The “Photography Prize” of the Fondation des Treilles was created in 2011 to help the production of photographic works on the theme of the Mediterranean world.
Awarded over a period of two to eight months depending on the project, the Photography Prize comprises :
- an allowance of € 2,650 per month, the duration of which may not exceed 8 months, and
- a reception in Residence which cannot be less than 1 month, especially to ensure the completion of the tests on site.
During their stay at Les Treilles, the laureates are housed in “La Bergerie”. The meals and cleaning are provided by the Foundation, which allows them to devote themselves entirely to the realization of their photographic project.
For the realization of their works, they can find on the estate:
- a digital workshop with a professional computer and a large-format sprayed pigments printer,
- a film laboratory, the “Jacqueline Hyde Laboratory”, with a multiformat Beseler enlarger, for those who wish to develop and print images in black and white.
The laureates also benefit from a library and a wireless internet connection at the “Grande Maison”.
Artists wishing to compete for the residency are invited to read the terms and conditions of participation.
For any special questions or requests for additional information, candidates are invited to send a message to the following address: email@example.com.
To know when to send your application, please consult the following page: application deadlines.
The application file is composed of:
- a form to complete online,
- from 10 to 20 images JPG format, 300 dpi, compression average quality, the long side of the image not exceeding 12 cm.
Application forms and digital preselection files must be sent to the email address mentioned above.
Winners over the years:
Clément Chapillon, Stéphane Couturier, Safaa Mazirh, Corinne Mercadier
Clément Chapillon is a French documentary photographer who explores the links between men and their land. His passion for photography dates back to his teenage years but it is in 2016 that he began his first long-term project in Israel / Palestine where he adopted a sensitive approach that mixes images and texts taken from interviews conducted on site. After two years, this work came to an end and was selected in Tbilisi, Georgia, in «Circulations» in Paris, in «Voies off» (Off the beaten tracks) in Arles where he won the Leica prize. This series has been exhibited in the Leica Galleries in Paris and 104 (Circulations) at the Willy Brandt Center (Jerusalem) and at the MAC gallery in Créteil, Paris. It has been published in many magazines (British Journal of Photography, The Obs, Geo, Arte, Zeit, Ignant, Gup …). This work was the subject of a book Promise Me a Land, published by the German editor Kehrer Verlag. More recently, Clément was selected by the British Journal of Photography (November 2018) to lead a commission on the «Wilderness» in California and has been a laureate of the photography prize of the Fondation des Treilles.
His projet : «Somewhere lies an immortal rock»
«Myths do not have a life by themselves, they expect us to incarnate them» (Albert Camus).
The island is a sanctuary of human societies. It is a geographical object enclosed by the sea, which preserves identities, protects lifestyles and constantly carves its singularity. The «islanders» have in this respect a unique relationship to their island, their landscapes, their customs and time. But the island is also this place of all utopias and escape, largely fantasized, a «reserve of elsewhere». I discovered about fifteen years ago an island in the heart of the Aegean Sea, Amorgos. It was a shock, «the absolute island», which has become over the years a necessity and an obsession. I went back again and again to find its luminous aridity, its unreal cliffs, its demiurge men, its Homeric swell, its archaic legends and its petrified time … I felt there a Mediterranean of the origins, the incarnation of the Greek myth. But wasn’t it an illusion? What is the share of reality and that of fiction in this fantasy island? Nikos Gatsos, a surrealist poet wrote in 1943 his unique and dazzling work “Amorgos”, on the only mention of the name, without ever being there, strongly convinced that “somewhere lies an immortal rock”. I would like to explore this double dimension of geographical and mental space to compose a photographic testimony that oscillates constantly between poetry and the vernacular, between the icons of yesterday and the living Greece of today. A documentary story that collects real fragments of a territory to better explore one’s imagination.
The city, the industry, the built landscapes are the favorite subjects of Stéphane Couturier. This double aspect – the documentary investigation cannot be dissociated from visual research – characterizes his photographic work. His work reveals the different layers of temporality that structure urban centers. The city is comparable to a living organism in perpetual mutation. Since 2004, with the advent of digital, he has decided to experiment hybrid images with the Melting Point series. These works plunge us into an in-between, amid document and fiction, between the concrete reality of things and the virtual reality of their movement, their future. Since 2011, he has been studying Algiers and the housing estates built by Fernand Pouillon. With this series, he encourages us to look at the gaps and asperities of 21st century urban explosions and its populations. In 2018, his series on the city of Sète and the echoes made in the work of Fernand Léger, is characterized by a fragmentation of the image. Dynamic tensions and colorful hybridizations, lead to a work of deconstruction of photography. Photography no longer asserts, it invents.
His project: “The walls of Algiers”
The study of the architectural forms of the Kasbah of Algiers are the starting point of this work on Algiers. These forms are a vector that links the pre-colonial, colonial and post-colonial periods of Algiers. “The walls of Algiers” intends to document this complexity of the urban development torn between authenticity, imitation and camouflage. Two axes were studied:
– a first axis consisting of urban thresholds where colonial architecture and Kasbah join.
– a second axis attempted, with the notion of informal urban, to seize the making of the “new Algiers” between the legal and the legitimate by studying the temporal sedimentations of the Kasbah.
Born on the 7th of June 1989 in Rabat, Safaa Mazirh lives and works in Rabat. Artist, self-taught, she is confronted with photography as part of the workshops of the association fotografi’art which brings together in Rabat several young photographers. Fascinated by the body’s movements on stage, she quickly began to work on this theme for several theater companies.
From shows, Safaa Mazirh has retained the art of staging, building in a few months a photographic theater of reality fed with elements of her history and a vital desire for artistic expression. In this work with subtle references, the body, evoked by the dolls, or the physical body, shown without disguise, holds a central place. But it is a subject body. The one who becomes the instrument of a narrative goes beyond the obvious relation to intimacy, by a very strong capacity to become an artwork. Image after image, Safaa Mazirh builds a great and striking artistic experience finely elaborated in the interweaving of the real and her dream.
Her project: « Amazigh revisited »
Tattooing has always been a custom among Amazigh women and it expresses the philosophy of the transition from nature to culture, from oral to written, or of difference … Thus, tattooing is an expression of the identity, the entity, the civilization, the historical continuity of the existence of the Amazigh person on the lands of Tamazigh. Thus, in Amazigh culture, tattoos have acquired several functions: aesthetic, magic, therapeutic, sexual, anthropological, physical, social, psychological, existential …. Thus the Amazigh man has become more attached to the tattoo philosophy, which expresses its identity, its cultural and civilizational specificities.
« The series “Amazigh Revisited” was initially born from a personal need, that of my identity and my Amazigh culture. I was always fascinated by the forms and beauty of Amazigh symbols and the curiosity to know their senses. I want to recreate this magical and esoteric language and give new life to this feminine writing. The Amazigh series compiles both the symbols and the body that naturally fits in this research process ».
Corinne Mercadier lives and works in Paris, where she is represented by the gallery Les filles du Calvaire. She creates photographic stagings and is as interested in dance as in architecture and interstellar space. She makes the costumes and the sculptures intended to be launched during the shots.
Personal exhibitions, prices and publications (extracts):
2006 and 2008 Gallery Alan Klotz, New York – 2013 finalist of the Academy of Fine Arts Award – 2014 Wicked gravity Fotografiska, Stockholm, Sweden – 2015 Festival Planche(s) contact Deauville – 2016 Espace Leica Paris, Rencontres de photographie in Arles – 2017 Les photographiques, Le Mans, Lontano, Abbaye de Jumièges; The Avenue, Shanghai – 2018 Retrospective, Rencontres de la jeune photographie internationale, Niort. Editions Filigranes: Où commence le ciel ? (Where does the sky begin?), Dreaming Journal, a monograph, and Devant un champ obscur (In front of an obscure field).
Her project: « Trance, divination, metamorphosis, passion : female characters inspired by mythology and Greek antiquity ».
« As an artist aware of the often terrible status of women conveyed by these legendary stories, I have chosen not to take into account their meaning in ancient Greek society, nor to make a work of denunciation. I was interested rather in the ability of myths to evolve perpetually, as can be seen in literature and art history. I try to take part in this mobility through the production of images, and to build a contemporary interpretation of these feminine incarnations of prodigies, be they muse, princess, goddess, nymph or human woman, placing them in a poetic space where everyone can recognize universal themes. This will give rise to metaphorical representations in vernacular or aristocratic, military or industrial architectures in Languedoc and Provence».
Nicolas Comment, Laurie Dall’Ava and Victor Mazière, Alex Majoli
French photographer and composer born in 1973, Nicolas Comment is a graduate of the Ecole Nationale des Beaux-Arts in Lyon (1997) and of the National School of Decorative Arts in Paris (1999). He published his first book of photographs in 2001 at Editions Filigranes, La desserte (The service) (text by André S. Labarthe), which were followed by 8 other books including the most recent, Reverb (Filigranes Editions / Polka gallery, 2017).
The photographic work of Nicolas Comment is represented by the Polka gallery in Paris.
During his residency and in the continuity of the works he has already devoted to Jean Cocteau L’oiseleur (The Fowler), 2003, Bernard Lamarche – Vadel La Visite (the visit), 2009, or that were inspired by writers such as Jack Kerouac and Malcom Lowry (Mexico City Waltz, 2012), Roger Vailland, Fading, 2006, Paul Bowles or William S. Burroughs, T (angel) r), Nicolas Comment lead a new photographic investigation devoted to the southern poet Germain Nouveau. He followed in his footsteps in Provence and the Mediterranean, from Pourrières (his native village) to Algiers (from where he wrote to Rimbaud, who had died two years before, a « ghost letter » which is still famous because it followed its recipient from port to port) through various places that have marked the life of the poet in Provence.
In addition to producing prints for a future exhibition, it will also be a question of exploiting the visual elements gathered during his residency as part of a photographic (and musical) projection intended to be represented in various collaborating places as well as to work on the future edition of a book-disk.
Born in 1982, Laurie Dall’Ava lives and works in France, in Toulouse. Graduated in 2011 from the National School of Photography in Arles, she continued her training at the « Centro de la imagen » of Limà. In 2013, she became a member of the Reflexions Masterclass, with Giorgia Fiorio and Gabriel Bauret, in Venice / Basel.
In addition to numerous exhibitions since 2008, Laurie Dall’Ava has also contributed to several publications such as number 5 of the magazine Yet Magazine in 2014 or Qu’avez-vous fait de la photographie ? (What did you do with photography?) published by ENSP, Actes Sud, 2012.
The project supported by the photography prize from the Fondation des Treilles links Laurie Dall’Ava’s photographic work to Victor Mazière’s writing. Begun last spring, this project involved several cycles of research, as well as several forms, while privileging at each step the relationship between the territory and the invisible, the in-between and the construction of imaginary mythological clues.
Our collaboration has led us to a photographic, poetic and philosophical research around the Mediterranean world, the Cyclades and the Minoan civilization. The narrative, both photographic and fictional, can take the form of an initiatory log and an inquiry. It would thus derive from a near future, of which the lacunary archive would remain, to a parallel myth of origins, guided intuitively by recurrent images, chronic indices: stones, islands, volcano, sulfur, bees, echoing to the mystery religions and undifferentiated riddles of Linear B hieroglyphs, the best-known example of which is the Phaistos disc.
Italian photographer born in 1971, Alex Majoli lives and works in New York where he is represented by the Howard Greenberg Gallery. Graduated from the Art Institute of Ravenna in 1991, Alex Majoli has been a member of Magnum Photos since 2001. He notably covered the Yugoslav conflict, the major events in Kosovo and Albania, the fall of the Taliban regime in Afghanistan, the invasion of Iraq and continues to document various conflicts for many journals.
More recently, he worked for a project of the French Ministry of Culture entitled “BPS” (Bio-Position System) on the social transformation of the city. His project Libera me is a reflection on the human condition.
Linking this human condition to his approach to conflict, his current work turns to refugees and their living conditions in exile. Alex Majoli described the project he was supposed to develop during his residency: « While conflicts in the world are becoming an ever-increasing threat to the lives of all those they affect, many are forced to embark on a journey that pull them away from everything they have and everything they know, across the Mediterranean and hostile countries. The refugee’s journey is reflected in the famous words of Jacques Attali: The Titanic is us, our triumphant society, proud, blind, hypocritical, pitiless to the poor, where all is foreseen, except the means of foreseeing. This, in my opinion, is the secret of the huge success of this film: everyone guesses that the iceberg is there, waiting for us, lurking somewhere in the fog of the future, that we go straight on and that we are going we smash into music. My current project « Titanic » is an exploration of the human spirit in times of crisis. A crisis that affects everyone … »
Andrea & Magda, Pablo Guidali et Klavdij Sluban
Andrea & Magda
Andrea and Magda are a duo of young Franco-Italian photographers. They live and work in the Middle East since 2008. Their work is published in the press in France and abroad and gives rise to exhibitions. Palestinian Dream, has been exhibited in the context of the 2014 Month of Photography, and Sinai Park at the European House of Photography as part of the first biennial of photographers of the Arab world. They collaborate regularly with NGOs, and international institutions such as the International Committee of the Red Cross and the French Development Agency for commissioning work. They have already won, among other prizes, the Tabo Prize, Fotoleggendo Festival 2015 and the Foiano Festival Prize 2013.
TV soap operas in the Middle East draw their scripts in contexts and real stories, to build an imaginary that infiltrates popular culture: series, whether produced in Lebanon, Syria, or Egypt, are viewed in all the Arab world, and constitute an important part of the “pan-Arab” culture.
Through the prism of the “Musalsalat” (soap opera in English or telenovelas in Spanish), the idea is to restore a vision of the popular imagination in the Middle East, and to question the role of television fiction in the construction of cultural models. This project is a step in a broader search on the transformations of society and territories in the Middle East, in the context of globalization, project initiated with two first projects realized since 2012 “Palestinian Dream” and “Sinai Park”. The challenge is also to reinvent the representation of the contemporary Middle East.
Pablo Guidali, 40, is an Uruguayan photographer and has lived in Marseille for five years. Graduated in 2010 from the National School of Photography in Arles he was a speaker in the same school from 2011 to 2015. He also joined the Casa Velasquez from 2013 to 2014 and won many prizes including the Georges Wildenstein Prize in 2014 and the publication aid grant of the Bouches du Rhône General Council in 2015.
Pablo Guidali presented his project in the following way : « My project involves the realization of a photographic work involving the creation of a fictional personal universe, inspired by the concept of arrabal and its significance in the culture of the Rio de la Plata – geographical and cultural area shared between Uruguay and Argentina.»
The Spanish term arrabal refers to a suburban group, usually associated with the lower classes, a neighborhood outside the city walls to which it belongs. In the Río de la Plata region, the use of this word refers to the territory of melting pot between immigrants – Spanish and Italian for the most part – and the populations coming from the countryside which populated the neighborhoods of the big cities towards the end of the XIXth century. These spaces later became the recurring theater of much of Rioplatense literature, one of the great inspirational subjects of tango poetry and a fundamental element of the Uruguayan and Argentinean cultural imaginary.
Beyond its concrete characteristics, the arrabal is a symbolic space, an open and abstract concept that unfolds through the subjectivity of each of its narrators. Indeed, its interest derives less from its physical reality than from the imagination of those who tell it. This is why the arrabal is different from the concepts of “suburb”, by idiosyncratic nuances forged by literature, music and other artistic manifestations.
« I was born in Uruguay and lived there until I was thirty. That’s why, despite my dual nationality, I feel first and foremost Uruguayan. A complex, contradictory identity, that of those who “come down from the boats”. In this context, the analysis of my work allowed me to note the influence that this symbolic space has exerted on me throughout my life and artistic journey and my growing desire to explore the possibilities of this imaginary. It is therefore a question of constructing a contemporary arrabal enriched by my own story, in a cross of cultures that is mine, that of a Uruguayan of Spanish family, with an Italian passport and living in France.
During the last five years, I lived most of the time in Marseille. I am attached to this city, to the life that overflows there, a palpable, confusing human life, where also something tragic, sad, is mixed up, like in a real party. First of all, there is an attraction for this movement of the crowd, for this chaotic daily life, for the diversity and sometimes the incoherence of the characters. In my attraction for this city there is also a feeling of nostalgia, because Marseille inevitably evokes my attachment to other cities like Montevideo or Buenos Aires. Port and cosmopolitan cities, lands of immigrants. Places in which I grew up, places that marked me, and which are at the origin of this symbolic space around which I want to build my project.
Marseille is thus an ideal playground for shaping my intentions. Starting from a confrontation with this territory, my project involves the realization of a corpus of images, in a poetic register, aiming at the construction of a set of scenes, characters, moods and situations, which will shape a universe inspired by the concept of arrabal, in a dynamic where there is a tension and an articulation between the real and the fictional.»
The indigenous population that inhabited the territory of Uruguay was completely exterminated during the Spanish colonization. This is why this term is commonly used to refer to the European descent of Uruguayans.
Klavdij Sluban was born in Paris in 1963. He often works with literary references, on the fringes of the immediate news. Its photographic cycles range from the East (Balkans-Transit, Around the Black Sea-winter trips, Other shores-the Baltic Sea, Trans-Siberian, etc.) to the archipelago of the Kerguelen Islands.
Winner of the Villa Medicis-Hors-les-Murs (1998), the Niepce Prize (2000), the European Publishers Award for Photography (2009), the Villa Kujoyama (2016), Klavdij Sluban photographed adolescents in prison since 1995 in France, ex-Yugoslavia, the former Soviet Union, Latin America, sharing his passion with young prisoners by creating photographic workshops. His works are preserved and exhibited in many institutions: Helsinki Museum of Photography, Shanghai Museum of Fine Arts, Tokyo Metropolitan Museum of Photography, Texas Tech Museum in the United States, National Museum of Singapore, Rencontres d’Arles, European House of Photography, Georges Pompidou Center. In 2013, the Niépce Museum devoted a retrospective, After Darkness, 1992-2012.
He has published many books including Entre Parenthèses, Photo Poche, (Actes Sud), Transverses (European House of Photography), Balkans Transit (Seuil), East to East (EPAP Award 2009).
Composed around exile here is how Klavdij Sluban describes his project. « The back turned to the Riviera, a landscape more marked, more subtle, offers the walker an interpretation where the space of Nature and the time of history are superimposed.
What motive can push a young man and a young girl of twenty to leave their native house, their native country? I never knew it. My parents never told me. In 1961, they crossed the border between Yugoslavia and Italy and walked to Paris. Fragments. Place names. Many place names, my mother had studied literature, hence the desire for Paris. On the conditions of which the journey took place, « What good is it to talk about it? …”, « It still took us more than half a year ». Six, seven, eight months ?
Exile was done step by step, overnight. With stops. Of varied durations, to make money to continue, not to be caught, sometimes hesitating to stay in such a place. My father spoke perfect Italian. Training miller, he easily found hiring of varying durations.
The route ? Difficult to draw point by point on the map. Zigzags, detours, hiding places, safe places, others not. And then stumble over and over again against the French border.
A real journey that becomes imaginary in the mind of those who would like to link geographic locations on a map and feelings of two young people, sometimes enthusiastic, sometimes lost, sometimes totally lost.
Between the snatches, the memory and the map, this journey is as faithful as … the memory. Border between Slovenia and Italy, Nova Gorica (Slovenia), Stara Gorica / Vecchia Gorizia (Italy); Trst / Trieste; Venezia Mestre, Genova; border between Italy and France, Ventimiglia / Ventimiglia, Liguria and the hinterland (Fanghetto, Pigna, San Biagio della Cima, Vilatella …); passage on the French side.
The names of the places are flayed, confused, forgotten from this moment because of the ignorance of the language. The Mercantour Park, the Verdon Park, the Luberon Park. In France, big cities have been avoided.
The project will be done in color (digital).
« When I moved from Yugoslavia to Italy, I went from black and white to color » said my father.
The urban photographs will be made by day because « it was not good to hang around at night», the photographs of landscapes will be carried out by night, with tripod, on long pose « because it was not good to hang around the day ».
This cycle will be directed with a writer from the Ligurian hinterland, Francesco Biamonti. Thanks to François Maspero I met Biamonti. Thanks to Biamonti I was able to understand many things that were not told to me.
Border man, between two countries, so close, so different, he described these lands dotted with clandestine paths, with these wounded men, finding no more refuge or certainty.
Scratches from the maquis, dangers of landscapes, exodus on the pathways, Biamonti has been able to translate the power and the silence. Yet, in his lyrical language, he also writes:
« To tell things gently, is to make the world habitable. These evenings that go from gold to pink, to the range of grays, these preludes to a greater passage.»
«This project, the most intimate of my photographic projects, is grounded in contemporary history, refugees, exiles bumping against the borders. This project will be treated in such a way as to leave room for the imagination. The perception of new places will be more important than the illustrative description. The feeling of the exile will be the weave of a personal photographic writing. Dazzling light, underlying, agonizing, tactile, alive, fleeting, like exile. This project is a tribute to two anonymous clandestines, my parents.»
Thibaut Cuisset, Wiktoria Wojciechowska, Sophie Zénon
Thibaut Cuisset (1958 – 2017)
Thibaut Cuisset was a French photographer, born in 1958, who devoted himself to landscape photography since 1985 and was a resident at the Villa Medicis in 1992-1993, resident at the Kujoyama villa in Kyoto in 1997, and was awarded the Academy of Fine Arts in 2009.
It was during a trip to Morocco in 1985 that he took his first landscape photographs with a photographic chamber on foot and in color. He understood then that the practice of landscape photography can be a way of looking at the world. Since then, his photographic work was deployed by successive campaigns and each time a country or a French region was the subject of the series.
Many countries were covered: Australia, Switzerland, Italy, Spain, Japan, Iceland, Namibia, Russia, Syria, the United States …
As the laureate of the Fondation des Treilles Photography Prize, he proposed, in his own words, to concentrate: “… on the French Mediterranean landscape and, more precisely, on the idea of the hinterland with the persistence of a rural and perhaps even pastoral world in Provence, in the departments of Var, Alpes-Maritimes and Alpes-de-Haute-Provence.» The forest, the mountain, and the peri-urban countryside with their zones of friction were evoked.
Among his publications: Le Pays Clair, Camargue, text written by Jean Echenoz, Ed Actes-Sud 2013, Une campagne photographique, le pays de Bray (A photographic campaign, the Bray region), text written by Gilles A. Tiberghien, Ed Filigranes in 2009, Le dehors absolu (The absolute outside), text written by Philippe Lacoue-Labarthe, Ed. Filigranes in 2006 and Campagne japonaise (Japanese Campaign), text written by Jean-Christophe Bailly, Ed. Filigranes in 2002.
Thibaut Cuisset is represented by La Galerie Les Filles du Calvaire in Paris.
Wiktoria Wojciechowska is a very young Polish photographer, who has graduated from the Academy of Fine Arts in Warsaw, but who has already won the prestigious Oskar Barnack Newcomer Award 2015, for her series Short Flashes, composed of portraits of Chinese motorcyclists frozen in a flash.
With her Sparks series of portraits of Ukrainian soldiers, she tried to show the traces of war on the faces and eyes of young fighters.
What she proposed as part of her Residence for photography was a mixture of portraits, pastings and investigations on the territory, a story telling in search of a graphic representation of what characterizes Mediterranean culture.
Her publications include : Urbanautica, text by Krzysztof Sienkiewicz to Project Own Place 2015. Short Flashes, Beijinger, No. 06, China, 2015
Sophie Zénon is a French photographer. She lives and works in Paris.
Trained in contemporary history, art and ethnology, she first deployed her work in contact with new cultures and traveled to Asia many times. Since the late 2000s, echoing her studies on shamanism, she returned to her favorite research themes: the photographic staging of absence, our relationship to time, memory, filiation. Winner of the Kodak Prize for Criticism in 2000, nominated for the Niépce Prize in 2011 and 2015, at Villa Kujoyama in 2015, she has been the subject of numerous exhibitions in France and abroad, and her photographs and artist’s books have integrated public collections.
The Residence for Photography Prize from the Fondation des Treilles allowed her to develop a part of her project «Arborescences» (trees), a work of re-visitation of her family history intimately linked to that of Italian immigration in France between the two great wars. This project has its source in a buried memory and deals with exile, identity, the loss of the places where we were born, where we lived.
Among her publications: Des Cadavres exquis (exquisite corpses), 2012. Galerie Thessa Herold, Paris; In Case We Die, 2011. Editions de Saint-Louis / Fernet-Branc Contemporary Art Foundation; Roads over Troubled Water, 2010. Editions Schilt Publishing / Benteli Verlags; Mongolie, l’esprit du vent (Mongolia, the spirit of the wind), 2005. Chinese Blue / Benteli Verla
And artist’s books: Nonni, 2015. Leporello. 5 ex. Photographies sur papier japonais. Interventions à l’encre de Chine (Photographs on Japanese paper. Interventions with Indian ink). Text of the author; Ex-Ossibus, 2014. Ten triptychs on BFK Rives paper. 5 ex. Gravures à la pointe sèche. Interventions à l’encre de Chine. (Engravings at the dry point. Interventions with Indian ink). Texts by Régine Detambel; Verdun, ses ruines glorieuses (Verdun, its glorious ruins), 2013. 5 ex. 8 quadriptychs on BFK Rives paper, Monotypes, Postcards, Texts by Eric Vuillard; Grand Livre de Palermo, 2012. Unique piece. Reliure de la fin du XVIIIème siècle, photographies sur papier japonais, reproductions de pages d’albums de famille du XIXème siècle (Binding of the late eighteenth century, photographs on Japanese paper, reproductions of pages of family albums of the nineteenth century). Sophie Zénon is represented in France by the Thessa Herold Gallery (Paris), the Line Lavesque Gallery (Arles) and the Schilt Gallery in Amsterdam.
Anaïs Boudot, Hicham Gardaf, Evangelia Kranioti
She is a French photographer living in Roubaix. Graduated from the National School of Photography in 2010 and the studio of Fresnoy in 2013, Anaïs Boudot continues today a work around the exploration of photographic means. The heart of her work is to explore the process of appearance of the image; the links between still and animated images; and the interstices created between time and movement. She seeks to create both enigmatic and hypnotic images, out of time, closer to the sensation. Her artworks often play with the limits of the visible, plunging the viewer into a subjective temporality close to remembrance. The question of landscape and perception is important. Her work is based on a hybridization of mediums through the updating of old photographic techniques such as stereoscopy, photogram or pinhole, which, combined with the use of programming and video, develop new forms and new visions.
Moroccan photographer, he was born and lives in Tangier. He works on the representation of the major changes that the Arab world undergoes. Inspired by numerous photography books, that he came across during his job as a bookseller, he set his first steps in photography by taking images in his neighbourhood in order to portray his surrounding and its inhabitants; following the explorations of the documentary genre such as Stephen Shore or Joel Steinfeld.
He has been nominated for the Foam Paul Huf Award in February 2013. The same year he participated in a group show of ten contemporary Moroccan photographers at the Museum of Marrakech for Photography and Visual Arts (where his work became a part of the museum’s permanent collection); followed by a solo exhibition titled Extimacy in the Gallery 127 in Marrakech.
His work was represented in the Fotofever in Paris and Brussels. He was included in the group exhibition Un Maroc Raconté Autrement (A different story of Morocco) at Espace Photographique de l’Hotel de Sauroy in Paris (part of the Paris Photomonth) with the project titled Modern Times, in which he is portraying the contemporary Moroccan society against the background of urban landscape and its recent development.
His work observes the relationships between man and his environment, more specifically how each individual fits or not to the space or territory in which he lives. His project for les Treilles was a description of the major urban, socio-cultural transformations, the question of identity and the vision that the modern society of the Arab world has on the West.
Hicham Gardaf is represented by the Gallery 127 in Marrakech.
She is a visual artist born in Athens and living in Paris. Evangelia Kranioti has conducted an artistic and anthropological research on the life, travels and intimacy of Mediterranean sailors around the world. A new stage in this research leads her to focus not more on people in the sea stricto sensu, but on Mediterranean migrants, men and women who embark at the risk of their lives to reach Europe.
Law school Graduate (Master’s degree public law, National University and Capodistrienne of Athens) and visual arts (National School of Decorative Arts of Paris, diploma and post-diploma with the congratulations of the jury), she graduated from Fresnoy – National Studio of Contemporary Arts (Tourcoing) with the unanimous congratulations of the jury.
Winner of numerous scholarships and prizes, she has received the support of institutions such as the JF Costopoulos Foundation, the Agnès B Endowment Fund, the Basil & Elise Goulandris Foundation, the Marc de Montalembert Foundation / Fondation de France, and the Maria Tsakos Foundation, the Ministry of Culture (FR), the Ministry of Foreign Affairs (FR), the Mediterranean Center of Photography, the International City of Arts in Paris, Capacete Rio de Janeiro, the Fundação Alvares Armando São Paulo, the Runway / Bipolar & Le Fresnoy, among others.
She is the laureate of the Jury’s Special Prize as well as the Elie Saab Prize at the 30th Hyères Fashion and Photography Festival, the Best Emerging International Filmmaker Award at the Hot Docs IFF festival, the Photographic Residence Award from the Fondation des Treilles, the Fresnoy Friends Award and was a finalist at the Photographic Prize of the French Academy.
Her work embraces photography, video, installation and is regularly presented internationally: Paris Photo, European House of Photography, 5th Biennale of Thessaloniki, National Museum of Modern Art / Greece, VIA Maubeuge Festival, EXIT Festival MAC Créteil, Gallery Vincent Sator, Gallery of the Day Agnes b., Xippas Gallery, Kyotographies / Japan, Centro Helio Oiticica / Rio, Biennial of Belleville / FIAC, CentQuatre, Brussels Nuit Blanche, Lille 1 Culture Area, Museum of Fine Arts of Rennes, MUSA Museum on Demand / Vienna, Austrian Cultural Forum NY, NY Photo Festival / Dumbo Brooklyn, Center for Contemporary Art / Geneva.
Her first documentary Exotica, Erotica, Etc. (73 ‘) had its premiere at the Forum of the 65th Berlinale and is currently presented in festivals, museums, cinematheques and centers of contemporary art around the world (Filmoteca española, Geneva Contemporary Art Center, Thessaloniki documentary festival, Karlovy Vary FF, Hot Docs Toronto, Melbourne IFF, Sarajevo FF, BFI London Film Festival, Gothenburg IFF among others).
Claire Chevrier, Patrizia Di Fiore, Marc Lyon
Born in Pau in 1963, she lives and works between Mayet and Paris.
Higher National Diploma in Plastic Expression from the School of Art of Grenoble, in 1987. In 2014, her work was exhibited at the Museum of Photography in Charleroi, Belgium. Previously she was at the Niepce Museum of Chalon sur Saone, the French Cultural Center of Lagos in Nigeria, the Museum of Fine Arts in Nantes … She participated in group exhibitions at the MuCEM in Marseille, the center of the image of Barcelona, at Artcurial in Paris …. She was a resident of Villa Medici in Rome from 2007 to 2008.
Her photographs are part of public collections, including that of the European House of Photography, the National Fund of Contemporary Art … For several years, she has been discussing recurring themes related to man, space, power, memory.
In her previous work, Claire Chevrier observed how megacities have gradually absorbed the natural space to transform it into as many neighborhoods and population groups marked by the evolution of the primitive city, but also by the unpredictable changes of the weather, economy and culture. Coming from a family of “pied-noirs” (French National born in North African colonies) and deeply marked by the story of this grief experienced by her family, she photographed and questioned Algiers the White in her urban, social and cultural metamorphoses, in search of landscapes of memory. She analyzed, in this so prolific period caused by recent political evolutions, how man appropriates this new territory in his body and his thought.
PATRIZIA DI FIORE
Born in 1961 in Italy, she lives and works in Paris. In 2014, her work is exhibited at the 15th Photographic Art Exhibition in Beijing. Previously her photographs were exhibited at the European House of Photography, at the Photographic Meetings in Solignac, at the Biennale of Photography Canton in China, at the Aquitaine Museum in Bordeaux … She has benefited from scholarships including that of aid to the Creation of the Ministry of Culture, France, Luxembourg or the Bourse Lavoisier.
For the past 30 years, her work has revolved around the landscape and its relationships with history and man. Her images emphasize the ties that bind the individual to his land, to his history. She works, in particular, on lands of conflict: Bosnia, Palestine, Vietnam, Poland …
Patrizia di Fiore readily admits, the influence of light, colours and Italian landscapes have marked her practice of photography. Since she arrived in France thirty years ago, this culture influenced by the flamboyance of Italian paintings, has gradually been replaced by a more analytical vision. She therefore intends to take into account, in her description of the Mediterranean landscape, the upheavals generated by major works such as the construction of the TGV, with its works of art that disrupt the vision or the development of highways that drain from north to south a migrant population flows, seasonal or otherwise. She thinks she will roll out her palette of colors to evoke the history and cultures that are emerging in this territory where traces of different civilizations still exist.
Born in 1952 in California, he lives and works in France.
He is represented by galleries in New York (Robert Mann Gallery) and Paris (Air de Paris). His work is part of the museum collections of the National Library (France) and the Yale Art Gallery (USA).
His work revolves around portraiture, architecture, and especially post-modernism: Le Corbusier’s work in India, Pierre Charreau’s Maison de Verre in Paris or Jean Prouvé’s Maison tropicale.
He studied photography at Yale University in the United States. In 1979, he co-directs a gallery in Paris. In 1984, he is a freelance photographer, works for publications: AD, Artforum, Harper’s Bazaar, The New Yorker, Le Monde… His work was exhibited at the Hammer Museum in Los Angeles at the Issue Project Room in New York, Millennium of Fashion in Kyoto and Tokyo, at the Eof gallery in Paris. He received scholarships from the Graham Foundation, the PDN / Nikon Award …
Born in Southern California, Mark Lyon proudly claims his share of historical and visual heritage in terms of the language, culture and Hispanic landscape conveyed by his parents. And if he admits a deep love for the landscapes of the Mediterranean, his photographic influences are resolutely American since he fervently quotes the work of Walker Evans on America. In this way, he wishes to adopt his mentor’s methodology, namely to transgress genres, to combine in the same photographic history a work on landscape, architecture, the human, the still life, that his observations and his wanderings will gradually reveal him.
Morgane Denzler, Manuela Marques
Aged 27, Morgane Denzler followed the training of the Ecole des Beaux-Arts in Paris, notably in the studio of Patrick Tosani. She is particularly interested in the Mediterranean Basin (her first works concerned Sicily and Lebanon) and wishes to address the history, memory and collective unconscious of the Provençal territory through documents and meetings. After a research phase on maps, archives and photographic documents of the emblematic places of this territory, she wants to find the exact location and then photograph them as they present themselves today. She will realize this accomplished work, by superimposing, on the same scale, the archival photography and the contemporary shooting on puzzles, taking care to remove some elements of the higher puzzle so that each stratum of the work makes it possible to understand the genius of the place.
Of a French-Portuguese nationality, Manuela Marques (53) is known for the quality of the lights and the color range that she uses. Inspired by the diary of Anne Schlumberger, creator of the place and the Foundation of Treilles, which relates experiencing a rare and unique feeling of perfect beauty in front of the calm and harmony of this landscape, Manuela plans to work on visual games which combine both the blue lights of dawn and twilight to find the part of the « waking dream » that attracts her as well as the feeling of interiority spread by the very nature of this landscape, as an eternal utopia.
Raed Bawayah, Véronique Ellena
If Raed Bawayah relies on the image of the olive tree to start his project, it is because this tree, a symbol of peace common to all Mediterranean culture, conveys a sense of peaceful wisdom and exemplary resistance in front of the attacks of nature and that of men; the olive tree, a true metaphor for the struggle of the Palestinian people, which tries, even in despair, to cling to its nourishing land, remains the starting point for a photographic quest that explores the territorial problematic and the topographic survey of a torn earth, desired and claimed by two peoples.
Véronique Ellena has become known for her work done at the Villa Medici on the theme of still life and her very pictorial research around the homeless, « the invisible ones ». Without claiming the aesthetics of land art, she has been accustomed for several years to survey different territories, during long and slow walks to compose meditative and silent images like this apple tree under the storm or these poplars indefinitely repeated by the reflections of the lake. Taking as a pretext the semi-wild nature of the Treilles estate, she composed a herbarium around the ancient and eternal vegetation of the place through the seasons.