mercredi, 15 juin 2016
Olmo Calvo – Migrant stories

Olmo Calvo is a Spanish photographer who has received multiple awards for his work: the Louis Valtueña International Award of Humanitarian Photography 2012, the Mingote ABC International Press Award 2013 and the the Louis Valtueña International Award of Humanitarian Photography 2015.

He publishes his work in progress on his website. Two migrant stories have particularly caught our attention in that they show and tell in depth how migrants (mainly refugees from Syria, Afghanistan and Iraq) live and travel after arriving in Europe.

Olmo Calvo – Refugees

Olmo Calvo – Idomeni, border closed (Idomeni is a small village in Greece at the border with the Republic of Macedonia)

mardi, 14 juin 2016
Elisabeth Vallet – Le monde se referme

65 murs ou barrières sont construits ou plannifiés près des frontières. Elisabeth Vallet, Directrice Scientifique de la Chaire Raoul Dandurand en études stratégiques et diplomatiques de l’Université du Quebec les a recensés, cartographiés et en a fait un livre.

Voir le site de France Culture

More border walls and border fences are being built every year all across the world. Bulgaria, Greece, Turkey, Morocco, and Tunisia are among the latest to announce yet another border fence. Twenty-five years ago it was believed that the fall of the Berlin Wall and the reconfiguration of international relations would open an age of globalization in which States would become obsolete, ushering in a world without borders. In the wake of 9/11, however, borders came back in light, new borders were created and new border walls erected. In the wake of the Arab Spring, came even more border barriers and walls, symbols that were thought to have disappeared with the collapse of the bipolar international system. Today, they reinforce borderlines the world over, transforming both soft and semi-permeable borders alike into sealed, exclusionary hard borders. Walls are symbols of identity reaffirmation, markers of State sovereignty, instruments of dissociation, locus of a growing violence.

Source: Elisabeth Vallet, borders, walls and violence

 

vendredi, 25 mars 2016
Valerio Vincenzo – Borderline

L’article « frontière »  de notre rubrique we twist a fait réagir  le photographe Valério Vincenzo
qui, depuis 2007, explore la notion de frontière sur le territoire européen.
En effet, une des photos de ce projet apparaît en 3ème position de la page google-image sur la capture d’écran qui illustre l’article.
Cela pose évidement les questions du droit d’auteur, de la valeur que prend ce travail au long cours et du glissement de sens dans le contexte de google.
Perdu dans google image, la photo  de Valério Vincenzo, extraite de son contexte initiale se retrouve noyée dans les filets de ce moteur de recherche qui ne fait aucune distinction entre un travail d’artiste, une représentation illustrative, un point de vue documentaire …
Le projet de Valerio est d’autant plus intéressant qu’il questionne cette notion de Frontière, de sa représentation, dans une Europe en transformation, dans une Europe qui redéfinie « les limites d’Etat ».

A découvrir : Valerio Vincenzo
Même si ces photographies sont prises à des milliers de kilomètres les unes des autres, elles véhiculent toutes une image différente des stéréotypes que l’on associe à la notion de frontière. D’ailleurs, qu’est-ce qu’une frontière?

samedi, 19 mars 2016
Mathieu Bernard-Reymond – Monuments

French photographer Mathieu Bernard-Raymond uses financial charts and statistics as basic shapes to produce photographic representations of global economic and ecological concerns. His purpose is to underline their fundamental link to landscape and thus, to human and natural history. He has been working on this project since 2005.

See more: artist website and his Monuments series

Depuis 2005, le photographe Mathieu Bernard-Raymond utilise des graphiques économiques de différents types (projections, modèles d’analyses boursiers, résultats financiers) pour produire des formes plastiques, des accidents architecturaux. Ces informations sont déplacées de force dans le domaine de la sculpture et du paysage.

Voir plus: site web de l’artiste et sa série Monuments

dimanche, 14 février 2016
John Berger – Ways of seeing women

Extract from Ways of seeing, Penguin Modern Classics, 1972

In the art-form of the European nude the painters and spectator-owners were usually men and the persons treated as objects, usually women. This unequal relationship is so deeply embedded in our culture that it still structures the consciousness of many women. They do to themselves what men do to them. They survey, like men, their own femininity.
In modern art the category of the nude has become less important. Artists themselves began to question it. In this, as in many other respects, Manet represented a turning point. If one compares his Olympia with Titian’s original, one sees a woman, cast in the traditional role, beginning to question that role, somewhat defiantly.
The ideal was broken. But there was little to replace it except the ‘realism’ of the prostitute – who became the quintessential woman of early avant-garde twentieth century painting (Toulouse-Lautrec, Picasso, Rouault, German Expressionism, etc.). In academic painting the tradition continued.

Today the attitudes and values which informed that tradition are expressed through more widely diffused media – advertising, journalism, television.
But the essential way of seeing women, the essential use to which their images are put, has not changed. Women are depicted in a quite different way from men – not because the feminine is different from the masculine – but because the « ideal » spectator is always assumed to be male and the image of the woman is designed to flatter him. If you have any doubt that this is so, make the following experiment. Choose from this book an image of a traditional nude. Transform the woman into a man. Either in your mind’s eye or by drawing on the reproduction. Then notice the violence which that transformation does. Not to the image, but to the assumptions of a likely viewer.

See more: Episode 2 of John Berger groundbreaking BBC Ways of seeing series