Jeu de Paume, Paris

CURATORS’ MEETING

7 novembre 2019 1

Les projets sélectionnés > 1 Guillaume Blanc

Doctorant en histoire de la photographie/ Phd in the history of photography Université Paris 1 Panthéon-Sorbonne, France [email protected]

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 repondait : « 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.

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Jean-Christian Bourcart, sérieDay of Wrath, 2018

3 2 Damien MacDonald & Aline Pujo

Curators, Sarl AAA – Aline Art Adviser, France [email protected]

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.

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4 3 Sabyl Ghoussoub

Curateur, France www.sabylghoussoub.com [email protected]

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 a temoigner et a combattre la head, in my body, in my heart, even if I am tired, mafia. Entre les scenes de meurtre (jusqu’a 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 proces, 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 pauvrete de cette ville ou 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 reve dans ma tête, dans mon corps, dans mon cœur, meme si je suis fatiguee, cette envie de beauté qu’est la justice. Parce que la justice, c’est la beaute, parce que la justice gouverne ma vie. » Pendant ces annees, 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.

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Palerme, 1986

5 4 Nathaniel Gaskell

Curator of Photography, Museum of Art & Photography (MAP), India map-india.org [email protected]

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.

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6 5 Laure Véron

Chargée des expositions itinérantes, Jeu de Paume – Paris [email protected]

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.

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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/ [email protected]

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 detruira la terre » Prophetie de Black Eagle, (photographs, sculptural elements, wall-paintings vers 1930. and sound creation) also stand on these fragile Le travail de Cecile 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 (re)apparaissent a 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 creation sonore) se tiennent, eux that guaranteed the protection of their lands, and the aussi, sur ces fragiles interstices entre visibilite et ecological damage caused by the development of the invisibilite, dicible et indicible, realite et fiction, oil sources there. Cécile Hartmann’s groundbreaking organique et inorganique, force et instabilite. 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.

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Cécile Hartmann, Image extraite du filmLe 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 [email protected] 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 edition bilingue convoquant les specialistes dans ce domaine concourra a donner une grande visibilite a ce sujet encore tres peu aborde en France et pourra susciter l’intérêt d’institutions étrangères pour ce que ces expositions soient reprises.

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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 [email protected]

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.

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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.

10 9 Jeanne Mercier et Bérénice Saliou

Curator, Afrique in visu, and artistic director, Institut des Cultures d’Islam, France www.ici.paris [email protected] / [email protected]

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 a 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.

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Benedicte Kurzen / Sanne de Wilde, Land of Ibeji, 2018 © Benedicte Kurzen / Sanne de Wilde, courtesy Noor Images

11 10 Anne Morin

Curator, diChroma photography, Spain www.dichroma-photography.com [email protected]

“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.

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Head and hand, v.1925

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Les projets réseaux > 1 Valentine Umansky

Curator of Lens-Based Arts, Contemporary Arts Center, Cincinnati, USA www.cincycac.org [email protected]

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.

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Alfredo Jaar, Lament of the Images, 2002

15 2 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 [email protected] 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 2m ). 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 internationaux et remplira les trois espaces du they would also like to establish dialogue with non- 2 Western curators. They aim to establish institutional rez-de-chaussée à Henie Onstad (1800 m ). 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.

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Viviane Sassen

16 3 Nuno Ricou Salgado

Artistic Director, Procur.arte, Portugal www.parallelpl atform.org [email protected]

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

17 Autres projets > Marc Barbey

Estate Manager, Collection Regard, Germany www.collectionregard.com [email protected]

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/ [email protected]

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.

19 Antonio Carloni and Veronica Nicolardi

Director, Project Manager, OTM Company srl, Italy http://www.otmcompany.it/it/ https://www.cortonaonthemove.com/en/ [email protected]

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 [email protected] 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.

20 Joachim Charbit & Caroline Burlacot

Director, Association L’art, témoin des émergences, France www.arttemoinemergence.com [email protected]

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 [email protected]

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.

21 Gabriele Conrath-Scholl

Director/Curator, Die Photographische Sammlung/SK Stiftung Kultur, Cologne, Germany www.photographie-dk-kultur.de [email protected]

“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 [email protected]

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.

22 Monika Faber

Director, Curator, Photoinstitut Bonartes, Austria www.bonartes.org [email protected]

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 [email protected]

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.

23 Géraldine Gourbe

Independant curator, France [email protected]

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/ [email protected]

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.

24 Audrey Hoareau

Curator, Musée gruérien, Bulle, Suisse https://musee-gruerien.ch [email protected]

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 [email protected]

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.

25 Emilie Houssa

Historienne de l’art et programmatrice de la Galerie Confluence, France http://galerie-confluence.fr/ [email protected]

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 [email protected]

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.

26 Paulo Kassab Jr

Curator, Galeria Lume, Brasil www.galerialume.com [email protected]

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 [email protected]

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.

27 Emmaus Kimani

Photographer/Curator, Arts Taste CurioCity, Kenya www.contemporaryartist.info [email protected]

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/ [email protected]

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.

28 Russell Lord

Freeman Family Curator of Photographs, New Orleans Museum of Art. USA www.noma.org [email protected]

After the Fact: The Post-Histories of Photographs

After the Fact explores the temporal, social, and political distance between the creation of a negative and any print made from it.

They welcome the opportunity to present the exhibition idea to our professional colleagues in the hopes that it might generate suggestions for future research on the topic.

Clara Masnatta

Curator Independent. Germany, Argentina https://www.ici-berlin.org/people [email protected]

Archive Brasília: Real Faces of the Utopian City

Michael Wesely, Lina Kim, Rossângela Rennó

A restored archive of the images of the construction of Brasilia, Brazil’s capital, together with the faces of the workers that lost their lives in the construction of this utopian city will be presented together in 2020, the year marking the 60th anniversary of the most modern city. A third image coda will assemble an archive of the present that will anticipate a dystopian future beyond Brazil’s national borders under the current right-wing government.

Clara Masnatta is interesting from possible sponsors and venues.

29 Anouk Judde Montserrat / Vincent Jaunet

Curators, France [email protected], [email protected]

Small Land

Emma Burlet

The young photographer, Emma Burlet, started a reflexion around the cultural omnipotence of Ikea by focusing on the original city of her creator; a small town in Smalland. In spite of its modest size, multiculturalism is due in particular to the company’s global influence, so that a large number of nationalities cross in Almhult, through the temporary move of expatriate employees. Emma Burlet is part of this observation, of the dialogue between uniformity and diversity to document and question the youth of this city. The discovery of her project immediately prompted them to want to collaborate with her and to consider a continuation of the adventure, in other cities.

They would like to know if the project is likely to interest some institutions or media.

Riason Naidoo independent Curator, South Africa http://bigdaddyfilms.com/?page_id=10 [email protected]

Legends of the Casbah

Various artists: Ranjith Kally, GR Naidoo, Alf Kumalo,Jurgen Schadeberg, Peter Magubane, etc.

The photo project I propose arises from the recent documentary film I produced and directed entitled Legends of the Casbah (2016) that makes extensive use of archival photographs from the 1950s and 60s in South Africa—state, DRUM magazine, photographer Ranjith Kally and family photo albums—to show a alternate lens on South Africa’s Indian community. The photos shed light on a little known history in South Africa’s grand narrative of black and white. It focuses on some of the key figures such as anti-apartheid political activists doctors Monty Naicker, Yusuf Dadoo and Goonam Naidoo, the latter who was also a feminist activist campaigning for womens’ rights to abortion in the 1960s. It sheds light on gangs such as the Crimson League and the Salots and tough guys like Sheriff Khan and Pataan.

30 Christopher Phillips

Curator, The Walther Collection, Germany/USA www.walthercollection.com [email protected]

Life and Dreams: Contemporary Chinese Photography and Media Art

Ai Weiwei, Bo Wang, Cang Xin, Cao Fei, Chen Lingyang, Chen Shaoxiong, Cheng Ran, Hai Bo, Hao Jingban, Hong Hao, Hong Lei, Huang Yan, Jiang Zhi, Lin Tianmiao, Lin Tianmiao & Wang Gongxin, Liu Chuang, Lu Yang, Luo Yongjin, Ma Liuming, Miao Xiaochun, Mo Yi, Mu Chen & Shao Yinong, RongRong, Sheng Qi, Song Dong, Sun Xun, Sze Tsung Leong, Wang Jinsong, Wang Qingsong, Weng Fen, Xiang Liqing, Xu Yong, Yang Fudong, Zhang Dali, Zhang Huan, Zhang Peili, Zheng Guogu, Zhou Tao, Zhou Tiehai, and Zhuang Hui

An expansive exhibition and scholarly catalogue, Life and Dreams showcases a wide range of groundbreaking photography and media art produced by both internationally recognized Chinese artists as well as innovative younger practitioners, to provide an up-to-date account of the main directions and key achievements of the field during the past three decades. Showing visually inventive and emotionally compelling artworks, the exhibition demonstrates the remarkable speed with which photography and media art have occupied important positions within the field of experimental Chinese art since the early 1990s. Throughout Life and Dreams, photographic works register artists’ responses to the sweeping social and economic changes that have fundamentally altered the face of China’s cities and transformed the fabric of everyday life. Featured selections of media art often evoke an ambiguous world of technological fantasy, suggesting where these changes may be leading the country and its inhabitants.

They hope to develop partnerships and collaborate with institutions which could offer additional insights and perspectives, relevant artists and artworks, and serve as exhibition venues—granting further access to global audiences.

31 PROMENADES PHOTOGRAPHIQUES

Festival promenade photographique, France http://www.promenadesphotographiques.com [email protected]

Organic

Paola Tassetti-Martha Haversham-Nathalie Reba-Scott Bucher- Philippe-H. Claudel-Christine Mathieu-Robin Ek- Rachel Lévy-Alireza Chitaei-Marie Amar-David Duzochukwu-Tomoya Matsuura-Al Brydon- Man and Wah-Lakin Ogunbanwo-Domenico Tedone-Natacha Nikouline- Anne-Sophie Lejeune-Kiki Xue-Won Chun Ho-Isabelle Chapuis- Thierry Arensma-Pawel Bajew-Isamu Sawa-Amin El Dib

65 artists from the international scene gathered by and with Philippe-H. Claudel, artist and curator of the exhibition for an original project: ORGANIC. A universal theme > the plant. Emblematic of our connection to the world, the plant travels through the history of art and humanity. From roots that seek life to flowers that will prolong it by exploding in seeds, plants are the image of the world in danger. Artists show all its aspects and all its states: so many metaphors their humanity and diversity, their strengths and their fragilities.

The collective aims to attract potential patrons, arts centres likely to be associated with the project.

32 Kaspar Ravel

Curator / Main Organizer, Glitch Artists Collective, France / England www.kaspar.wtf [email protected]

Blue

Selection in Progress

Blue is an exhibition that poses digital art in a context of popular art and critical new media. It has one main exhibition, with artworks, interactive installations, and is animated with workshops, lectures and audiovisual performances from around the world.

He hopes to find people who share the same interests and values and that could potentially provide help on any aspect.

Anna Shpakova Curator, independent, Belarus [email protected]

Emergent Belarus photography

Alexander Vasukovich, Darya Tsaryk, Maxim Sarychev, Siarhei Kanaplianik, Alena Pratasevich, Volga Savich, Alexander Mihalkovich, Aleksey Naumchik, Zhanna Gladko, Serhei Leskets, Siarhei Hudzilin, Alexei Shlyk

Emerged for the last several years, independent photographic practices in Belarus—research, education, publishing, exhibiting—changed the direction of work with both the photography and the public and have become a tool for analysis of social, political and aesthetic issues. Photographers’ visual approaches represent a wide range of creative studies varying from social documentary to pure mental forms, poetic and very personal projects. In the multitude of individual approaches in this exhibition we offer a kind of “collective conscious”—the method to examine Belarus present-day as well as its researchers—the photographers. The projects selected for the exhibition are a representation of emergent Belarus photography, which has never been shown in Europe before as a phenomena. The main aim is to introduce to European viewer to the authors one of the post-Soviet countries and their visual exploration of their own country, its space and people, self-identity and its history.

We are looking forward to introduce the Belarus photography to European public, we are looking for the institutional connections to be able to collaborate and a find a financial support or co-support to execute the exhibition.

33 Iris Sikking

Independent Curator, Iris Sikking, Netherlands [email protected]

ThevCanary and thevHammer

Lisa Barnard

Curator Iris Sikking and artist Lisa Barnard collaborate with the aim to create a multilayered installation of Barnard’s latest project The Canaray and the Hammer which shows the meaning and status of gold in today’s society. The project as a whole is a response to the financial crisis of 2008 and its exposure of the western world’s determination to ‘claim’ territory, to accumulate wealth at the expense of the poor. The exhibition combines Barnard’s diversity of visual approaches such as the use of 19th century photography techniques as the orotone, and stereographs but also video and computer generated images, with an indepth image research in the history of gold mining and how it has become (and stilll is) a driving force in our economy.

With this presentation they expect to promote our collaboration and start to develop partnerships. Following the book launch in September 2019 they started our collaboration to develop an exhibition proposal and to secure venues worldwide.

Marija Skocˇir

Art Gallery Director, Museum and Galleries of Ljubljana, Slovenia https://mgml.si/sl/ [email protected]

Pygmalion

Jaka Babnik

The myth of Pygmalion and Galatea can be regarded as a symbolic thread running through artist Jaka Babnik’s latest exhibition project. Given that the myth ends with a representation of a state of perfect fulfilment, Babnik’s Pygmalion can be understood as a direct criticism of the relationships and mechanisms underlying the values of contemporary society.

To exchange experience and find new partners they would like to meet with members of institutions outside of Slovenia.

34 Ekaterina Skorokhodova

Curator, France [email protected]

“In the mud”

Lisa Grip personal exhibition

The exhibition questions the intimacy, strength and liberation found in human relations. Presenting a series of complex and confusing scenarios through photography and moving images, the works oscillate between secrecy and voyeurism. In his situational compositions, we can see people dissolving and detaching.

She wants to find a partner institution.

Gilles Verneret

Artistic director, Le Bleu du Ciel. France www.lebleuduciel.net [email protected]

Midlife

Elinor Carucci

The proposed exhibition will consist mainly of photographs by Elinor Carucci from her forthcoming book Midlife, accompanied by a selection of images from her earlier series, this in order to show all the proceedings of his documentary method on the status of women. It’s a living chronicle of the passage through aging, family, illness and intimacy. He would like to create a dynamic around this artist in order to make his work known. The Curator’s Meeting will be able to find institutional partners to co-produce an exhibition that will largely show the images of the book “Midlife” as well as a selection of images from its previous series. This exhibition project was proposed to Sam Stourdzé with whom they co-produced the exhibition “Rédemption” of Laura Henno in 2018 for the Rencontres d’Arles.

35 Sonia Voss

Curator, France [email protected]

Punctul 8

Anton Roland Laub

“Punctul 8” is a work of revisibilization combining photographs and archives, the title of which refers to the proclamation of Timisoara of 1990, which was followed by a traumatic chapter of recent Romanian history: the “Mineriade”, bloody repression of student demonstrations by the Romanian post-communist state.

To find exhibition venues in France and more generally Europe & the USA.

Dragana Vujanovic Östlind

Chief Curator, Hasselblad Foundation, Sweden www.hasselbladfoundation.se [email protected]

Post-Truth Objectivity

Group exhibition: Laia Abril (ESP), Mathieu Asselin (FRA/VEN), Lara Baladi (LBN), Axel Karlsson-Rixon (SE), Bouchra Khalili (MA/FRA), Frida Orupabo (NO), Trevor Paglen (USA) and Taryn Simon (USA).

In November 2016, Oxford Dictionaries announced ‘post-truth’ as its international Word of the Year. Post-truth indicates that an appeal to emotions and personal beliefs is more influential in shaping public opinion than objective facts. The exhibition Post-Truth Objectivity investigates the turn to objectivity in contemporary art. It shows how contemporary artists approach complex social and political realities in times of post-truth. By stepping into the world, turning to archives, advanced technologies and hidden existences, these artists expose structures and oppressions that are strategically hidden or overlooked. Within the research project, curatorial practice is imperative in the process of attaining important knowledge. Accordingly, the exhibition constitutes a significant and in-depth practice-based mapping of the field.

To spread information about the project in order to find institutions/partners that are interested in various types of collaborations.

36 Brian Wallis

Curator, The Walther Collection, Germany / USA www.walthercollection.com [email protected]

Unseen: The Vernacular Portrait Photograph

Primarily unidentified photographers, working in the formats of the daguerreotype, the tintype, and the albumen carte de visite; also, twentieth-century photographic portraits from bureaucratic, institutional, ethnographic, and personal archives; and, finally, amateur and professional portraits from photograph albums and scrapbooks.

“Unseen: The Vernacular Portrait Photograph” considers the most ubiquitous form of photography, one that is used daily by all yet rarely afforded serious attention: the ordinary portrait photograph. The vernacular portrait encompasses a wide range of images, from the obligatory passport photograph and the school yearbook headshot to the employee ID photo and the online profile picture. By examining these largely overlooked photographic genres, this exhibition looks at how everyday portraits shape individual and collective subjectivities through typologies, taxonomies, and series. This critical approach reorients the viewer to different questions pertinent to the power of photographic portraiture, including changing notions of work and leisure, gender and sexuality, and race and ethnicity. What is the value or meaning of such images? Are they regressive signs of social conformity or complex markers of community and identity?

Their mission in this regard is educational: they hope to develop collaborative partnerships with institutions, curators, and scholars to further research and present issues in vernacular photography.

37 Les projets sélectionnés

1 Guillaume Blanc 3 Quand nous serons tous aveugles

2 Damien MacDonald & Aline Pujo 4 FACE OFF

3 Sabyl Ghoussoub 5 Amer amour

4 Nathaniel Gaskell 6 Studio Suhag : Portraits de l’Inde

5 Laure Véron 7 Le Supermarché des images

6 Caroline Cournède 8 Le Serpent noir

7 Véronique Souben 9 La photographie à l’épreuve de l’abstraction

8 Katarina Pierre 10 Inside and Outside

9 Jeanne Mercier et Bérénice Saliou 11 L’intangible

10 Anne Morin 12 “Black Light” sommaire Les projets réseaux

1 Valentine Umansky 15 Fire/Flies (FotoFocus Biennial)

2 Susanne Østby Sæther, Behzad Farazollahi, Christian Tunge 16 NEW VISIONS: Triennial for Photography and New Media

3 Nuno Ricou Salgado 17 PARALLEL - European Photo Based Platform

38 Autres projets

Marc Barbey 19 Emmaus Kimani 28 Retrospective A glimpse of East Africa

Gail Buckland 19 Arpad Kovacs 28 Antropología Fantástic: Photographs Peripheral Vision (working title)

Antonio Carloni and Veronica Nicolardi 20 Russell Lord 29 Understanding Climate Change — Experience exhibition After the Fact: The Post-Histories of Photographs in collaboration with National Geographic Society Clara Masnatta 29 Gintaras Cesonis 20 Archive Brasília: Real Faces of the Utopian City KOSMOS Anouk Judde Montserrat / Vincent Jaunet 30 Joachim Charbit & Caroline Burlacot 21 SMALL LAND Art as a Witness Riason Naidoo 30 Sandrine Colard 21 Legends of the Casbah The Way She Looks: A History of Female Christopher Phillips 31 Gazes in African Portraiture Life and Dreams: Contemporary Chinese Gabriele Conrath-Scholl 22 Photography and Media Art “Boris Becker — Bunkers. Photographs PROMENADES PHOTOGRAPHIQUES 32 of Architectures and Artifacts“ ORGANIC Renaud Donnedieu de Vabres 22 Kaspar Ravel 33 Witnesses of the World Blue Monika Faber 23 Anna Shpakova 33 Disruptions—Madame d’Ora (1907-1958) Emergent Belarus photography Nathalie Giraudeau 23 Iris Sikking 34 Serpiente de Oro, chapter 1 The Canary and the Hammer Géraldine Gourbe 24 Marija Skocˇir 34 Crazy Lucid World Pygmalion Gregory Harris 24 Ekaterina Skorokhodova 35 Eyes on the Street (working title) “In the mud” Audrey Hoareau 25 sommaire 35 Gilles Verneret Territoires tracés Midlife Andrea Holzherr & Anne-Marie Beckmann 25 Sonia Voss 36 A History of Comissioned Work (working title) Punctul 8 Emilie Houssa 26 Dragana Vujanovic Östlind 36 Buried Intensions Post-Truth Objectivity Claude Iverne 26 Brian Wallis 37 THE GIFTED MAN Unseen: The Vernacular Portrait Photograph Paulo Kassab Jr 27 Ramos

Kristine Kern 27 Cosmic Code, Images and Imaginaries

39