A family album recomposed by Jean-Marie Donat Anonymous photomontage. The other photograms on display are linked to the cultural traditions of Amerindian communities, whose movement and vitality he attempts to portray.Īt Croisière. He hopes that the viewer will himself become one with the jungle – or with the sea, where he has also plunged his paper. The photographer relies on the elements, and on chance, to create these images in which details can be distinguished: leaves, insects, invasive species that create a void around them. The artist arrived at this technique when he wanted to photograph the Amazon jungle seeking to convey, via his images, the relationship with nature of the indigenous populations with whom he collaborated on site – "it's not a utilitarian relationship, but a horizontal one, where man is part of things, does not dominate them," he stated. We are dealing here with photograms, camera-free images produced on photosensitive paper by Peruvian artist Roberto Huarcaya. This installation, made up of just three pieces, is one of the most successful, so wonderfully does the work harmonize with the site. The long photographic ribbon exhibited at Croisière wraps visitors in a kind of luminous, vegetal wave, in colors that are sometimes earthy and sometimes marine. The vibrant nature of Roberto Huarcaya "Amazogrammes n★," by Roberto Huarcaya (2022). Le Monde selects a dozen exhibitions to discover this summer. Family photos and scrapbooks are featured alongside documentary work and more classical portraits. The 2023 Rencontres d'Arles present an eclectic program, with an emphasis on vernacular photography and archival artists. Roberto Huarcaya, Saul Leiter, Juliette Agnel, Diane Arbus: 'Le Monde' picks the top shows in this year's outing for the annual photographic extravaganza, running until September 24.īy Claire Guillot Published on July 11, 2023, at 5:00 am (Paris) Lawrenc.12 unmissable exhibitions at this summer's Arles photo festival Pierre Bonnard's Nu au Tub (1912) and D.H.Joan Mitchell's -93 from One Cent Life Port.Un homme, une femme, quelles différences?Ī small room inside a bay window.The effect is not a mask but its opposite: a surface that neither hides what lies behind it, nor likens it to something else, but leaves it open to imagination - the same way Ian Wallace uses the monochrome, or the early, furniture sculpture-era Ken Lum once used the void. Zvonar, on the other hand, often applies abstractions over her figures, images whose beginnings and ends are mutable, irrelevant to the surface over which they are applied. With Stezaker's Masks, the artist begins with portraits - where the lines are as finite as the faces that bind them - then seeks out landscapes that can be modelled to meet those lines. The difference between collage and montage is that the former is a more spontaneous composition, performed on the spot, whereas the latter is contrived: a compositional idea in advance of its material inventory. What I found in Stezaker's series was not an instance of collage but of montage. When Elizabeth Zvonar began to exhibit her magazine collages (second image), the artist who came to mind was John Stezaker (first image).įor some observers, such a recognition would lead to a dismissal, a declaration that the artist whose work is reminiscent of another is but an imitator, which is often the case with critics who like to keep the world in line (or its artist from colouring outside them).īut rather than go there, I returned to Stezaker, particularly his Mask series, where the artist imposes one petite genre (landscape) over another (portraiture).
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