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Cote Marseille Juillet oyster perpetual date en rolesor gris 34 m m Par Gérard Martin [ RENCONTRE ] MEET © CHRISTOPHE BILLET Lucien Clergue un photographe de nu reconnu 3 -/ renowned photographer of nudes Ève dans le jardin d’Éden, Vénus sortant de l’onde, Emmanuelle -/ 1956. A young Arles photographer haunts the Camargue beaches trônant dans son fauteuil d’osier. Avec Lucien Clergue, l’imagerie du nu seeking the secret of this light born of sky, sand and water; the shut- devient celle de la naissance du monde. -/ Eve in the Garden of Eden, ter clicks and on his film he imprints sea, clouds, dunes. Naturism is Venus emerging from the waves, Emmanuelle enthroned in her wicker in vogue, open-air nudity fashionable. And this is the era of big-screen armchair… Lucien Clergue's nude imagery evokes the world's birth. sex symbols: Sophia, Marilyn, Brigitte et al. Although this artist is es- sentially inspired by the liberated naturalness of life in the Camargue, 1956, un jeune photographe arlésien hante les plages de Camargue. Il cherche le secret de cette lumière, grains of sand lead to the grain of skin, the curves of waves and née du ciel, du sable et de l’eau. D’un clic, il imprime sur la pellicule la mer, les nuages, les dunes. L’époque dunes to those of the body, and he ends up photographing beach est au naturisme, le corps s’étant libéré du puritanisme autant que de la prison des lupanars. L’apologie nymphs, dressing them in sand, light and water. du nu en plein air est une mode. Les stades sont devenus le théâtre d’une culture de la forme physique. Clergue surfs the New Wave of cinema, painting and literature. Temp- C’est aussi une période de découverte des sex-symbols à l’écran, comme Sophia Loren, Marilyn et BB… ted by Surrealism, he meets its muses and masters. Picasso be- Mais plus que tout, c’est le naturel sauvage de la vie en Camargue qui inspire cet artiste. Finalement, du comes an assiduous purchaser of his pictures; Eluard, Cocteau, Dali grain de sable au grain de la peau, de la rondeur des vagues et des dunes jusqu’à celle des corps, ce and Max Ernst become his friends. All the celebrities of Paris and in- sont des nymphes qu’il va photographier, les habillant de sable, de lumière et d’eau. telligentsia come to Camargue to sun their bodies in front of his eyes Lucien surfe sur la nouvelle vague du cinéma, de la peinture et des lettres. Le surréalisme le tente, il en and lens. A fundamental chronicler of that liberated era, Lucien rencontre les égéries et les maîtres. Picasso devient un acheteur assidu de ses clichés. Eluard, Cocteau, Clergue, founder of the Rencontres Internationales de la Photogra- Dali, Max Ernst deviennent ses amis. Tout ce que Paris et l’intelligentsia comptent de célébrités, sans ou- phie festival, member of the Academy of Fine Arts, untiring photo- blier le « mondillo » du flamenco, Manitas de Plata entre autres, toutes et tous, sous ses yeux et dans son grapher, is today still taking photographs, lecturing and documenting. objectif, viendront se brûler la peau au soleil de Camargue. Témoin incontournable de cette époque qui "Cross your left leg! Let the water caress your sex, the reflection of a vu la libération des mœurs, la scénarisation des corps sur les plages et le tsunami des images. Infati- the trees in the river should lead to the breasts – there! Perfect, don't gable, Lucien Clergue, fondateur des Rencontres Internationales de la Photographie et académicien est move!" June 2010, a photo shoot in a Cévennes gorge with three aujourd’hui encore photographe, enseignant et documentariste. Passionné par la naissance d’un corps nude models. The master dictates the pose while chatting about 19, rue francis davso - marseille ier - tél. 04 91 54 18 40 www.pellegrin.fr sur la pellicule. poetry, music and business too: "Right now I've exhibitions in New juillet-août 2010 www.cotemagazine.com « (…) Croise la jambe gauche ! Laisse l’eau caresser ton sexe… Le reflet des arbres dans la rivière doit York, Beijing and Luxembourg but most importantly, this autumn in conduire vers les seins… Là ! C’est parfait, ne bouge plus ! » Juin 2010 : nous sommes en pleine séance Paris there's the 50th anniversary of Cocteau's Testament of Or- de prise de vue dans une gorge des Cévennes où posent trois modèles nus. Les trois Grâces : une pheus, for which I took all the photographs. In December I'll be with rousse, une blonde, une brune. Le maître indique la posture, crée des scénographies tout en parlant my dealer, Patrice Trigano, and also in Miami. Then there's an im- poésie et musique, business aussi : « En ce moment j’expose à New York, à Pékin, au Luxembourg, mais portant book coming out in Germany and the opening of Menton's surtout il y a la rentrée à Paris, le cinquantenaire de la sortie du Testament d’Orphée de Cocteau, dont Jean Cocteau museum where one room is being devoted to my j’ai fait toutes les photographies. Je serai aussi chez mon marchand, Patrice Trigano, en décembre et en work." Articulate, incisive but always with one eye fixed on the shoot. même temps à Miami. Et puis il y a ce grand livre qui sort en Allemagne et encore l’ouverture à Menton "No, there, more to the left. The reflection of the girl in the water shot du musée Jean Cocteau, dans lequel une salle sera consacrée à mon travail. » Le verbe clair, la parole from below will be fantastic! Ah, this sensuality in the light is like vio- incisive mais l’œil toujours rivé sur ce qui se passe côté atelier de photographie. lin music. Bach's six sonatas taught me so much; I would have liked Il reprend : « Non là, plus à gauche. Le reflet de la fille dans l’eau, en shootant d’en bas, ce sera formi- to have been a violinist." Then concentrating on the photography dable ! Ah cette sensualité dans la lumière c’est comme de la musique de violon. Les six sonates de again: "Make sure you stay half in the water, half on the rock!" And Bach m’ont tout appris, j’aurais voulu être violoniste. À 16 ans je me suis procuré la copie des partitions comments: "Yes indeed, I position and above all I previsualise. That's originales. » Puis, il se fixe à nouveau sur la séance en cours : « Attention restez moitié dans l’eau, moi- what I learnt from the Americans, what we don't know how to do in tié sur le rocher ! » Puis il commente : « Eh oui… j’installe et surtout je prévisualise. C’est ce que j’ai ap- France." From nymphs to bacchantes… and pictures straight out of pris chez les Américains et ce que nous ne savons pas faire en France ». Des nymphes aux bacchantes, mythology are born. ainsi naissent des tableaux tout droit sortis de la mythologie. Et notre photographe de citer Ovide, Rim- As evening falls we head to Bessèges where photography works- baud, Saint-John Perse, Paul Eluard. hops are being held. A village street is named after Lucien Clergue. Le soir tombe, la lumière faiblit, nous allons rejoindre Bessèges où une association organise des ateliers Every year this artist who works only with natural light and gelatin sil- de photographie. Une rue du village porte le nom de Lucien Clergue. Chaque année, cet artiste qui ne ver prints gives talks and coordinates courses here, proving yet travaille qu’à la lumière naturelle et à l’argentique y donne des conférences, y coordonne des stages, prou- again his love of nature. vant par là son attachement à la Nature. MEET Avec vous, il semble que la photo en France ait vraiment gagné ses lettres de noblesse. Elle est en- Through you it seems photography in France has really earned its RENCONTRE trée à l’Académie. letters patent since it has entered the Academy. Oui, c’est véritablement devenu le 8e Art. Je me suis très vite rendu compte que les Rencontres de la Pho- Yes, it really has become the "eighth art". I very quickly realised the 4 5 tographie devaient avoir une dimension internationale. Elles ont rapidement été un immense succès et Rencontres de la Photographie would attain international status; the nous avons ainsi eu les plus grands noms à Arles. festival rapidly became a huge success and the greatest photogra- phers have come to Arles. Le nu a-t-il toujours tenu une grande place dans vos travaux ? J’ai commencé très tôt le nu, mais en jouant sur sa dualité avec la mort. Pendant que je photographiais Has photographing nudes always been a big part of your work? des femmes merveilleuses sur les plages de Camargue, je montrais des clichés de cadavres de flamants I began photographing nudes very early on but playing on the dua- roses. Mon œuvre a, en quelque sorte, un dénominateur commun : le sable. Celui des plages et celui des lity with death. While I was photographing superb women on Ca- Arènes. La vie et la mort. Éros et Thanatos. margue beaches I was also showing pictures of dead pink flamingos. In a way my work has one common denominator: sand. Le sable est le fil conducteur de votre rapport à la Nature, mais à la Culture aussi. Votre thèse de doc- That of beaches and bull ring. Life and death. Eros and Thanatos. torat, « le langage des sables », a été soutenue en images.
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