Three winners and one special mention have been announced for the 2018 Prix du Livre at Rencontres d’Arles – and in all four cases, the books use archival or found photography. The Author Book Award went to Laurence Aëgerter’s Photographic Treatment, which is published by Dewi Lewis; the Historical book award went to The Pigeon Photographer, a collection of images by Julius Neubronner published by Rorhof; and – controversially – the Photo-text Book Award went to Adam Broomberg and Oliver Chanarin’s War Primer 2, which was first published by MACK in 2011 but reissued in paperback this year. A special mention went to Giorgio Di Noto’s The Iceberg in the Author Book Award, which is published by Édition Patrick Frey.
Every year, Cortona On The Move has a focus, and this time it reflects the festival’s mission more directly than before by placing the spotlight on female photographers. “My selection is never a list of ‘favourites’, but rather involves an attempt to listen to what is happening around me, globally, both on a political, social and economic level, as well as in the field of photography itself,” says Rinaldo.
“These past months, women and women’s issues have been at the forefront of discussion in various fields, often in the news and even more on the street – protesting, resisting, demanding. My small contribution to this ‘movement’ is to acknowledge the numerous women photographers who tread the world to tell stories; to give them space and make them protagonists.”
Photobooks have been booming for the last ten years or so but one prize has been there for the last 49 years – Les Prix du Livre at Arles, which was set up at the same time as the Rencontres d’Arles festival. With its long history and prestigious jury, which is this year overseen by FOAM director Marloes Krijnen, the Prix du Livre are some of the best-respected in photography.
Three Prix are up for grabs in three categories this year – the Historical Book Award, the Author Book Award, and the Photo-text Book Award, each of which come with a €6000 prize to be shared between the photographers and their publishers. The books are on show at Arles until 23 September, and the winners will be announced in the opening week.
Since its inception in 1970, Les Rencontres d’Arles has been a major influence in disseminating the best of world photography, becoming a springboard for photographic and contemporary creative talents. Taking place in Arles, South of France, Les Rencontres d’Arles is set among the town’s crumbling Roman treasures, shady squares and bountiful pockets of Camarguais culture. Immortalised in hundreds of Van Gogh’s works, Arles has always inspired artistic sentiment.The festival plays on this, hosting exhibitions across its much-loved, instantly recognisable heritage sites, with 12th-century chapels and 19th-century industrial buildings transforming into bustling photographic stages. Now in its 49th year, Les Rencontres d’Arles promises a breathtaking, celestial photographic journey that looks to the past while facing the future. Acknowledging photography’s unique position to reveal hard truths, Sam Stourdzé, director of the festival, writes of how “photography is often the best-placed medium for registering all the shocks that remind us the world is changing, sometimes right before our eyes.” The series of exhibitions relate to formative events that have taken place throughout the last century, seeking to parallel …
1854 Media scooped the prestigious prize at the 2018 Professional Publishers Association (PPA) Awards
It’s disconcerting to think how years of work and effort, of countless hours spent practising and honing a skill, can be wrenched away from any of us in just a few minutes of misfortune. It’s also, for any of us used to good health, troubling to consider how reliant we are on the basic functionality of our bodies. A photographer, for example, needs to be able to hold a camera, to have the strength to frame a shot and time the click of the shutter in the heat of the moment. Shorn of that basic ability, what are we left with? Early one morning in May 2015, Sim had to face that exact question.
She was on assignment for a French newspaper, travelling to the Tumen Economic Development Zone, a government-owned complex of Chinese factories on the edge of the border with North Korea. Tumen employed North Korean labourers who, with state sanctioning, would be sent to live and work in the economic zone. The brief was to capture how North Korea and China trade. This place seemed like the perfect microcosm for that complex relationship – the makings of great pictures.
Entering Tumen with her driver and colleagues from Le Monde, she failed to spot a sign that read: “No smoking, photography, or practising driving”. As they approached the factories, the car passed a small group of women in black jumpsuits, knelt by the roadside picking weeds from the ground. Sitting in the driver’s seat with the window wound down, Sim instinctively raised her camera and fired off a couple of shots. “Almost immediately, the women turned around, ran towards the cab, and reached into the car,” she wrote in an article for ChinaFile, recounting events.
“It’s hard to know when to stop,” says Gregory Halpern. “I remember putting my camera away on a trip home and being relieved it was out of sight. I never feel that way, so that was clearly a sign. I haven’t kept track, but I shot maybe 700 to 1000 rolls of film.”
He’s talking about ZZYZX, which he’s worked on for five years, partly supported by a Guggenheim fellowship. Shot in Southern California, starting out on the eastern fringes of the state then moving slowly westwards towards Los Angeles and the Pacific, it’s named after an ‘unincorporated community’ in the Mojave desert, and has a similar sense of the outsider. The opening picture shows a gnarled hand, with a callus on the thumb and dirt in the fingernails, outstretched to show seven stars tattooed on the palm. The next shows stark black trees in the desert in the wake of a fire.
Situated within a late 17th century mansion, in the historical centre of the UNESCO world heritage site of Arles, lies Galerie Huit Arles, which has been at the heart of the town’s photography scene since its inception in 2007. This is no mean feat. The small Provencal town is home to Les Rencontres d’Arles, the world’s first and foremost photography festival. The doors of the gallery open onto a neo-classical salon, its painted and gilded panels displaying a changing selection of modern photographs, before moving across a series of artfully decorated rooms, stylistically spanning several centuries. Julia de Bierre, Galerie Huit Arles’ owner, founder and curator, has always ensured she exhibits an array of high-profile works on the gallery walls. Soon after opening, she presented the V&A Museum’s Theatre Department exhibition of photographer Simon Annand’s ‘The Half’. She has shown a number of photographic installations, including that of Matthias Olmeta in the below-stair vaults, and series such as Clementine Schneidermann’s ‘I called her Lisa Marie’, and Vee Speers’ 2017 ‘Dystopia’ show. The gallery’s artist-in-residence programme …
“Hosting OpenWalls is an exciting opportunity to create an outstanding curated exhibition in an unusual setting,” says Julia de Bierre, who is opening up the walls of her internationally renowned gallery, Galerie Huit Arles, to exhibit 50 shortlisted images for a month in July 2019. Launching to coincide with the 50th edition of Les Rencontres d’Arles, the world’s first and foremost photographic festival, OpenWalls is an awards initiative that gives emerging and established photographers the chance to exhibit in reputable locations around the world. For our first exhibition we are inviting work responding to the theme ‘Home & Away’, with the aim being to capture a sense of belonging, escapism, or identity. “I hope that the response to the theme will reflect all the qualities, and possibly contradictions, of British Journal of Photography’s readership,” says Julia. Which are? “Talented, informed, curious, conventional, cutting-edge, international or home-grown, and numerous!” We couldn’t have said it better ourselves. Galerie Huit Arles is located in the centre of Arles. Once used as a remarkable 17th century mansion, its classical …
“When I became a parent, I had the idea to make a photographic book for children,” says Russian photographer Andrey Ivanov, who has won the Photobookfest Dummy prize. “I started to photograph subjects and images of Russian fairy tales. At first it was a series of purely staged photos, but then I began to notice that some of the documentary photos I found fitted perfectly into this fabulous series.
“The fairy tale is the most authentic source of Russian archetypes. As the saying goes: ‘A fairy tale is a lie – yet there is a hint in it, a good lesson to good fellows’. The viewer follows the photographic tracks of the main hero of the fairy tale, referring to the cultural codes of the collective unconscious, and guesses or recognises the fairy-tale images, or hints of them.”