Archive for December, 2010

A Few Shows in the 4e

Sunday, December 5th, 2010

© 2010, Peter Marshall
Chimera

From the Swedish Institute we made our way south into the 4eme, where there were a few shows from the Photo-OFF open on Sunday afternoons.

At L’Oeil ouvert in rue Francois Miron we saw the prints by Laurent Villeret from his ‘Carnet du Mexique, digital prints made from scanned Polaroid Transfers, a few of which had a pleasing charm.

© 2010, Peter MarshallMagic passage

A short walk away the Photo-OFF show at Galerie Hayasaki had ended (shows generally have to be for at least two weeks to be included, so some had ended by the time we were there), but its place had been taken by two other photographic shows, with Martine Peccoux’s angled views of some of the narrow buildings in Paris where streets converge at a small angle and a series of reflections in puddles by Shigeru Asano.

© 2010, Peter Marshall
Hotel de Chalons, 4e

Walking away from here we came across another show, on its last day at the Galerie Binôme, their first show at 19 rue Charlemagne (it seems to be a peripatetic gallery), and a retrospective of the work of François Lartigue (b1949), with pictures from 1963-2010. The grandson of Jacques-Henri Lartigue and well known as a cinematographer and Director of Photography on many films, he took the earliest picture in the show in 1963 when he was 12.

All of the pictures in the show were black and white, taken with the same 35mm Canon given him by a friend of the family; most were taken between working on films when he wandered the streets of Paris on a Vespa with his camera, working always with available light. He grew up in Montmartre and virtually all of his images are taken in Paris – with just a few outside the walls of the city in Montreuil (as in my own Paris book.)

I particularly liked one of his images, showing a derelict shop on the rue de la Roquette in the 11e in 1955, the first of the six images on the link above. You can hear him speaking (in French) about his photography in an interview on a blog dedicated to Bob Giraud.

© 2010, Peter Marshall
Mémorial de la Shoah (Holocaust)

Our next stop was at the one of the few non-photographic shows we went to during our stay, a very detailed exhibition covering the life of novelist Irène Némirovsky, gassed at the age of 39 in Auschwitz showing and on-line at the Mémorial de la Shoah. Although the exhibition made little use of photography, there is a rather nice animation between various pictures of her on its front page.

My visit to Paris continues in further posts here and  on My London Diary.

UPDATE:

PARIS PHOTO SUPPLEMENT is now on MY LONDON DIARY

Tio Fotgrafer

Sunday, December 5th, 2010

© 2010, Peter Marshall
Orange Peel in the Place des Vosges

We met for lunch after our separate Sunday morning activities and lunched in the Place des Vosges before walking the short distance to the Institut suedois where there was a show of work by the Swedish collective Tio Fotgrafer (Ten Photographers), formed by a group of young photographers in 1958 after the model of Magnum as an independent alternative to the Swedish post-war photographic establishment. Later they enlarged the agency and became Nordic Photos.

At first we went in the small hall to the right in the courtyard of the Hotel de Marie. Here there were just a small number of very large prints on the wall along with another in a curious wooden trough on the floor, and the prints seemed rather crude, blown up far too much. If it hadn’t been rather cold and wet outside I might have seen this and given the rest of the show a miss.

© 2010, Peter Marshall
It was raining so we took an umbrella…

Fortunately I didn’t do so, as on the other side of the courtyard there was a show with proper photographs from the photographers in the group,

The group were very much influenced by finding the work of photographers such  as Kertész, Brassaï, Henri Cartier-Bresson and Edouard Boubat (1923-99), and perhaps it shows too much, as although the work of these masters was unknown in Sweden in the 1950s,they are now very familiar to us.

Several of them became friends of Boubat and a panel of his pictures, from the collection of the MEP in Paris, was included in the show.

© 2010, Peter Marshall
Four in the top row of these pictures by
Hammarskiöld are from London

Several of these Swedish photographers were known to me – three were in the Family of Man and work from others appeared in international shows and publications. I was particularly interested to find a number of pictures of London by Hans Hammarskiöld in the show which has been seen at a number of places around the world, including Moscow.

It was a pleasant show, but one that showed that these were very much photographers of their times, working in  a tradition that had already perhaps become rather comfortable over the previous 20 or so years before they founded their collective, and which younger photographers such as Robert Frank were already reacting to. As well as the links above you can find more of some of their work on either the Nordic Photos or Hasselblad sites.

UPDATE:

PARIS PHOTO SUPPLEMENT is now on MY LONDON DIARY

Sunday Worship at the MEP

Friday, December 3rd, 2010

Sunday morning when Linda went to the culte at the Temple de l’Oratoire du Louvre I took the Metro instead to St Paul to worship at the  Maison Européenne de la Photographie, although my service started half an hour after hers.

The MEP is a great place, and I’ve never visited it without finding at least something of great interest. But this time as I went in I noticed that it is about the only place I found in Paris where photography is forbidden, so there are none of my pictures in this post. Of course there are links to pictures elsewhere.

The MEP is also the driving force behind the Mois de la Photo and many other photographic events in Paris, and this year they were making good use of their fine collection of photographs. I think I heard that there were pictures from it currently on display in 50 (or was it only 15) other venues. Plenty still remained to fill most of its large exhibition space with its major show, ‘Autour de l’Extrême, perhaps indeed a few too many. Their collection includes over 15,000 photographs, including in depth sets of works by a number of great photographers and covering a wide range of photography. As well as many gifts from photographers, they also have benefited from several major sponsors, particularly in adding Japanese photography and the work of young photographers to the collection.

I think an important part of the success of the MEP is that it charges for admission, which encourages regular visitors to take out an annual subscription (at 28 Euros, the price of four visits.) Anyone unable to afford the entrance fee can come and see the shows free from 5pm Wednesday, and entry is free at all times to those with a press card etc.

Autour de l’Extrême
proposed to show images that in various ways approached the extreme, the kind of limits on expression, pictures that perhaps altered the limits of what is acceptable to show. The curators “see one of the recurrent themes of contemporary art” as the constant endeavour “to roll back its own social, political, aesthetic and scientific limits.”

Although there were pictures that clearly illustrated this – what claims to be the first male nude used in advertising, an image by Jean-François Bauret used in 1964 – there were relatively few such clear examples, and the inclusion of some images – including many I was delighted to view – seemed inexplicable. Quite what is extreme for example about Tony Ray Jones’s image (and they had an excellent print of it) of picnickers at Glyndebourne?  And of course, as they state, many things that were at the time controversial are now commonplace – such as male nudes in advertising.

But it was an exhibition I enjoyed, more as a kind of lucky dip into the MEP collection than anything else, with some find work on display, as well as a number of pictures I would be happy never to see again – including a whole incredibly tedious kind of landscape section which seemed a total waste of space.

Not all of the pictures were by well-known names, and there were a few interesting works I’d not seen before or at least did not remember as well as some old favourites. You can get some idea of the range from the list of photographers included:

25/34 Photographes, Ansel Adams, Claude Alexandre, Manuel Alvarez Bravo, Claudia Andujar, Diane Arbus, Neil Amstrong, Richard Avedon, Roger Ballen, Martine Barrat, Gabriele Basilico, Jean-François Bauret, Valérie Belin, Rosella Bellusci, Philip Blenkinsop, Rodrigo Braga, Bill Brandt, George Robert Caron, Henri Cartier-Bresson, Jean-Philippe Charbonnier, Martial Cherrier, Larry Clark, Raphaël Dallaporta, Bruce Davidson, Jean Depara, Raymond Depardon, Philip-Lorca diCorcia, Doctor T, George Dureau, Gilles Ehrmann, Fouad Elkoury, Touhami Ennadre, Elliott Erwitt, Bernard Faucon, Alberto Ferreira, Giorgia Fiorio, Robert Frank, Mario Giacomelli, Nan Goldin, Gotscho, Emmet Gowin, Seymour Jacobs, Claudia Jaguaribe, Michel Journiac, Jürgen Klauke, Les Krims, Oumar Ly, Robert Mapplethorpe, Don McCullin, Duane Michals, Pierre Molinier, Vik Muniz, Ikko Narahara, David Nebreda, Helmut Newton, Pierre Notte, ORLAN, Martin Parr, Irving Penn, Pierre & Gilles, Tony Ray-Jones, Rogerio Reis, Bettina Rheims, Marc Riboud, Miguel Rio Branco, Sebastiao Salgado, Andres Serrano, Cindy Sherman, Jeanloup Sieff, Christine Spengler, Shomei Tomatsu, Pierre Verger, Alain Volut, Weegee, Edward Weston, Joel-Peter Witkin and Bernard-Pierre Wolff.

It’s a list of more than 70 names that includes around 20 phtoographers unfamiliar to me (as well as one spaceman and at least one other who isn’t really a photographer.)

Some of the work was perhaps too obvious and work I’ve seen too often before – such as Helmut Newton‘s giant images of fashion models clothed and unclothed which occupied a vast area of wall space. Frankly a magazine spread of the two would have done as well and  made room for other work – it would have been nice to have more than the three pictures for Bruce Davidson‘s East 100th St or by Roger Ballen. I could also have done without an unfamiliar series of large portraits showing Michael Jackson.

I enjoyed seeing a couple of Les Krims‘s fantastic tableaux, packed with little things including bad taste jokes in both image and text – a bitter comment on the American Dream in his A Marxist View (1984) – and Mary’s Middle Class.

There were some rightly familiar icons – Elliot Erwitts’s washing facilities for Whites and Coloureds which speak strongly about apartheid, Marc Riboud’s Flower Child, Henri Cartier-Bresson’s Denunciation of a Gestapo informer, Robert Frank’s New Orleans Trolley among them, but also images I’d not seen before such as a Seymour Jacobs portrait from Brighton Beach, one of a small selection of pictures on show in the various shows currently at the MEP you can see on Picasa.

Elsewhere around the show were many images or small groups of images predictable but still of interest, such as Larry Clark’s pictures of  young addicts from Tulsa, Manuel Alvaro Bravo’s assasinated worker, the Hiroshima mushroom cloud taken from Enola Gay alongside the invevitable Shomei Tomatsu watch and Don McCullin’s shell-shocked marine.

One of the few small sections which for me showed some curatorial added value were a small series of images of a shattered Beirut, with three pictures each by Gabriele Basilico, Fouad Elkoury and, in rather muted colour, Raymond Depardon.

In the basement of the MEP was the rather curious ‘Trans-apparence‘ the work of Rodolpe von Gombergh, which aparently uses ultrasound, electomagnetic waves and X-rays to produce images displaying the interior as well as the exterior of artifacts. The display using “holograms, 3D screens and cold light diodes” I found odd but not particularly gripping. I was rather reminded of the kind of graphics sequences found at the start of some TV programmes, but here there was nothing to follow.

Miguel Angel Rios’s twin-screen film ‘Mécha‘ uses the bizarre Colombian sport of that name, in which metal disks are thrown at a mud-filled inclined surface containing triangular pink targets filled with gunpowder which explode when hit, as a metaphor about the urban guerilla warfare between drug traffickers in Mexico and Colombia. With lots of slow motion, rolling cable drums, close-ups of running feet and noises off he creates an atmosphere of tension, but left me feeling I would rather have seen a more straightforward documentary about either the sport or drug trafficking.

The MEP has a gallery ‘La Vitrine’ with windows that look out onto the neighbouring main street and in this the 16th Grand Prix Paris Match for photojournalism was on display. The winner was Olivier Laban-Mattei of AFP with a series of colour images from the earthquake in Haiti, which included a couple of great images, (one apparently but not credibly taken with a Leica M9 at f1.0)  – it appears on his Photoshelter site in black and white.

All the work from the 20 or so photographers on display had a very similar look, with rather bright and slightly ugly colour reproduction, which for me made the show less interesting.

All too soon it was time to meet Linda and have a quick lunch before visiting a few more shows.

UPDATE:

PARIS PHOTO SUPPLEMENT is now on MY LONDON DIARY

Student Protests & the Photograph as Evidence 2

Friday, December 3rd, 2010

The whole question about how we see and interpret events is an important one, and my own view of what I saw on Wednesday during the second day of student demonstrations against the proposed hike in tuition fees and education cuts differs considerably from that in several accounts that I’ve seen in left-wing media.

I’m sure that there will be some who were at the event who read this and disagree strongly with it.  It represents my honest attempt to understand and report what was a rather confusing day, which I attended both as a journalist and as someone who strongly supports the opposition to education cuts and tuition fees. While I’m generally against violence I can only applaud the righteous anger that many show for the cause. Education in a civilised society should be freely available to those prepared to benefit from it and not dependent on how rich you are; educational resources should be directed at those who need them, and not available to enhance the privileged position of the children of the rich. I benefited from free education and student grants and taught in the state system for over 30 years and I’d happily vote for the abolition of private education.

I went to the event having read that the NUS and other leaders had agreed a timetable with the police as follows:

12pm Trafalgar Square
1pm March down Whitehall
2pm Parliament Square.

On the day, it didn’t happen like that, and the numbers present were considerably less than the organisers had predicted or the police had planned for – perhaps around 4-5000 in total over the day. When I arrived just before noon, there were only around a thousand in Trafalgar Square, though of course people were still coming in.

At around 12.05, a group of people who were on the plinth at Trafalgar Square started calling for everyone to go down to protest at Downing St and Parliament, and a a couple of minutes later a crowd of a few hundred was running down Whitehall.

© 2010, Peter Marshall
A handful of police had tried to stop them at the top of Whitehall, but soon agave up as there were too few of them to prevent it. As protesters ran down the road, police lower down Whitehall moved across it, and by the time the front runners reached there formed a line stretched right across the road.

What I’d photographed could hardly be described as a march, and it seems hardly surprising that the police decided to stop what looked more like a mob than anything else (and mobs have their place, but this seemed to me both premature and ineffectual.)  Nothing in the police action suggested to me that they were attempting to kettle demonstrators, merely to stop them.

© 2010, Peter Marshall

The vans parked in the side street and a clear Whitehall were what would have been expected if the police were getting ready to facilitate a large organised march down the street – as I had read that they had agreed.

I made my way with the protesters back up to the top of Whitehall, and there were no police attempts to stop us coming back out of Whitehall, or as we made our way through Admiralty Arch – a relatively easy place for police to have controlled movement – onto the Mall.  Again, there were none of the signs that would indicate an attempted kettle. Almost all the police were still in Whitehall – or sitting in vans in the side streets, and it took some time for them to come through Horseguards and run rather comically across towards the marchers going down towards Birdcage Walk.

© 2010, Peter Marshall

A few minutes later the marchers arrived at Parliament Square having gone via Storey’s Gate and Broad Sanctuary. There again it looked to me as if the police had made preparations for a march – with the roadway in front of Parliament surrounded by barriers. A march down Whitehall would have ended where the police were now standing. Of course marchers don’t like to be behind barriers, and don’t need to be, though police usually like to pen them in so that they can more easily be controlled.

© 2010, Peter Marshall

I was surprised when the demonstrators turned round at this point, as they had reached Parliament Square, where they said they wanted to protest. Clearly many of them thought that the police intended to kettle them here. Of course any static demonstration in this area is sure to attract a large police presence, but surely it only becomes a kettle when the police prevent people from leaving the area in an orderly fashion. A pen is not necessarily a kettle.

When the demonstrators turned round and attempted to leave by Broad Sanctuary, police did form a line across the street and try to stop them.  It could possibly have been an attempt to set up a kettle, but if so it lacked credibility, as it was obvious that the thin line of police would be ineffectual with a largish crowd on both sides of them,  many of the protesters not yet having reached Parliament Square.

© 2010, Peter Marshall

There simply were not enough police at that point to do the job. Some people walked through the gate into the Abbey grounds before this was blocked, others climbed over the fence and I heard later that at least one person had been assaulted by police at this point.

© 2010, Peter Marshall

Most of those present – including myself, simply found a gap in the police line and walked through, and after a few seconds the police gave up trying to stop people. It was the start of a long and confusing walk around the capital.

Most of the time the police simply walked along by the side of the marchers – with the occasional incident – one of which is shown in the first of these two posts. At some junctions police blocked off one street and the marchers simply went down another. There were many places where it would have been relatively easy for the police to try to detain or kettle the march but I saw no real attempt to do so.  In another minor incident in Holborn where police stopped some marchers who tried to go down a one-way street against the traffic.

By the time we had reached St Paul’s Cathedral well over half of the students had given up and left the march, many making their own way back to Trafalgar Square. As we passed the Stock Exchange it was hard to find a policeman in sight.

© 2010, Peter Marshall

Certainly most of the police had also disappeared by the time the march turned up King Edward Street, perhaps because we were now outside the Met area. There certainly seemed no reason to go up Bartholomew Close and then to make a totally pointless detour to the right – many of us chose to take a short cut onto Long Lane and wait for them, and it seemed as if the march was trying hard to kettle itself. At that point there were I think less than a dozen of the Met still following the march, with the City of London police – whose area we were in- almost completely ignoring it, though shortly after I left it to catch a bus back towards Trafalgar Square I saw three of their vans moving in its direction lights flashing.

© 2010, Peter Marshall

By the time I finally gave up on the march at Holborn Viaduct after around 8 miles of wandering (they did another 2 miles or so to arrive back at Trafalgar Square a  little after me), it had shrunk considerably, with perhaps 500 people left from the original few thousand who had left Parliament Square.

Police were diverting all traffic away from Trafalgar Square, and I had to get off and walk the last half mile or so. At Trafalgar Square  there were several hundred police forming lines across all of the roads, now forming a far more impressive barrier with their vans, but they were letting people move in and out freely when I came up Whitehall.

Around 3.15pm, one of the organisers of the event addressed the crowd now in Trafalgar Square, telling them that despite the heavy police presence we could see, the police had confirmed that people were free to leave in small groups along the road towards Charing Cross, the nearest tube station. He also said that although the organised demonstration had finished people were free to stay on and demonstrate if they wished. Clearly quite a few did, although others decided to leave.

Around 3.30pm a small group of policemen came onto the square, where they were surrounded by some of the demonstrators and road cones and other light objects were thrown at them. The police retreated toward their line across Cockspur St and were followed by a crowd of demonstrators, some of whom tried to push their way through the police, while others tried to prevent any disorder, some joining hands in a line in front of the police. People brought up banners and placards to stand a yard of two in front of the police in an often noisy stand-off.

Minor incidents continued sporadically here for around fifteen minutes and then things seemed to quieten down as the snow came down harder. Shortly before 4pm I decided it was time to go home, and together with a steady stream of protesters I walked through the police line and left the area and caught a train from Charing Cross (apparently the only train still running .) Police were making no attempt to check or stop anyone leaving at that point.

I drafted the outlines of my report on my way home and wrote it while while my images were transferring to my computer.  You can read it on Demotix under the title Police Close Down London As Students March – and in a few days time I’ll also put it on My London Diary, with more pictures.

My account of the day differs considerably from some others that I have read on-line. There were things that happened after I had left – when police later did close in an make a great many arrest for public order offences, which should be given a mention in my final piece.

So what of the photograph as evidence? Essentially both what I write and what I photograph depend on what I see. The pictures that I took back up my account of the day as I saw it. I saw little if any real evidence that the police were making continuous attempts to kettle protesters – and certainly found nothing I could photograph to show this. But it was a perspective that seems to have driven the 10 mile march around London and some of the accounts I read elsewhere.

There seems to me to be something in the actual act of recording events (or at least doing so lucidly) with a camera that means I have to question all the time what is going on, why is this happening, and of course, how can I show this in an image. It’s a mental focus that drives out much sloppy or doctrinaire thinking.

Clearly there are some things photographs can show, and other things that need the support of a reliable eye-witness. Still photography is perhaps better at showing the detail (and sometimes at directing us towards it and towards a particular interpretation) while video can us a more or less seamless view of how something develops.

But both still and moving pictures can provide limits to the plausible interpretation of situations. Certainly I could not have written some of the things that I’ve read in some other accounts of the day.

Student Protests & the Photograph as Evidence 1

Thursday, December 2nd, 2010

© 2010, Peter Marshall

What exactly does the photograph above – which I took on Wednesday – show?

I think I know, because I was there and saw what happened before and what happened after the moment when I took this picture (its one of around a dozen frames, some blurred, of the incident.) But even as a sequence the pictures don’t tell the story. Yesterday I watched two rather poor quality videos of a similar incident in which a policeman punched a protester, and despite the lack of definition, they gave a much clearer idea of what was happening.

There were perhaps a couple of thousand protesters, mainly students, apparently marching without any particular direction through the major streets of central London. I think the police were equally unclear about their aims – but basically they were staying with the students in case there was any trouble, and groups of them were moving along the sides of the march towards the front. As they went along they were pushing people from the edges of the march back into the middle, out of their way and also away from oncoming but very slow-moving traffic on the adjoining roadway.

I got pushed aside rather roughly several times – and as usual there was the odd guy – perhaps one in twenty – in these police lines who was obviously enjoying throwing his weight around, using a totally unnecessary amount of force. Most officers manage to be firm and some even polite as they move people out of the way, but protesters of course sometimes complain or argue about their treatment.

I don’t know exactly how this particular incident started; I first saw the grey-hooded student being held by the officer – a police medic – who the pushed him back inside the march. Then the officer appeared to loose his temper and punched the guy several times before grabbing him around the head; other protesters tried to separate the two and pull the student away from the officer; one of the legal observers on the march who tried to get between them was grabbed by other officers, pushed away and held briefly against the bus behind.

© 2010, Peter Marshall

The other police present – including an inspector, standing just behind the medic – make no attempt to stop the violent attack.

It was a short incident, over in a few seconds, and everyone involved disappeared. My last frame of it shows the medic being hurried away by the other officers.  So far as I’m aware there were no arrests and no complaint made against the Police medic – whose number is clearly visible.

Although the demonstration was one against education cuts and the huge rise in tuition fees, the form that it took – on both the part of the students and police – was very much a reaction to the police’s “kettling” of the protest in Whitehall the previous week, part of a battle over the control of the streets, expressed in the loud chants by the students “Whose streets? OUR streets.” This incident was just one of many minor skirmishes in that turf war.

Had I been shooting video, the evidence would have been far clearer, but the still photograph I think provides a greater drama.

Photo-Off – A Guided Tour – 2

Wednesday, December 1st, 2010

© 2010, Peter Marshall

When I first walked down the rue Quincampoix some years ago it was lined with young (and some not so young) ladies who pouted invitingly at me as I went by, but now their place has been taken by art galleries, and the area has lost a little of it’s decadent charm.

© 2010, Peter Marshall

In the basement of Galerie Impressions, below the bookshop, we were met by photographer Loïc Trujillo. The gallery is dedicated to work by Asian artists or those who have worked in Asia, and for the Photo-Off was showing his work ‘instants de vie‘, pictures from the holiest of Hindu cities, Vârânasi (Benares) on the Ganges.

Wealthy Hindus from all over the world bring there dead to be cremated on the slopes (ghats) by the river. Bodies are wrapped in cloth and bathed in the river before being burnt with wood on a funeral pyre. The morning after, the ashes are raked through to find any objects of value and then cerimonially scattered on the river with flower petas and other offerings. The sacred water of the Ganges is said to have the power to erase the sins of the deceased, liberating them from Samsara, the eternal cycle of reincarnation and allowing them to rest in peace for eternity.

Although I’ve seen other photographs and film of the events there, Trujillo’s work still impressed.

© 2010, Peter Marshall

A little further down the street we came to ‘Someday we’ll all be free‘ at Gilles Peyroulet & Cie, a show of varied work around the theme of conflict and war, with images from more or less the whole of the twentieth century, where the curator took us through the whole show at some length. Although some of the work on display was of interest (and parts somewhat horrific, with one series of pictures showing a man undergoing barbaric torture, and also included were some official photographs of the Nazi concentration camps) I didn’t feel the show really produced anything coherent other than an easy condemnation of inhumanity.

© 2010, Peter Marshall

Next we made our way to the Centre Wallonie-Bruxelles in the rue St Martin, opposite Beauborg itself, which was showing, Les (in)contrôlés, a group exhibition of work previously shown in the 2010 Liege Biennial on the theme (out of) control. This was the only one of the galleries that had made no arrangement for our visit, perhaps because it was a basically a show from elsewhere, but also possibly because none of the staff concerned with the exhibitions works on a Saturday. This is not a commercial gallery but some kind of official venue to promote the interests of French-speaking Belgium.

This wasn’t a show I particularly warmed to, and some of the work – such as the well over life-size female body-builders by Martin Schoeller (a German photographer who was an assistant to Annie Leibovitz in the 1990s before taking portraits for Rolling Stone, Vogue, the New Yorker and other magazines) I found repulsive, although in part that was because of the contrast – which fascinated the photographer – between their bodies and their faces.

Joyce Vlaming‘s series ‘Cellblock’ addressed the theme very directly, and her pictures, though in some senses very effective were just too cold and clinical to have much attraction for me. Perhaps too the chilling image by Nicolas Clément of a security guard and his guard do at night, ‘security Partagee‘ was just too direct an interpretation of the theme. I was certainly happier looking at the ‘autoportraits‘ by Melissa Desmet and the portraits of Patrick Van Roy.
Les Boules‘ by Nathalie Noël, pictures of glass domes encasing icons of traditional family values provided a little amusement, as too did the impossible situations of Tilman Peschel‘s ‘Revolution.’

© 2010, Peter Marshall

Then it was back to the rue Quincampoix, or rather a courtyard off from it, for the Galerie Orel Art, a large space with a group show of Russian portrait photography from 1970-2010, with work by Nicolai Bakharev, Valery Schekoldin, Lialya Kuznetszova, Sergei Tchilikov, Oleg Kulik, Igor Mukhin, Sergey Leontiev, Igor Savchenko, Arsen Savadov, Sergey Maximishin, Olga Kisseleva, Evgeny Mokhorev, Vlad Mamyshev-Monroe, Valery Nistratov & Jason Eskenazi, Alla Esipovitch, Oleg Dou, Dasha Yastrebova, Irina Popova, Margo Ovcharenko and Tanya Leshkina. You can see the work of some of them on the Russian Tea Room site, as well as on the Orel Art site, which seems very slow to load. I was particularly impressed by the black and white work of Mukhin and Schekoldin from the 1970s and 80s, but much of the work was of interest.

© 2010, Peter Marshall

Finally we made it to Le Nouveau Latina and an exhibition in the upstairs cafe lounge at this cinema in rue du Temple, where we were met by Dom Garcia who introduced us to ‘Black Lights’ his black and white portraits of his friends around the wall, accompanied by Olivier BKZ’s texts. You can get a good idea of Garcia’s work from a page on SDH. It was another show I enjoyed that unless I had gone on the guided walk I would probably have missed.

© 2010, Peter Marshall

The Noveau Latina looked like a good place to have tea, but unfortunately we were short of time as we needed to go back to the hotel and change before going out to meet Linda’s brother and his wife for a meal. We had decided to pay another visit together to Chartier and had arranged to get there early to miss the large queues that build up later. Chartier has certainly gone down a bit since we first ate there years ago, but it’s still a part of Paris past not to be missed, even if our waiter did this year use a calculator. We walked straight in but by the time we had finished our meal and left to go elsewhere for a drink the queue stretched all the way down the street to the boulevard.

Photo-Off – A Guided Tour – 1

Wednesday, December 1st, 2010

The Photo-OFF booklet, available at the roughly 100 spaces with shows in it, is a handy pocket size, but fairly thick, with well over 100 pages, and it divides the 100 shows into ten geographic areas. Unusually for Paris, these don’t correspond exactly with the arrondissements, but instead break up the shows into sensible groups mainly within walking distance – though in the outer areas you would probably want to jump on a bus or metro at times.

Except for the six shows in the ‘banlieue’ on the east and west fringe of the city, each area has a date specified as the ‘nuit parcours’, when most if not all are open specially from 6-9pm, often with the photographers present. Most of these were outside the time I was in Paris, and I had other things on for the two that were taking place while I was there to attend these.

This year for the first time there were also a guided walks for most of the areas (no booking required, just turn up), and two of these  were taking place on the Saturday afternoon I was in Paris. These were not in the printed program but on the web site and the web version of the programme.   Neil Atherton, an English phtoographer and curator who has lived in Paris for around ten years and founded Paris Photographique in 2004 was on the tour I took. He is the Commissaire General of the Mois de la Photo-OFF, and told me that this was an experiment, and the arrangements were made too late for the printed brochure.

© 2010, Peter Marshall

About a dozen of us met at the ‘Coming Soon Gallery‘, a newly opened space in passage Lemoine between the rue St Denis and the Boulevard de Sebastapol at the top end of the 2e.

© 2010, Peter Marshall

There we were able to look at the work of Swiss photographer Matthieu Gafsou, (b 1981), whose images of largely empty urban spaces appealed to me, and to hear him talk about his work – and although it was in French, I could make some sense of it, enough to ask a few questions in English, which he fortunately answered in the same language. You can watch a video interview in French with Frédéric de Gouville from the gallery and a with Matthieu Gafsou, which ends with the photograph which was my favourite from the show

Gafsou’s pictures combine reality – photographed on film – with elements constructed and added in Photoshop, and occasionally contain deliberate clues to remind the viewer of this intervention. His subject matter, largely architectural views of bland spaces around the industrial edges of towns, appealed to me, and some of the images were truly beautiful in a very cool and classical way, but I did find myself wishing that they had  been straightforward photographs. It was a reflection of my conviction that photography is essentially a means of examining and exploring reality, while this was work at a more philosophical level, questioning the nature of reality. For me it came at the expense of jettisoning the essential power of the photographic medium, reducing it to simply a way of making pictures.

Our route took us to 8 of the 9 shows in the ‘Beaubourg‘ area (crossing the borders of the 2e, 3e and 4e) and in all but one we were met and introduced to the show by the gallery owner, photographer or, as in this first gallery both. It was truly an excellent way to see the work and to get rather more from the experience than would be likely on an individual visit, and it would certainly be good to include tours of this kind as a part of the East London photomonth.

Our next gallery was one I had particularly intended to visit, having been impressed two years ago by the work of Louise Narbo on show at Galerie Claire Corcia. She was again showing there, along with two other photographers,  Sabria Biancuzzi and Vincent Descotils.  Descotils was present to answer our questions, along with both Claire Corcia who spoke about the gallery and the work and Daniele Neumann Lumbroso who told me more about Descotils work in English.

© 2010, Peter Marshall

Narbo’s work, pairs of colour images which resonated together, again impressed me, although I found it less interesting than her black and white work on my previous visit. You can see more about her on actuphoto.

© 2010, Peter Marshall

Descotils was showing two sets of work, and ‘Migre‘, a very filmic series on migration – atmospheric black and white images, with a couple of people fleeing through a forest – had a tangible sense of urgency and fright and stood out for me. These photographs are also the inspiration for a performance at the gallery by ‘La Planquette des Animaux Humides‘ on 11 Dec which sounds exciting, though would certainly over-tax my French.

© 2010, Peter Marshall

Our third visit was to the Galerie Riff in rue Chapon (a branch of the main gallery in Strasbourg), where the work of German photographer Andrej Pirrwitz (b 1963) was on display. These large colour prints were taken inside abandoned buildings, which also included a figure either in bright clothing or naked. Although I found a couple of these worked well, in others I simply found the person – sometimes blurred by movement – simply an annoying irrelevance. But then I’m always attracted to the kind of old abandoned interiors that were used in some of these pictures, perhaps former hospitals, factories or institutional buildings.

I spent some time while we were there – our schedule allowed 15-20 minutes for each gallery – looking through a book of Pirrwitz’s work, and as so often found it more suited to this format than the gallery wall.

(The guided walk is continued in the next post.)

UPDATE:

PARIS PHOTO SUPPLEMENT is now on MY LONDON DIARY