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July 2021 > April 2022 13TH DOCUMENTARY PHOTOGRAPHY RENDEZVOUS July 2021 > April 2022 PRESS KIT / REPROGRAMMING Centre photographique documentaire - ImageSingulières / Festival office 15-17 rue Lacan - 34200 Sète 04 67 18 27 54 / [email protected] /www.imagesingulieres.com © Cecilia Reynoso EDITO The current health situation obliges us to cancel the scheduled dates of 12 to 30 May 2021 for the 13th edition of the documentary photography event, ImageSingulières. But the exhibition programme, which we prepared with care and diligence, will be maintained and rescheduled from July 2021 to April 2022. An occasion to begin our mutation and anticipate the change of name of our actual space “la Maison de l’Image Documentaire”. In fact, with increased space on the ground floor and before beginning a restructuration programme currently being considered with François Commeinhes, the mayor of Sète, we will henceforth be able to present two exhibitions as well as an installation on the outer wall and to organise screenings and other events in the courtyard. It is therefore at the “Centre photographique documentaire - ImageSingulières” that the 2021 festival programme will be launched on 3 July, with two or three exhibitions every two months, meetings, screenings, and all the other events that we usually offer during our cultural season. We warmly thank the photographers, our partners and the public for their confidence in us and their commitment, and invite you to join us for a crazy photographic season in Sète! This singular summer will open with Laura Pannack’s striking portraits of young adolescents in the North of England which will be shown at Sète’s railway station from mid-May through April 2022. At the new Centre photographique documentaire - ImageSingulières, on the ground floor which we are using for the first time, Hugues de Wurstemberger’s 2021 residency project promises a poetic journey redrawing a portrait of the city and its environs. On the first floor, it is Ute Mahler’s Germany, before the Wall fell, with street views, and interiors, for an infinitely tender overview of private life in the former East Germany. Tendance Floue will retrace the 30 years of the collective with an imposing mural inspired by its film POESIS, on the outside wall. On the occasion of Brassens’ centenary, we present Clementine Schneidermann’s 2020 residency which searched out traces of the singer-poet, at the Musée Ethnographique de l’Etang de Thau. Then, for the start of the new season in September, exhibitions of the winners of the 2019 and 2020 ISEM Grand Prize: Romain Laurendeau, for a dramatic dive into the world of drugs among Palestinian youth on the West Bank and Christian Lutz with his project looking at the rise of nationalism in old Europe. Next, women photographers will be in the forefront with the striking work of Marylise Vigneau “Article 19”, about a Pakistani law attacking freedom of speech and the arresting family saga of the young Argentinian photographer Cecilia Reynoso. The environment will be at the heart of two exhibitions presented at the beginning of 2022. The series “Oil and Moss” by Igor Tereshkov, bears witness to the ravages of the petroleum industry in the autonomous region of Khantys-Mansis, in the heart of Russia, and Robin Friend’s “Bastard Countryside” explores the British countryside through metaphors showing how our modern way of life is destroying the planet. To close the season, we will show the work of Panos Kefalos about young Afghan migrants in Athens and that of Ioana Cirlig who brings us a tender portrait of post- industrial Romania. The year will also see meetings, film screenings but also workshops, book signings... Gilles FAVIER Valérie LAQUITTANT Artistic Director Director REPROGRAMMING 2021-2022 EXHIBITION AT THE CENTRE PHOTOGRAPHIQUE DOCUMENTAIRE - IMAGESINGULIÈRES (Former: Maison de l'Image Documentaire - MID) 3 JULY > 5 SEPTEMBER 2021 13 JANUARY > 3 MARCH 2022 > Hugues de Wurstemberger / SÈTE #21 > Robin Friend / BASTARD COUNTRYSIDE > Ute Mahler / ZUSAMMENLEBEN > Igor Tereshkov / OIL AND MOSS > Tendance Floue / POESIS 17 MARCH > 1 MAY 2022 16 SEPTEMBER > 7 NOVEMBER 2021 > Panos Kefalos / SAINTS > Christian Lutz / CITIZENS > Ioana Cîrlig / POST-INDUSTRIAL STORIES > Romain Laurendeau / MISTER NICE GUY 18 NOVEMBER 2021 > 2 JANUARY 2022 > Cecilia Reynoso / THE FLOWERS FAMILY > Marylise Vigneau / ARTICLE 19 EXHIBITIONS HORS-LES-MURS MAY 2021 > APRIL 2022 > Laura Pannack / THE CRACKER - Gare SNCF de Sète JUNE > AUGUST 2021 > Clémentine Schneidermann/ SÈTE#20 - Musée Ethnographique de l'Étang de Thau, Bouzigues PRACTICAL INFORMATION Free acces to the exhibitions (except for the Musée Ethnographique de l'Étang de Thau). The program of ImageSingulières is subject to the evolution of the health crisis. All the visits and events will take place in strict compliance with the sanitary measures and instructions in force and could be cancelled, modified or postponed due to government restrictions. EXHIBITIONS HORS-LES-MURS From May 2021 to April 2022 LAURA PANNACK THE CRACKER ENGLAND / INLAND A vast wasteland stands between the two estates. ‘Tibby’ ; its cul-de-sac of residential houses curls around a small playground. Kids push prams with their hands above their heads or zip past on bikes. Through a narrow alleyway you enter the Cracker ; rolling grass lined with blackberries and stinging nettles. Motorbikes, peds and quads bark loudly every day and at all times. The boys race them until they burn out, perfecting the art of the wheelie. Horses are usually kept in the back gardens or local stables and are just as popular. The girls nestle around small fires despite the baking summer sun. On my second trip I discovered an entirely black Cracker, sporting the occasional patch of grass that had escaped a burning. On the adjacent side lies ‘The Lost City Estate’. Most of the boys meet at Jack Barrett’s bars (a metal fence that lies to the opening of the field). They perch and exchange stories, cigarettes and zoots alight referring to each other affectionately as ‘Mush’ © Laura Pannack / InLand I ‘m drawn to this area for its insular community. Everyone knows each other and the name. The community chose the name ‘The Lost City’ as they felt forgotten. With limited entertainment or inspiration and a lack of role models these young people do feel lost. The police battle against them. I want to explore the friendships, the unique language and tradition of the area and the characters that for me ; should not be lost or ignored. + As every year, with the faithful support of SNCF Gares & Connexions, the ImageSingulières festival takes over the Sète SNCF station, its corridors, its lobby and its facade. All year long, we will see a selection of "SÈTE#21", the residency work, and an anthology of the 2021-2022 programme. THE PHOTOGRAPHER Laura Pannack is a London based photographer. Renowned for her portraiture and social documentary work, she seeks to explore the complex relationship between subject and photographer. Her work has been extensively exhibited and published worldwide, including at the National Portrait Gallery, the Houses of Parliament, Somerset House and the Royal Festival Hall in London. www.laurapannack.com/ GARE SNCF DE SÈTE EXHIBITIONS Residency 2021 From 3 July to 5 September HUGUES DE WURSTEMBERGER SÈTE #21 SWISS / VU' Each year, ImageSingulières invites a photographer in residence in Sète and around the Bassin de Thau to create a carte blanche on the territory and its inhabitants. For the 2021 edition, the Swiss photographer Hugues de Wurstemberger has been chosen. The first thirteen residents invited to share their vision of Sète had to remain within the boundaries of the city’s area. Such constraints are quite often a source of inspiration and structure, as resulting exhibitions and books testify. This time, the area covered widened, and considerably so. And Hugues de Wurstemberger (or H2W for short) very much took advantage of this freedom – which is just like him. He roamed over a huge area that includes lakes with melodious names (Thau, Arnel, Vic, Ingrill), a lagoon and its waters, without being insensitive to the minerality of the cliffs of “White Stones” and “Creux de Miège”. He surveyed the area by foot – as he demonstrates with a few snap shots of his feet – which is still the best way to claim, evaluate and scan the space around, because the walker keeps his eyes opened at all times, which enables him, in summer and in winter alike and under intense lights, to find the right distance, to lengthen his breath and to make discoveries. Focusing his attention, he observes and captures in two stages the small changes that a landscape undergoes over a period of time, be it long or short. Thus is born a binary rhythm that matches walking, and suggestions, like many questions being raised, that are more decompositions than diptychs. As soon as the wind rises and shakes the leaves, the light turns and one comes back to look at a tree just a few months apart, this questioning comes up, soberly, about the way we see and perceive things. H2W walked and gave thought to the direction of his paths ; he observed, often closely, plants that he later © Hugues de Wurstemberger / VU' researched. He met people, men, women, youths, who live far from the city, some of them hunters, others fruit and vegetable growers, wine producers, all of this relying on organic and permacultural processes, which corresponds to the photographer’s concerns and values. From the people he met, he learnt much – because he is always curious, wanting to know more about nature, its challenges, its mutilations, what still is and always will be possible. He collaborated with those who know and photographed them without any consideration for the “portrait” genre ; he was clearly in the moment of the encounter, finding, here again, the relevant distance, as he was able to with the space that he traversed while observing it.
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