Exhibition of the winners of the Fondation des Treilles Photographic Residence Prize at Initial LABO.
The look of three photographers on the Mediterranean world testifies to the historical, societal and artistic evolutions of this “Great Basin”.
the Initial LAB the photographic space is hosting, for the second consecutive year, from February 2 to 26, 2022, the work of the three winners of the Residence Prize for Photography of the Treilles Foundation 2021: Bernard Descamps, Sophie Hattier and Yusuf Sevincli.
The opportunity to discover the “Cease Fire-Cyprus” project by Turkish photographer Yusuf Sevinçli, which explores the impact of recent history and conflicts on the landscape of the island of Cyprus. But also the exploration of the Mediterranean coast by Bernard Descamps through a series of photographs trying to perceive the spirit that hides behind the visible aspect of things. And finally a highlighting of the Camargue through the photos of Sophie Hatier which reveals this Mediterranean landscape, with its colors, its composition and its material, and on which the light acts as a developer.
The exhibition also presents the residency projects of the 2022 winners chosen by the jury chaired by Jean-Luc Monterosso, correspondent of the Photography section of the Academy of Fine Arts, founder and former director of the European House of Photography.
Two years ago, the Treille Foundation and Initial LABO developed a partnership based on the notion of excellence, whether in the selection of residents or in the printing and scenography of their research work.
The exhibition is on view until February 26 from Tuesday to Saturday from 10 a.m. to 7 p.m.
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This work offers a subjective visceral response to the way these ambivalences imprint themselves on the landscape and the inhabitants of an island literally cut in two.
“During my extended stays in Cyprus, I tried to trace the areas of spatial partition and conflict as well as the traces of unification, peace and integration. I challenged myself to confront and understand, through photography, the disruptive effects of politics on geography and people, to bring out the latent but extreme militarization of the landscape on such a small island. »
“I followed an itinerary, that of the coast, where the sea meets the land, whether this line is natural or highly urbanized… During this “journey”, the photographs become encounters, encounters with a place, people, an event, but above all all encounters with oneself.
Follow the coastline and photograph, sculpt in space and time. I always hoped that, behind the visible aspect of things, there was a spirit. A kind of animism where photography could reveal a little of this beyond…”
“After rugged and volcanic Iceland, and its magnificent deaf and mysterious aurora borealis, I was looking for a territory which would be the opposite, where everything would be only horizon, light and colors of the South which would radiate and saturate the space. A Mediterranean atmosphere. Gradually the Camargue, which I knew well without having ever photographed it, became obvious. It was by water that I approached it.
The Camargue is the opposite of an island. A body of water in the middle of the earth. Ponds, marshes, salt marshes, fresh water, brackish water… A landscape which seems so wild but which also results from long-standing human interventions on a very particular biotope, an attempt at domestication by learned transfers of fluids… A Mediterranean area, with its colors, its composition and its material. And on which the light acts as a developer.
This specificity of the Camargue territory, I wanted to capture it by expanding my work to other forms of life: plants, fauna and portraits… This search for a form, starting from nature to tend towards the human , has always been at the heart of my work”.