40 Years of Ruptures shows photographers whose initial Rencontres exhibitions were controversially at variance with the accepted standards of the time. In the forefront is Duane Michals with a retrospective; and Nan Goldin, whose Ballad of Sexual Dependency has such an impact and who is also inviting various photographer friends along.
CA ME TOUCHE
NAN GOLDIN’S GUESTS:
Born in 1976 in Seattle. Lives in the United States.
Composed in its entirety of photographs, written anecdotes and ephemera, the materials from Leigh Ledare’s first book Pretend You’re Actually Alive, assert themselves as a searingly intimate investigation of the artist’s complex and ambivalent relationship with his mother.
Born in 1969. Lives between Stockholm and Paris.
”Since I met Amanda in 2005 I’ve photographed her, our environment and our relationship, constantly. Sometimes it’s done with a throwaway camera, other times it’s with a 4×5” camera on a tripod. There is no hierarchy in that, as long as the result speaks to me. The work is driven by my own life, and my strong belief in the truth of what my eyes witness daily. This is a story of a miracle and love, with all its strengths and vulnerabilities. It’s also a story about change and the times we are living in. Life goes on.”
Born in 1944 in Stockholm, Sweden.
”So I keep trying without manners asking the same questions
knowing there is more hidden than visible.
Always surprised by the unpredictable”
Born in 1938 in Kharkiv. Lives and works in Berlin.
”1941. I was three years old and I can still remember the bombings, the howling sirens and the searchlights in the wonderfurl, dark blue sky. Blue, blue, light-blue…For some reason we think that one generation will be spared a war. I see this blue series as the second.”
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Born in 1932. Lives and works in New York.
[ ”This photograph is my proof. There was that afternoon,
when things were still good between us, and she embraced
me, and we were so happy. It did happen, she did
love me. Look see for yourself!” ]
Duane Michals, Grandpa Goes to Heaven (Series of 5), 1989
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The Rencontres d’Arles Awards 2009
and the winner is:
Rimaldas Viksraitis –
Born in 1954. Lives and works in Lithuania.
Rimaldas Viksraitis is a Lithuanian photographer who works in and around the villages where he lives, and photographs a way of life that is fast disappearing. In his world, any apparent dysfunctionality, propelled by liberal drinking of home brew, appears to be an asset because people seem to be having such a great time. He goes to the parties, he sits and drinks and talks with his subjects. Their lives are not overcome by the gadgets of modern day life, which so often eradicate any meaningful communications between families. You can tell he is enjoying himself and at ease with his subjects. Viksraitis’s sitters also seem to enjoy taking off their clothes. I assume this helped by the home brew and rather warm temperatures, or perhaps they are all having frequent sex? Against this backdrop, numerous animals seem to be part of daily life. They surreally pop up everywhere; they too seem to fit in effortlessly. They share the family’s domesticity with the greatest of ease. The resulting images, displayed (or published) here are slightly insane and wonderfully surreal. They are quite compelling, and if I spoke Lithuanian, I would love to join in the party. However as this will never happen, Viksraitis provides us with a ring side seat, with all the emotion, the drink and the ensuing madness. Martin Parr November 2008.
Born in 1977. Lives and works in Italy.
presented by Giovanna Calvenzi
”This series is born in a moment while I had eyes only for my mother’s photos, she had just disappeared, and it’s just my huge desire to be close to her or to spend the time I didn’t spent, because I was not born yet o because I wasn’t there, with her. Photography becomes the way we can meet in an illusion: I transform myself into an image to be able o be near her and watch her, dressed and haired more or less in the way of the time the photo has been taken, in the simple and modest way she dressed like. Watching her I try to create a stronger link between us, and although people can’t speak inside images, I hope to make her understand she’s in anger by my glance, waiting for her to turn her head to me, and to take her immediately away from the photo. If this won’t happen, I resign myself and remain in the photo, close to her, forever.
I guess in front of just one picture people can’t really understand the meaning f the work: I think that the disclosure comes by watching al least two images or more, because in all the pictures I glance at my mother and my presence ay look a bit estranged.”