ndiritu; J.D. ‘Okhai Ojeikere; Malick Sidibé; Guy Tillim; Nontsikelelo “Lolo” Veleko;
and Sue Williamson, as well as selections of late-nineteenth and early-twentieth-century portraits, albums, ethnographic studies, and
vernacular photography by C.J. Aldham (active 1880s–1890s); Samuel Baylis Barnard (1841–1916); Alfred Martin Duggan-Cronin
(1874-1954); George Taylor Ferneyhough (n.d.); A.C. Gomes & Sons (active late 19th century); James Gribble II (1863–1943);
Gabriel Lekegian (active 1880s–1920s); T.D. Ravenscroft (1851–1948); Gardiner Frederick Williams (1842–1922);
George Washington Wilson (1823–1893); and unidentified photographers.
“The Way She Looks” revisits the history of African photographic portraiture through the
perspectives of women and women-identified persons, both as sitters and photographers. The
exhibition spans the beginnings of colonial photography on the African continent, concurrent
with the birth of the “colonial gaze”—the idea encapsulating the unequal power relations that
colonialism engendered and that photography is thought to enact. Highlighting instead the
subjectivities and self-possession of female sitters from this period, it presents nineteenth-century
prints, cartes de visite, postcards, and albums that reveal more complex depictions than merely
exposed or submissive. The Way She Looks investigates and articulates a set of pressing concerns
in the reading and writing of African art and photographic history, and further resonates in the
context of accounting for women’s histories, experiences, and contributions more globally.
Their goal is to establish partnerships with European and American institutions, further
developing the project and drawing on new insights, perspectives, and collections, and which
could serve as exhibition venues—granting access to global audiences.
21Gabriele Conrath-Scholl
Director/Curator, Die Photographische Sammlung/SK Stiftung
Kultur, Cologne, Germany
www.photographie-dk-kultur.de
conrath-scholl@sk-kultur.de
“Boris Becker – Bunkers. Photographs
of Architectures and Artifacts”
Boris Becker
“Boris Becker – Bunkers. Photographs of Architectures and Artifacts” is an
exhibition and book based on an artist’s archive, which is extremely extensive,
developed over a period of six years between 1986 and 1990. The project shows
the variety of a special historical phenomena, that still exists in German cities
in another form and confronts us with Nazi-Germany and civil defense.
He would like to introduce the exhibition of Boris Becker to make it more known
and hopefully to find a collaboration partner, who would like to present the
exhibition in his museum, since there is on open time slot in the fist half
of the year 2020 and it will be open for other venues in February 2021.
Renaud Donnedieu de Vabres
President Visa Association for the Image, France
www.photo-journalism.org
contact@visapourlimage.com
Witnesses of the World
The plural exhibition
“Witnesses of the World”
Presentation of our journalistic photo fund through cdr iconic
photographs of each of the reports.
Creation of content in “augmented reality” for a selection of photographers,
through their testimonies, on their report in parallel with
the actuality and reality of their profession.
He wants to promote his project.
22Monika Faber
Director, Curator, Photoinstitut Bonartes, Austria
www.bonartes.org
photoinstitut@bonartes.org
Disruptions — Madame d’Orav(1907-1958)
Dora Kallmus
An interdisciplinary, transnational look at the work of the photographer Madame
d’Ora. She opened a studio for portrait photography in Vienna in 1907, moved
to Paris as a glamourous fashion photographer in 1925 and fled from the Nazis
in 1942. When she returned after the war her interest shifted to completely
different topics and she documented refugee camps in Austria and photographed
slaughterhouses in Paris.
They would be interest in a collaboration with a French institution and French
scholars.
Nathalie Giraudeau
Director of the photographic center of Ile-de-France
www.cpif.net
nathalie.giraudeau@cpif.net
Serpiente de Oro, chapter 1
Eléonor Lubna and Louis Matton
The project entitled “La Serpiente de Oro”, around the struggles of the
indigenous peoples of Peru, and which Éléonore Lubna and Louis Matton
consider as a first chapter, takes as its starting point the film Fitzcarraldo by
Werner Herzog (1982) and the historic turning point that the shooting of
this European film in the middle of the Peruvian jungle, in the awareness and
political demands of the Awajuns and Wampis Indians. He combines original
creations (photographs, videographics and sculptures-objects) with photographs
from Peruvian and German archives, and interviews.
She will then try to bring together partners in the project to accompany,
co-produce and present the exhibition.
23Géraldine Gourbe
Independant curator, France
geraldine.gourbe@gmail.com
Crazy Lucid World
Pat O’Neill
This solo show will insist on his LA assemblage/neo-surrealist sculptures which
has highly influenced his way to produce images: photos cut ups and experimental
movies. The other main point will underline too how his experimental forms
and crazy lucid world has mainly influenced Hollywood film culture like Georges
Lucas’ The Empire Strikes Back.
This show will be based on experimental photos and films and will be also crossed
by LA art scene and Hollywood mainstream culture. It will reach a large audience:
from LA art scene and film specialists to teenagers and family.
To find an institution for the show.
Gregory Harris
Associate Curator of Photography, High Museum of Art, USA
https://high.org/
gregory.harris@high.org
Eyes on the Streetv(working title)
Evelyn Hofer
Evelyn Hofer (1922–2009) was a highly innovative photographer whose prolific career
spanned five decades. Despite her extraordinary output—eight photobooks, numerous
photo essays and hundreds of prints touching on a wide range of subjects—she was
underrecognized during her lifetime and was notably referred to by New York Times art
critic Hilton Kramer as “the most famous unknown photographer in America.” At a time
when spontaneous black and white pictures were the hallmarks of avant-garde photography,
she favored cumbersome large-format cameras and embraced color materials.
Subtle and rigorous, her photographs possess a captivating stillness and sobriety
that ran counter to the frenetic energy of her fellow street photographers
of the post-WWII era, such as Garry Winogrand and Lee Friedlander.
They need constructive feedback on the project and expression of interest in collaboration.
24Audrey Hoareau
Curator, Musée gruérien, Bulle, Suisse
https://musee-gruerien.ch
audreyhoareau@yahoo.fr
Territoires tracés
Jacques Pugin
L’exposition « Territoires tracés » vise à traverser rétrospectivement l’oeuvre de
Jacques Pugin et à en souligner la cohérence plastique et idéologique. Depuis
quarante ans, il poursuit une analyse topographique originale invoquant une
large palette technique de tirages (Fresson, cibachromes, photographies peintes,
etc.) et d’installations (vidéos, système sériel).
Trouver des partenaires institutionnels et / ou des co-éditeurs.
Andrea Holzherr & Anne-Marie Beckmann
Global Exhibitions Director and Curator, Magnum Photos, France
www.magnumphotos.com
andrea.holzherr@magnumphotos.com
A History of Comissioned Work
(working title)
Divers Magnum Photographers
For many decades, the commissioned work undertaken by Magnum
photographers in the fields of fashion, advertising and corporate reports
has been an important part of this agency’s activity.
Although it is often not seen by a wider public as being ‘Magnum’ work, and sometimes not
seen by a wider public at all, it does tell a vital part of the Magnum story, and of photography
more widely, in its complex cultural place between art, documentary and commerce.
Photography is on some primary level a matter of problem solving, of making communicative
pictures. The problems can be chosen by the photographer or they can arrive in the form
of a commission. This exhibition takes a careful sample of Magnum’s commissioned work.
Using historical and contemporary examples by a range of photographers,
it draws parallels between this and the photographers’ better-known oeuvres.
Present the project to a large audience and possibly find other venues for the exhibition.
25Emilie Houssa
Historienne de l’art et programmatrice
de la Galerie Confluence, France
http://galerie-confluence.fr/
info@galerie-confluence.fr
Buried Intensions
Rebecca Horne
La Galerie Confluence présente Buried Intensions, une exposition de Rebecca
Horne, photographe plasticienne états-unienne pour la première fois exposée
en France.
Nous attendons de cette présentation deux choses : d’une part, qu’elle permette
à la Galerie Confluence de trouver des partenaires pour financer l’exposition
Buried Intentions mais surtout qu’elle puisse ouvrir vers de possibles
co-productions afin d’envisager un ou des voyages de l’exposition. Le but étant
de faire connaître cette photographe encore très peu connue en Europe.
Claude Iverne
Founder of Elnour Association, Photographer,
Curator, Publisher. France
www.elnour.org
elnour@elnour.org
The Gifted man
Rashid Mahdi
Rashid Mahdi. Sudanese Self-taught photographer, certainly the most sophisticated
photographer in Africa, setteled in early 40’s a technical and aestethical protocol that has no
equivalence on the continent neither abroad: From the make up of the skin, the thin lightling
with filters, exposure-development study, coloring & retouching negatives, high standard
printing, prints retouching and finally colorization. The sudanese recent revolution gives a
chance to open a window on this unknown land and culture by the particular aspect of one
man how gathers multiple medias parrallel to his major activity of photography.
Finally, he expect the presentation to reveal a very particular and exceptionnal man and
photographer who had no equivalent in Africa.
26Paulo Kassab Jr
Curator, Galeria Lume, Brasil
www.galerialume.com
paulo@galerialume.com
Ramos
Julio Bittencourt
In the Ramos series, Julio Bittencourt shows the real beach, far from the clichés
of Brazil. On the beach of Ramos, there are other beauty motifs, feminine curves
drawn not to the rhythm of fashion, but full and succulent curves demanding to
be tightened and displayed proudly by the woman who looks at the camera and
seems to say “there are those who love it”. Everything is as in the photos, without
talcum powder being thrown on the lens to soften the world, because glamour is
precisely the flesh marked by life and the will to be happy anyway.
This presentation is intended to go further than what is being said about Brazil
at the moment, by also touching on the history of immigration and the most
disadvantaged peoples.
Kristine Kern
Director, Fotografisk Center, Denmark
www.fotografiskcenter.dk
kk@fotografiskcenter.dk
Cosmic Code, Images and Imaginaries
Nanna Debois Buhl
In photographic depictions of the sky, speculation about cosmic space meets with technological
innovation and visual experimentation. We could even think of them as maps of the future.
Nanna Debois Buhl’s exhibition project Cosmic Code, Images, and Imaginaries will explore our
understanding of cosmic space across astronomical, technological, futurological, and aesthetic
realms. Through studies of 19th century scientific astro-photography, mysticist photographic
experiments as well as of the woven computer memory for the Apollo 11 moon landing (1960s),
the works in the exhibition will address how early photography and computing have shaped our
understanding of cosmic space and our place in the universe, and explore the gender, material
and labor aspects of these interventions.
To find out if anyone would like to cooperate on showing this exhibition.
27Emmaus Kimani
Photographer/Curator, Arts Taste CurioCity, Kenya
www.contemporaryartist.info
artstastecuriocity@gmail.com
A glimpse of East Africa
An comparative evolution of culture looking at the move and push
from our previous roots to the pull towards urbanity.
Presenting comparative images, challenging previous assumptions.
Learning, comparing notes, developing further, challenging or
strengthen my own hypothesis.
Arpad Kovacs
Assistant Curator, J. Paul Getty Museum, United States of America
http://www.getty.edu/
AKovacs@getty.edu
Peripheral Vision (working title)
Uta Barth
This exhibition will be a full retrospective of Los Angeles-based photographed
Uta Barth, who has spent her career exploring changes in light cast on various
surfaces, documenting the passage of time, and investigating the differences
between optical and camera vision.
He’s looking for an institutional collaborator and an essayist for the catalogue.
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