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Gilles Raynaldy: Domiciles

Gilles Raynaldy: Domiciles
Ecole nat. sup. d’architecture de Paris la Villette, Paris
4-28 Nov, 2008

Domiciles by Gilles Raynaldy turned out to be one of the more pleasant and rewarding shows of the Mois. It was a simple enough idea and project, taking photographs of the interiors (mainly) of the homes of different people, mainly in France, but also some in Morocco. (The examples you can see on his web site are arranged in two projects, Parisian apartments and Moroccan interiors.)

Each residence was represented with a short text about the person or people who lived there, giving their occupation (or former occupation for the several who were retired.) There was then a short series of pictures of the interior of the house or flat, nicely taken and well-printed in colour.

The interiors reflected the personalities of the individuals concerned, but not just that, also of course their affluence and other aspects of their background, as well as the locations. These varied from tiny flats in Paris through mansions in the south and some rather more rudimentary housing abroad.

It was very nicely done and rather fascinating in a kind of voyeuristic way. It reminded me of the glimpses inside houses that one gets walking down the street in the early evening, when people have put on their lights but not yet closed their blinds or curtains, often fascinating but it would be rude to stop and stare. In these pictures Raynaldy has gained access and permission to do just that.

I did wonder about the choice of these particular examples, which was not dealt with in the notes on the show but were certainly in no way a random sample or cross-section of the population. There were, for example, several photographers, a rahter small element of society.

There were apparently a hundred 30x40cm colour images on show and I think it would have been at least as effective as a book or a high quality presentation on CD or DVD (my normal screen has an almost identical size.)

It made me think briefly of another series of domestic interiors, Bert Teunissen’s Domestic Landscapes but these are very different, with Teunissen photographing the inhabitants in their own homes. Raynaldy’s people, who are perhaps his true subjects, remain invisible (or almost so), and the photographer roams their creation, recording their arrangement of territory and traces of their existence. It’s a project that perhaps has rather more in common with my views of shop interiors that made up a large part of the series ‘Cafe Ideal, Cool Blondes and Paradise.

Lewisham, London, ca. 1990 by Peter Marshall

Also on display in the show was a book of work by Raynaldy ‘Habitat social en Meuse‘ (also on his web site) which looked like a fine urban landscape project.

Showing in a projection area at the centre of the display were a couple of extensive slide shows by various photographers. One, on children seemed to me to have rather too many images that were largely of interest to the families concerned, mixed in with some more interesting work and some visual candyfloss. ‘Contempler et construire’ was made of sterner stuff, although not all the work appealed to me, but I was particularly interested to see the urban landscapes of Normandy as shown by Benoit Grimbert. The subject seemed rather more appropriate to his rectangular format and upright approach than the North Circular Road show I had viewed the previous day.

London & Greece

You can’t really compare the events in London with those in Greece, but if the Met haven’t yet started shooting harmless teenagers for being on the streets, they do seem to be stepping up the pressure against anarchists and other demonstrators, as well as journalists.

Over the last week or so we’ve also seen an inquest verdict on the shooting of an innocent man, in which the jury were clearly prevented from reaching the verdict of unlawful killing they felt deserved, making clear that they didn’t believe the evidence given by several of the police concerned. (And it’s not clear if the shoot-to-kill policy they were following was legal – it was certainly introduced without proper debate.) We’ve seen a photographer, Jess Hurd, covering a travellers’ wedding for The Guardian detained by police for forty-five minutes in London’s docklands by police misusing anti-terrorist legislation, (you can see the wedding pictures here), photographers covering a demonstration outside the Greek Embassy assaulted, (it happened again later in the week) and many other smaller incidents in which the press is harassed and obstructed in covering protests.

So I expected there might be some problems with the police last Sunday when I went to photograph a march by Anarchists along with Greek students and workers in protest against the events in Greece. Rather than at the embassy, it was being held in North London in an area where there is a sizeable Greek population.

Police arrest and unmask a protester they alleged to have assaulted an officer

What I didn’t expect was that the police would decide to use the powers they have under the 1994 Public Order Act to force people to remove face coverings where the officer concerned is convinced they are worn wholly or mainly to conceal identity – and an Inspector or higher rank has issued an authorisation for such actions in that particular place (and time.)

It is of course arguable whether masks are worn at such events to conceal identities rather than as some kind of ‘uniform’ or even a fashion statement or just to keep warm. Few of those taking part in demonstrations have any real need to conceal their identity, and masks are seldom a truly efficient way of doing so – most of their wearers remain easily identifiable and many remove their masks at times during events.

What is clear than an attempt to get all those taking part to remove masks was doomed to failure and would considerably raise tempers at the event. Those making the decision clearly did not want the march to go ahead but wanted to create a flash-point that would lead to a confrontation between police and anarchists.

Demonstrators in the kettle.
Police complained I was too close when I took this picture – though a gap between three separated lines of police.

It was a confrontation set up to show who was boss. And although the police were rather slow in bringing up reinforcements after they only managed to “kettle” a small fraction of the anarchists (along with rather more of the Greek students and workers) they were clearly in command.

I’m starring in the film for the Police Xmas Party again

You can read a more detailed account of the events in Dalston on My London Diary, where the story is also told in pictures. My job was occasionally made difficult by the police, particularly in their insistence on keeping a clear zone around the kettle and I did get pushed around a few times when the crowd spilled over into the street and colleagues took a few amusing pictures of me arguing with police about the rights of a free press, but I saw none of the assaults and attempts to grab cameras that had marred the events outside the Greek Embassy in the previous week.

Catherine Cameron

Another Paris show I didn’t want to miss, also outside of the Mois and the Photo-Off, was by Catherine Cameron. Here Photographies was showing at Galerie Plume on the rue de Monmorency in the 3e, from 10 Oct to 29 Nov, and the gallery was open until 19h. Earlier in the year she also showed work in China, Poland, Argentina and the US.

You can see her work on her web site, but although this has an idea that lifts it above the ordinary, with a nicely designed slide-show in the pages of a book, it doesn’t actually do a very good job of showing her pictures. The images are just too small, the shadows too blocked and the work has a coarseness out of keeping with the delicacy of her images. You can see her work shown better at Lensculture but it is still no substitute for the real thing.

There are photographers whose work can look better on screen than as prints, but Cameron’s work is very much linked to the craft of photography. She shoots on medium format film and still makes her prints on photographic paper in the darkroom (though this is not to say that craft skills can not be equally applied when working with digital capture and inkjet printing – and increasingly it is clear that they can.) Whatever the photographic means, the photographer needs to master them and produce work that leaves you not thinking about the means but entirely caught up in what has been created, and I stood entranced before several of these works.

Catherine comes from Norway, where together with her partner Øyvind Hjelmen she arranges photographic workshops on the island of Stord, on the west coast. Among those who have taught there are Keith Carter (2005), Anders Petersen (2006) and Michael Ackerman (2007/2008). It was good to meet (and photograph) Catherine and Øyvind again at the Lensculture party in Paris earlier in the week.

This was our last visit of the day to a photography show – the end of what had been a very long day, and we needed to find something to eat before we collapsed. There were after all lots of shows to see tomorrow…

Photographies Récentes: Gilles Perrin

This was one show I didn’t want to miss in Paris, even though it wasn’t a part of the Mois or the PHoto-Off, and like a number of others organised by photographers, its opening hours were fairly restricted, although the bonus of such things is that often this is because the photographers themselves will be invigilating there.

I’d already checked with his partner Nicole that she and Gilles would be present on Friday afternoon, and I knew that Linda would both be interested in the work and the issues it raises and would welcome an opportunity to talk to Gilles about it.

Photographies Récentes was showing from 18 Oct -28 Nov on Fridays and Saturdays in the Batiment des Douches in rue Legouvé in the 10e, close to the canal, and a short Metro ride and walk from the previous show we had visited at the Cité des trois fushias. Other than me getting the map up the wrong way and making a short sally in exactly 180 degrees the wrong direction (easily done at night and when street signs are nowhere to be seen) there were no problems in finding the location, and we walked in to be greeted by Nicole and Gilles.

Le Batiment des Douches, rue Legouvé

I first met Gilles Perrin and his partner Nicole Ewenczyk when they came to show me work at Rhubarb-Rhubarb in Birmingham and I was very impressed by the quality of Gilles’s large format black and white images and the dignity of those sitting for him. I wrote about his work fairly recently on here on >Re:Photo and so I won’t say much here. Most of the prints were similar to those I’d seen before, but they had one that was printed as a very large wall hanging, and it really made it come to life dramatically. Nicole says it was printed by one of the best printers in Paris, and it certainly looked great.

We spent some time talking about the work and the people shown in the pictures and their way of life, as well as the logistical and political problems involved in photographing them. I found it hard to follow the conversation – which was in French – in detail, but most of the things I’d talked about before with them. But at least it gave me time to stand their and enjoy the pleasure of looking at a fine print.

Before we knew it, it was time for the exhibition to close at 18h, and, with a quick look at another show upstairs (which wasn’t my kind of photography at all) we hurried away to view yet another show.

Retour en Lorraine, bar Floréal & Willy Ronis

Retour en Lorraine
bar Floréal
43, rue des Couronnes, 20e
7-30 Nov, 2008

In 1979, when workers in the steel industries of Lorraine were under threat of closure and there were strikes and violent disorder, centred around the steelworks of the basin of Longwy, Alex Jordan et André Lejarre went there to photograph the people and the dispute, producing some powerful black and white images in the ‘concerned photography’ tradition. Despite a long struggle in which their pictures played a part, as did the first free radio station, Lorraine Coeur d’acier (Heart of Steel), the industries closed.

Jordan and Lejarre went on to found le bar Floréal photographie in 1985, a photographic centre in Belleville in the north-east of Paris (20e). It became a thriving centre for photography in the area, run by a collective of photographers, and noted for its great shows and crowded openings. The name comes from the eighth month of the revolutionary calendar and means flowering, and ran for the 30 days (3 decades) starting on April 20 or April 21.

In 2008, the ten members of the collective, including Jordan and Lejarre returned to Lorraine to photograph the same area – the others were Jean-Christophe Bardot, Bernard Baudin, Sophie Carlier, Éric Facon, Marc Gibert, Olivier Pasquiers, Caroline Pottier and Nicolas Quinette. (You can see more about the photographers with links to their work elsewhere on the Bar Floréal photographers page.)

What they found was in many ways depressing but typical, with many former skilled workers unable to find suitable work, some moving across the bored to Luxembourg to find work, ex-miners retraining to become Smurfs in an entertainment park… As we have seen in many areas of this country, de-industrialisation isn’t easy.

This was certainly one of the more interesting shows in the Mois de la Photo, and one Linda and I would have liked to spend much more time at. I think if I lived in Paris I would end up spending an awful lot of time at this particular bar. But then I was born on the 25th (or Carpe) Floréal CLIII!

The show was also on at la Maison des métallos, a cultural centre owned by the city of Paris, not far away in the 11e. Next year there will be a book published to accompany the show as it opens in Lorraine, at first in Mont-Saint-Martin and later in Longwy itself.

At the bar Floréal, I notice a thin book about one of the great photographers of Paris (and one I wrote a long feature on a few years ago) Willy Ronis, whose finest work was all from Belleville, where he started taking pictures in 1947. Published for a show they had of his work in 1990, it described his favourite walk around the area by contact prints and illustrated with larger reproductions of some of his better images.

La Traversée de Belleville isn’t listed on their page of books, but it was truly a bargain, as when I offered the 5 euros to buy a copy, I was told that they were all damaged by damp during storage and given a copy for nothing. A few pages were slightly stuck, but with a little careful handling came apart with no damage.

It was pleasing but perhaps a little disappointing to discover that Ronis’s favourite route around the area was almost identical to mine, and that I had already walked most of it yet again a couple of days before. But we decided to fit in another walk following his footsteps if we had time before we went home. I’ll post my pictures from that walk on My London Diary in a few days.

North Circular Views: Benoît Grimbert & Me

Benoît Grimbert
A406 North Circular Road
École nationale supérieure d’architecture de Paris Malaquais
1 rue Jacques Callot, Paris
Nov 10 – Nov 29, 2008

A couple of hundred yards down a road on the Left Bank, lined with galleries and antique shops, we came to the North Circular Road.

Not of course the actual North Circular, which runs from Kew Bridge to the Woolwich Ferry through suburban London, but a Mois de la Photo show by Benoît Grimbert at l‘Ecole Nationale Supérieure d’Architecture Paris-Malaquais.

You can see a slightly extended version of the 20 pictures on show there on his web site.

Benoit Grimbert (b1969) lives in Paris but travelled to London on several occasions to take a series of pictures along the length of the A406 North Circular Road. Unlike London’s South Circular which is almost entirely conceptual, the North Circular has a physical existence – and I’ve walked along most of its accessible parts (there are some elevated motorway style sections where I think pedestrians are not encouraged and possibly prohibited.)

So I was not just looking at a show of photographs, but a set of photographs of something I also know from my own photographs, several of which could be cropped to give virtually identical views.

If I went back to take pictures of the A406, I would work with a panoramic camera (and I have taken some pictures of it with one) as more suited to the idea of flow of traffic. Grimbert works to a square format and seems to be very much a man wedded to his tripod and spirit levelt, all restrictions that I think oppose the central concept of the work being about movement, traffic and flow. It ends up being very much a static view, one that concerns itself largely with the structures of various types which surround the road rather than the road itself or the kind of concepts which, according the text, it is concerned with.

The mismatch between technique and concept doesn’t in one sense particularly concern me. This is after all a show of photographs and it isn’t unusual (certainly in these days) for perfectly good pictures to be accompanied by a completely irrelevant sheet of academic jargon. But here I think the work was sometimes indecisively trapped between the visual and the conceptual (and the text from the show would certainly be a candidate for Pseuds Corner, except that I think that would be a concept the French may be unable to appreciate.)

Perhaps the problem I have with his work is that I know the North Circular. The following day I came across some of his pictures of Normandy – which you can also see on his web site – in a projection at the École nationale supérieure d’architecture de Paris La Villette. I found those more interesting than the A406, but perhaps if I was from Normandy I would have my reservations?

Actually I think not. I’ve cycled around Normandy and do know it at least slightly – and the same is true of another of the projects on his web site, Lisieux. Here the work is essentially about structures and their relationships to each other and his chosen techniques fit well with the subject and Grimbert’s intentions.

Grimbert presumably works with a medium format camera using 120 film and the prints are clear and detailed, though not especially so. (He claims that his colour prints are “tirage manuels argentiques” but there was no sign of the lack of bleach-fixing that this appears to suggest – perhaps the French doesn’t mean what it appears to – these seemed to me to be perfectly normal colour coupler prints.)

Peter Marshall Here are a few assorted digital images I’ve taken in the past couple of years on the North Circular – taken as parts of different projects. One day I’ll get around to developing and scanning the panoramic images that I also made on some of these visits!

Late evening in winter at Ilford.
There is a picture by Grimbert from almost exactly this point, but in rather different lighting.

Patrick Mourral: New-Age Archipelago

Larchipel by Patrick Mourral

Galerie Frédéric Moisan
72 rue mazarine 75006 paris
30 Oct – 29 Nov 2008

In rue Mazarine we came to ‘L’Archipel‘, a show of black and white and colour work by Patrick Mourral (b1976, Scotland), one of many shows in Paris that wasn’t a part of any festival. Previously shown in Strasbourg, it closed on 29 November, but I’m sure will be seen again elsewhere.

You can see a rather fast-moving and fast talking (in French) video about him and his work photographing modern-day nomads, new age travellers in Europe (we used to call them hippies.) It gets easier to understand when he talks about his work, and this téléAlsace feature does show quite a few of his pictures.

Archipel (archipelago) is the traveller’s metaphor for the level of the world they inhabit, straddling various countries along the roads to festivals, isolated areas in forests where they camp around their vans etc. They make only limited contact with the nation states over which they wander, seldom staying long in a place, sometimes doing short-term jobs or trading, usually on a cash basis.

Its a movement that got moving with the hippies in England in the ’80s and there are now thought to be more than 10,000 of them in Europe. Many, particularly in the earlier days were rat-race refugees from the middle classes who chose to live a freer if more spartan way of life, but in latter years many poor working-class inner city kids have decided that poverty and freedom on the road beats poverty and idleness in the slums.

The website of the galerie frederic moisan whose long white-painted space the show was in has some problems. You can view it in French but I had great problems in seeing things if I clicked on the ‘english‘ link, and even more if I attempted to access the English pages directly.

Mourral’s is serious work, a result of 10 years spent following and staying with the travellers, getting to know them and to be trusted by them. He presents a sympathetic but honest picture of them which is rather different from the sensationalist rubbish that often hits the press in the silly season (is that the whole year now?)

While the black and white prints on show were very impressive, Mourral’s colour work on display was ruined by over-saturated, garish colour, making it impossible for me to take seriously. This is a shame, as the images on the web, if still at times rather hyperreal, seem considerably more interesting than those in the gallery (although many are the same pictures.)

Colour ink jet is capable of producing more subtle and accurate prints (especially from digital files) than we have ever before enjoyed in photography. But it can also produce the kind of crude poster quality that does nothing for sensitive photography.

Gabriele Basilico, Vertical Moscow

Moscou Verticale
Mois de la Photo, Paris
la Cité de l’architecture et du patrimoine
23 October 2008 – 30 November 2008

One of the really major shows in the Mois de la Photo, Gabriele Basilico’s Moscou Verticale proved more difficult to find than we expected, and had us checking the information in the programme very carefully.

The place du Trocadéro is really one of the bleaker areas of Paris, with the large empty square dominated by the two wings of the Palais de Chaillot, built on either side of an open terrace with its well-known view of the Eiffel Tower across the River Seine (and now thronged by young men trying to sell small models of the tower.) Built to impress for the 1937 International Exhibition it embodies every worst element of a classicized debased modernism, and houses a rather bewildering array of museums, badly signposted in what is almost a French art-form. Even though we knew where we were going it still seemed hard to find, and we were almost put off by the notices demanding an entry fee. But although you do have to pay to visit la Cité de l’architecture et du patrimoine, this and some other exhibitions were free.

I’ve long been a fan of Gabriele Basilico (b1944, Milan) and there were a few good examples of his work in one or two stands at Paris Photo. I own several books of his work, but I think this is the first one-person show of his that I’ve seen. Or at least it was a one-photographer show, because Basilico, wo trained as an architect before becoming a photographer, worked on the project with architect Umberto Zanetti , photographing and photographing from the seven curiously ridiculous towers around Moscow from the Stalinist era sometimes known as the ‘Seven Sisters‘.

These were built as showcases for the state, very much to outdo the skyscrapers of New York – and in terms of excess they certainly do. There is a story about Stalin receiving two quite different alternative plans for a building from an architect who had expected him to choose the one he preferred. But perhaps after rather too many bottles of vodka, the plans were returned with both approved by the dictator, and the architect had to build the two together on the same foundations. Looking at some of these pictures I did wonder if it was only two plans.

These are buildings so impressively bad that it becomes fascinating. You can see three of his black and white images of them on the Cohen Amador Gallery site (you are unlikely to be fooled by the caption which tells you one is in Naples.) Like the black and white images on show, these are inkjet prints, and at least as good as those he has previously printed on silver gelatin.

But while these black and white pictures were very much what we have come to expect from Basilico, the colour work on show actually taken from the ‘Seven Sisters’ took a radically different perspective on both the buildings and the rest of the city, looking down at sometimes seriously vertigo-inducing angles and often concentrating on relatively small building details.

In part the new direction may have come from working with the architect on this project, but it may also have some connection with Basilico having worked with another of my favourite urban landscape photographers John Davies (a couple of whose pictures were also in Paris Photo.) John is one of the photographers included on the Urban Landscapes site I run with Mike Seaborne, and which links to his own extensive site.

Although I can’t find any significant pictures of this colour work by Basilico on-line (we’d be delighted to put some on Urban Landscapes) pictures at Cohen Amador from Naples (probably), Bari, Barcelona and San Francisco show this new viewpoint, as do the 2008 pictures from San Francisco at Studio La Città.

Peter Marshall

(C) 2008, Peter Marshall
Grain Silos, Riverside Walk, East Greenwich (1982) (C) Peter Marshall I don’t often mention my own photographs of buildings (several hundred are in one of our national collections), but you can see some on the web. Perhaps the best site is London’s Industrial Heritage, but one of the first sites I wrote (and showing its age,) ‘The Buildings of London‘ has a few examples from the hundred thousand or so I took. (C) 2008, Peter Marshall
Art Deco Factory, Great West Rd, Brentford, 1980s © Peter Marshall

Burma: Thought under Military Control

MOIS DE LA PHOTO-OFF, PARIS
Birmanie, rêves sous surveillance
(Burma, Dreams under Surveillance)
Du 10 au 23 novembre 2008 aux Vôutes

The web site Burma, dreams under surveillance gives an excellent account of this project started in 2003 by the humanitarian organisation ‘Les yeux dans le monde’ to increase our awareness of the social and political situation in Burma.

On 13 November we went to the opening of a show of the photographs taken by Manon Ott and Grégory Cohen at Les Vôutes, vaults under the roadway at les Frigos, a former industrial complex now artists homes, studios and exhibition spaces, a block east of the new building of the National Library (Bibliotheque François Mitterand) in the XIIIe.

The work is also available as a book from Editions Autrement, published in May 2008, when the work was also shown at Les Vôutes with a two-day festival. The photographs are presented in four chapters: Peoples desire, Stories of resistance, Between survival and guerilla war and The border areas, and also includes appendices containing information about the country and its culture.

Although there were some powerful images on the wall, and in the projection on the screen at the end of the cellar, the added structure of the book gives a much tighter experience.

There were a number of images among the work that to me seemed perhaps more touristic than documentary, and at times I wondered about how the work had been affected by the difficulties of working openly in Burma, impossible for me to assess.

But there were also moving stories and powerful suggestions of a pervasive military supervision of all aspects of life (the mention of Orwell’s 1984 seemed only too true.) But there was also humour – and if you don’t know about the Moustache Brothers you can find out here and also see them on YouTube.

Belgian Architectural Photography in Paris

Lalibi documentaire, on show at the Centre Wallonie-Bruxelles opposite the Pompidou Centre in Paris until Feb 1, 2009 is a show of Belgian architectural photography and related imagery. It has three strands, the first showing vintage architectural work, the second contemporary architectural photography and the third ‘photographic’ imagery of imaginary buildings.

Architecture is of course an area where the ability to create images of buildings that do not exist has long been important. Every project proposal needs its artists representations of how it will look, and now these are more readily (and believably) produced using computer-generated methods, which can mimic photographs to the last pixel. At least some of the images in this section of the show are more genuinely photographic, produced by merging photographic images using Photoshop or similar software, and produced solely as art.

Early work is represented by Edmond Fierlants (1819-1869), an apprentice in Paris to the pioneering Hippolyte Bayard and one of the founders of the Société française de photographie in 1854. He returned to his native Belgium in 1858, and was commissioned by the state to photograph architecture in Anvers (better known to us as Antwerp), Brussels and Louvain (Leuven.) For the last two years of his life he devoted himself to portraiture in his Brussels studio.

Of more interest to me was the work from the modernist period, particularly that of Willy Kessels (1898-1974) one of the great architectural photographers of the 1930s. The show was certainly worth a visit just to see his work. Other photographers from the 20th century were Marcel Lefrancq (1916-1974) and Gilbert de Keyser (1925-2001) whose architectural details are also interesting.

Willy Kessels: Houses. Photomontage for the Book ‘atmosphere Brussels’, 1932
Credit: Museum of Photography in Charleroi, Inv. MPC 97/83

Although the contemporary architectural photography was uniformly of a high standard, I found little to particularly inspire me. Perhaps the most interesting piece was a grid of 35 images by Marie-Francoise Plissart showing the successive stages of demolition of the Tour Martini in 2001. Gilbert Fastenaekens‘s side walls of buildings were too bland even for my taste, and the images of Marc Wendelski too severely geometrical to really appeal – I longed to have some lines at odd angles to relieve the horizontal and vertical. I quite liked the dusk images of internally lit building by Marie-Noëlle Dailly, which had a strange lighting quality which made them seem rather less real than some of the fictive images in the third section of work.

Marie-Noëlle Dailly

The final section of invented images included some pictures that seemed more real than the actual architectural photography, but quite a few of them left me wondering why anyone had bothered to produce them. For me the work of Simon Boudvin (click on the minute artists name at top left, then select ‘already made‘) and Filip Dujardin stood out in this section, both for the actual quality of the work and the wit their work embodies. I also enjoyed the ‘Villa Malaparte’ by Martin Vierin, but this needs to be seen projected – a pity it isn’t on YouTube!.