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“… a change in time is enough to re-create the world and ourselves.” – Marcel Proust  This article was originally published only in French. No translation is available. La semaine d’ouverture des 39es Rencontres d’Arles revêtait cette année un caractère exceptionnel. Le jour de l’inauguration, Maya Hoffmann, riche mécène et collectionneuse,  Familial Ground is the product of a process that started several years ago when Rafael Goldchain’s son was born. Goldchain gradually realized that his new role as parent included the responsibility to pass on a familial and cultural inheritance.  It occurred to me recently that my fascination with photographic albums may be due in part to the fact that my family never kept one: we were box-in-drawer people, my mother making good use of packaging for notepaper and Christmas cards to keep some order in our small photographic hoard. This article was originally published only in French. No translation is available. Voir aussi l'article reliéIMAGES NON DISPONIBLES
Comprendre les Self-Hybridations d’Orlan nécessite de retourner en amont de celles-ci, au cœur des plus controversées de ses œuvres : la série de performances La réincarnation de Sainte-Orlan. This article was originally published only in French. No translation is available. - Read the Abstract Voir aussi le portfolio de l'artisteComprendre les Self-Hybridations d’Orlan nécessite de retourner en amont de celles-ci, et au cœur des plus controversées de ses œuvres : la série de performances La réincarnation de Sainte-Orlan.  In Absolutely Fabulous, Paul Litherland playfully constructs stereotypical gender identities in himself, only to deconstruct them and raise his viewers’ awareness of cultural biases. The ten works that constitute this series evolved from a 1993 performance, Souvenirs.  Wearing a tight, hot-pink jersey-knit dress with a scoop neckline that reveals a thick pelt of chest hair, photographer Paul Litherland poses coyly for the viewer in a sky-blue-lit studio for half of his self-portrait series, Absolutely Fabulous.1  With this recent series of photographs, Janieta Eyre continues her phantasmic exploration of her inner world, her psychic fantasies, and the twists and turns of her personality, distancing herself from the self-portrait and transposing her mises en scene into models.
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I am inhabited by a cry. Nightly it flaps outLooking, with its hooks, for something to love. – Sylvia Plath, “Elm”1 No other contemporary photographer’s work has come closer to being inhabited by Plath’s aforementioned cry than that of British-born, Toronto-based artist Janieta Eyre.
 Gabor Szilasi is known for his preservation of a fading way of life in rural Quebec, his documentation of Montreal’s architecture, and his intimate portraits of people from a variety of cultures.  What began as a self portrait project eventually became an image world depicting the objects and beings that nourish Wang’s identity.  During the past three years, I accumulated images on different attempts, but all the attempts had similar results, I treated them all as my self-portrait. . . . No matter what the camera focuses on, people or still life, the consciousness of self-cognition hence is hidden in my art practice. The image presents a part of the objects themselves and a part of my mirror-self, from which I discover my existence. –Chih-Chien Wang  Since the early 1970s, Cohen has lived and worked in no fewer than nine countries, photographing unpopulated interiors in public and private establishments such as schools, spas, and laboratories. Her practice has been informed by her nomadic lifestyle.
 This article was originally published only in French. No translation is available. Voir aussi l'article reliéEn compilant des images du début du cinéma qui présentent des corps étrangement figés devant l’objectif, Fiona Tan investit une zone grise entre le film et la photographie.
This article was originally published only in French. No translation is available. Voir aussi l'article reliéDans sa série d’autoportraits, Version soft, l’artiste marocain Hicham Benohoud métamorphose ses traits en « martyrisant » sa tête dans des prises, brutales, rappelant celles du photomaton ou du portrait judiciaire.
 This article was originally published only in French. No translation is available. – Read the Abstract Voir aussi le portfolio de l'artisteIl y a mille et une manières de se montrer. Pour l’heure, Hicham Benohoud s’en tient à l’autoportrait, genre apparaissant a priori facile, mais qui aborde dans son cas des rives pour ainsi dire taboues.
 In his series Untitled (The Artist at Work), Klaus Scherübel presents a paradoxical system of references to myths and phantasms of modernism and to descriptive contexts of current art.
 “The Artist at Work” – does this legend not still revolve around phantasms of the genius emotionally strained to the limit in his studio (for this legend is a male one), bent over his artwork (preferably a painting or a sculpture), doing battle with the overly extravagant imaginary, struggling for a form that will ultimately be the brilliant result of this reclusive, prototypically subjective process of creation?
 This article was originally published only in French. No translation is available. Voir aussi l'article reliéLes œuvres de Yinka Shonibare peuvent être considérées comme une déconstruction des notions occidentales de l’identité. La figure du dandy fournit à l’artiste un modèle historique qui lui permet d’éclairer le jeu complexe des forces sous-jacentes à la construction sociale de l’individualité. |
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