large operation angle for the Rencontres d’Arles 2016 under the leadership of Sam Stourdzé, the festival broadens its horizons by investing in new places. Eclectic and open on the other hand, this 47th edition will take place from July 4 to September 25. Combining big names and young artists, documentary photo and unexpected fantasies
A spat pop and biting. Rencontres d’Arles set the tone with this new poster signed Toilet Paper , surrealist magazine founded in 2010 by Maurizio Cattelan and Pierpaolo Ferrari. Hundred and thirty-seven artists, 32 exhibitions and seven associated: the festival, which reiterates its support for young artists, looks bushy. No overall theme, but several sequences, each composed of a handful of shows. History proposing “a ray of contemporary art” , says director Sam Stourdzé, at the helm since last year.
healthy sign, the festival (this year dedicated to the writer Michel Tournier, its co-founder passed away in January) expands with five new locations including former Arles Mistral College (now Cosmos Books stronghold of Arles, Salon of the picture book), the LUMA Foundation at the Parc des Ateliers will present several exhibitions, and Manuel Rivera-Ortiz Foundation. But also three places outside the walls: the Carré d’Art in Nîmes, the Lambert foundation of Avignon and the Mediterranean Villa Marseille will each host an exhibition as part of the “Great Arles express” project.
The program eclectic and fresh look. Far from any sordid, the “Africa Pop” sequence celebrate the dynamism of Africa. Including “Swinging Bamako”: the exhibition, bringing together artists including Malian Malick Sidibé, recounts the adventure of Maravillas du Mali, musicians parties in Havana in the 1960s and symbols of a youth in turmoil. Or “Tear my bra”, an exhibition inspired by Nollywood, the Nigerian Hollywood, revisiting the African nuggets of cinema.
The idea? Go off the beaten track. Through several sequences, one will discover a “strange collectors’ singular photographers” outside the scope “or embrace the art of” chance and error. ” And humor with the sequence “Hara-Kiri”, in homage to the eponymous magazine, schoolboy ancestor of Charlie Hebdo . Some fantasies as “Western stories” with a zoom on the western Camargue. Or “Monsters & amp; Co “, offering a panorama of movie monsters, a series on Japanese folk rites signed Fréger and even a trio of Danish photographers party, between the investigation and the road movie on track extraterrestrials of the case Roswell.
More seriously, a whole section will be devoted to documentary photography. A look “necessary in these difficult times,” says Sam Stourdzé. “After the war” will bring together four exhibitions, a collective dedicated to September 11, and an exploration of the remains of battlefields around the world, by the photojournalist Yan Morvan. Abortion (Laia Abril), lifestyles radicals (Piero Martinello), disappearance of political opponents in South America (Joao Pina) “visible platforms” offer “new approaches to documentary.” Finally, the larger sequence celebrate street photography with five exhibitions. Among them, a retrospective of stirring Sid Grossman (1913-1955), or an unexpected dialogue between Garry Winogrand (1928-1984) and the New York quadra Ethan Levitas. But also signed vintage William Klein, almost nonagenarian master of street-photography. Places 4th of July!