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MAY 27 JUNE - CityJet

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Guests of Honor: TURKEY & MARTIN PARRMAGNUM MEDITERRANEAN: an American perspectiveElliott Erwitt, Alex Webb, Leonard Freed, Jim Goldberg, David Alan Harvey, Richard Kalvar,Susan Meiselas, Dennis Stock, Bruce DavidsonEUROPEAN HOUSE OF PHOTOGRAPHY (MEP) / MEDITERRANEAN1960: from Cartier-Bresson to William KleinEdouard Boubat, William Klein, Mimmo Jodice ,René Burri, Jean-Philippe Charbonnier, Gianni Berengo Gardin,Henri Cartier-Bresson, Marc Riboud, Elliott Erwitt, Sabine Weiss, Izis, Jacques PerezAngel Albarran & Anna CabreraPierre-Anthony AllardBruno BarbeyKursat BayhanCarolle BenitahOsman BozkurtMarie BovoAra GülerNicolas HenryManca JuvanStratos KalafatisOzant KamaciAlain KantarjianLaurence LeblancLes MarubiDusko MiljanicClaude NoriMelisa ÖnelPhilippe RametteSevim SancaktarJean-Baptiste SénégasYusuf SevincliSelim SümeSerkan TaycanAli TaptikCristiana ThouxOrnela VorpsiPinar Yolacan


Stratos Kalafatis from Greece presents, from his perspective, his last work (never before exhibited) aboutthe monasteries on Mount Athos.Three women – Melisa Onel (Turkey), Carolle Benitah (Morocco), and Ornela Vorpsi (Albania) – attemptto exorcise the ghosts of the past through their work with memory. In his work, Alain Kantarjian follows inthe footsteps of Henri Matisse in the Grand Hotel Villa de France in Tangier, where he finds his inspirationand the ingredients for his most subtle images.But if Turkey and the Balkan countries lie at the center, we cannot forget the travel logs and the snapshotsof the Ameican photographers from Magnum Photo, or the great humanist tradition of the 1960’s thatreconnect with the Grand Tour. Two exhibitions, “Magnum Mediterranean: the American perspective” and“European House of Photography (MEP) / Mediterranean 1960” bring to attention of the wider public theiconic pictures of the most famous of them: Henri Cartier-Bresson, William Klein, Elliott Erwitt, LeonardFreed, Bruce Davidson…Finally, a selection of recent videos, as well as an original production by Christina Thoux, presented by theassociation L’art prend l’air, will accompany this Mostra celebrating the still image. The workshops led byLaurence Leblanc, Pierre-Anthony Allard, Anna Cabrera and Angel Albarran will further enrich this firstfestival dedicated to Mediterranean photography.Jean-Luc MonterossoArtistic Director of Photomed


The guest country: TURKEYIn the footsteps of Michel PashaTo pay a tribute to both the host and the guest, Photomed has dedicated an exhibition / walk to Michel Pasha, anengineer and businessman born in Sanary, who received honorable recognition from the Ottoman Empire for hiswork on maritime signaling that followed the coastline of a vast, but at that time, receding territory. Signed in 1885,under the reign of Abdulmecit I, the concession contract concerning the Ottoman Lighthouse Authority continuedafter the death of Michel Pasha in 1907, despite diplomatic conflict and the fall of the empire.Hanging from ten structures supported on three wooden, triangular posts, and extending the entire length of theport, the exhibition takes as its starting point the environment surrounding this famous character in order to explaincertain aspects of Turkish history from the 19th century to the present. Conceived in a thematic way, each structurecontrasts an aging image and a contemporary photograph, and includes an additional text to fill in the details of thestory. Retrieved from the collection of Pierre de Gigord, who took an early interest in photographs from the OttomanEmpire, the images from the 19 th century are signed James Robertson, the brothers Abdullah, Alexander Svoboda,Sebah & Joaillier, and Guillaume Berggren. A contemporary response to these collected artifacts are the works of AliTaptik, whose works sketch a visual autobiography that permanently questions the world and the medium. From thisinformative and aesthetic parallel appear the alternating contrasts and similarities of two eras separated by more thana century of changes for the region and in photography itself. Through politics, architecture, landscapes, people, andanecdotes, this exhibition tells the story of photography, as much as it does the tale of a man and a country.© collection Pierre de Gigord© Ali Taptik - from the series «Nothing Surprising»(2009-work in progress)Istanbul, my love.The crossing perspectives of Ara Guler and Bruno BarbeyBorn in Istanbul in 1928 into an Armenian family, Ara Guler has taken pictures in many places around the world (Iran,Kazakhstan, India, Kenya, Borneo). Given the nickname the “eye of Istanbul”, he has documented both his country,looking especially great depth his home city of Istanbul. Exhibited around the world, he has published around 30books. In 1999, he was recognized in Turkey as the photographer of the century.For 40 years, Bruno Barbey has enchanted the world with his sensitive images full of subtle humanism. His series incolor of Istanbul is a reponse to the black and white works of his friend, Ara Guler.


Emerging photography from Turkey, variationsFor its first edition, Photomed strives to reflect the diversity of the region in terms of creativity. This festival is,essentially, an investigation into the multiplicity of interpretations found in the photography. In this sense, photographycan sometimes be a vector of emotions, and at other times a tool for denunciation. A universal medium thanks toits democratic essence and technique, photography is a reflection both of a culture and also the personality of theartist. And this is precisely what this exhibition, featuring 10 photographers from Turkey, wants to reveal through aselection of various works displayed in different ways. Large format pieces will be hung beside miniature images; somepieces will stand on their own; while others will be shown in series in 20; and still others will be printed on glossy andsimple paper. All of these will contribute in underlining the overall approach of the artist. A diversity that we followthrough intentions of each photographer and which gives offers a wide definition of photography. The work of KursatBayhan that looks at the recent bloody election in Iraq in 2007 introduces the personal documentary of Selim Sume,an intimate journey into the strongly censored topics of conscription and military service. A catharsis as much asa critique, this classical series in black and white stands beside Osman Bozkurt’s work on the elections in Turkey in2002. Shocked by the sight of so many voters with pointer fingers tipped with purple paint, Bozkurt’s camera showsa way of stopping fraud with an irony in his handling of the overall aesthetic: the series consists of packshots of fingerswithout their owners, but which is called “Portraits of the Voters”. An attempt to define photography is also exploredby Pinar Yolacan in her two series “Maria” and “Perishables”. In these series, she shows black or white portraits againsta background of the same color, depicting women who have dressed themselves in pieces of meat, thus reflectingtheir complex condition. This methodology evokes the typology of Sevim Sancaktar who plays on 2-dimensionality ofthe photographic medium in her gathering of trompe-l’oeil images painted on electrical transformers in Istanbul. Thisapproach to photography is an introduction to the attempt of Ali Taptik to classify the urban flora, between life andsurvival, disturbed by urbanization. This is also what Serkan Taycan ponders from the point of view of the individualin the second volume of his critical work on the theme of migration and focused on the peripheries of cities. Themodernity and its paradox are also the subjects of Ozant Kamaci’s series Pauses, in which he combines in a surprisingway technique and nature by shooting the precise time when a plane is completely hidden behind a tree, questioningat the same time their respective strengths. This historical notion of the “decisive instant” – which ushers in the closeof the exhibition – receives scrutiny in the black and white works of Yusuf Sevincli, which examine everyday lifesuspended in time.Laurence CornetPhotographs from: Kursat Bayhan, Osman Bozkurt, Ozant Kamaci, Sevim Sancaktar, Yusuf Sevincli, Selim Süme, Ali Taptik,Serkan Taycan, Pi nar Yolacan© Ozant Kamaci / Elipsis Gallery© Selim Sume


Guest of honor: MARTIN PARRBorn in 1952 in Epsom (UK), Martin Parr studied photography atManchester Polytechnic. A photographer from the agency MagnumPhotos, and represented by the gallery Kamel Mennour, he points acritical eye at the contemporary society, especially on themes relatedto the phenomena of mass consumption, social mores, food habits, andtourism… he describes with precision the stereotypes of human behaviorand the kitsch aspects of the middle cass environment.The work presented at the festival is an extract from the series “Playas”.These are photographs shot between 2006-07 in Benidorm, the firsttourism center on Spain’s Mediterranean coast. In his brightly coloredworks, we discover the typically acerbic humor of Martin Parr thatdenounces the absurdity of mass tourism. In showing us the ridiculousattitudes and styles of resort life, Parr reveals his biting criticism of theleisure time civilization and the vacuousness of so-called free time.Spain. Benidorm. 1997 © Martin Parr / Magnum Photos


MAGNUM MEDTIERRANEAN:An American PerspectiveThe Magnum agency, founded in 1947, continuesto be the main point of reference for documentaryphotography. In the words of Cartier-Bresson,“Magnum is a community of ideas that celebrateshared human qualities, a curiosity for all things inthe world, and also a respect for this world and adesire to interpret it visually.”In presenting the great cities of the world – London,Paris, Tokyo, New York – Magnum functions asa cooperative. In selecting images about theMediterranean from the Magnum collection,the exhibition privileges another point of view,one more distant and which takes the form of atravelogue, combining the impressions of someof the most prestigious American photographers:Elliott Erwitt, David Alan Harvey, Richard Kalvar,Alex Webb, Jim Goldberg, Leonard Freed, SusanMeiselas, Dennis Stock, and Bruce Davidson.Boy diving into the water at the playa de la Caleta Beach© Richard Kalvar / Magnum PhotosEUROPEAN HOUSEOF PHOTOGRAPHY (MEP) /MEDITERRANEAN 1960:From Henri Cartier-Bresson to William KleinIf the years between 1955 – 1960 in the history ofphotography represent a significant break, the timewhen a few photographers, like William Klein or RobertFrank, delivered photography from the modern to thecontemporary, most of them stay faithful to the “decisiveinstant” inspired by Cartier-Bresson.For the occasion of this exhibition, the most emblematicfigures of this tradition have been chosen from thecollection of the European House of Photography.From Boubat to Izis, and passing through Sabine Weiss,Berengo Gardin, and Jean-Philippe Charbonnier – eachof these photographers shows in his or her own way thetheme of the Mediterranean, all or part of the “GrandTour” made during the 19 th century by their famouspredecessors.Jean-Philippe Charbonnier. The woman with black and white shoes,Turkey, 1951 © Christine VaissiéCollection Maison Européenne de la Photographie, Paris


ON THE S HORES OF THE ADRIATICThe Marubi (Albania), Manca Juvan (Slovénia), Dusko Miljanic(Montenegro), Stratos Kalafatis (Greece)The MarubiA dynasty of Albanian photographersKolë Shiroka, painter© G. Marubi, 1928The first of its kind in Albania, the Marubi photographystudio was established in 1858 by Pietro Marubi, an Italianforced into exile as a result of his political activities. Forhis entire life, Marubi photographed his adopted country.Upon his death in 1905, Pietro’s adopted son Kel took overthe studio, who was later followed by Gegë Marubi, thethird in the same line of Marubis. During the 1970’s, GegeMarubi donated his entire family collection of photographs– one the largest and most important in the Balkans – tothe state of Albania.The entire Marubi family archive is comprised of 100,000negatives, the vast majority of them in the form of glassplates. The overall collection is unique as much for itsquality as for its quantity and longevity. Through theseimages, we discover Albania from the years 1858 through1950. Farmers, soldiers, clan chieftains, veiled women…these portraits capture, as the novelist Ismail Kadare wrote,“a profound and rebellious Albania”.Manca JuvanU-nordinary lives:Afghanistan 2003 - 2009Afghanistan 2003-2009 © Manca JuvanRecognized many times by the Assoction of SlovenianJournalists for her work in Afghanistan, Manca Juvan offersus a testimony of the poor people in Afghanistan andshows us lives that have been devastated by more than 30years of conflict.In telling us the remarkable stories of ordinary Afghans,she reminds us of the difficult reality of the war. MancaJuvan has reported from Iran, Serbia, Nepal, Cambodia, andThailand, and been published in The Guardian, The Times,the Frankfurter Allgemeine Zeitung, among others. MancaJuvan lives in Iran.


Dusko MiljanicPort d’Otros 2010 © Dusko MiljanicDusko Miljanic was born in Montenegro in 1975.His photographs exhibited at Photomed were taken inJanuary 2009 in the small village of Otros, Montenegro.Miljanic was invited by the local fishermen to documentan event that happens only once at the beginning of eachyear, and each time taking place in a different locationdepending on the spawning grounds of the fish. This is atraditional kind of fishing overseen by the local authoritieswho each year choose which villagers can participate.Dusko Miljanic is a member of the photo club Podgorica, andin 2006-2007, started the photography fair in Podgorica.He has participated in more than 60 exhibitions, and hasorganized many workshops. In a recent show in Strasbourg,he exhibited a collection of portraits of Romani people.Stratos KalafatisMount AthosMount Athos, 2009 © Stratos KalafatisMount Athos is an independent monastic entity. The firstmonks settled there sometime before the 9 th century.Today, more than 2000 monks (from Russia, Bulgaria,Serbia, and Romania) have taken up residence there.Stratos Kalafatis made his first visit in the 1970’s, the yearscoinciding with a long period of decline, but since then,there have been many changes. The monasteries havebecome large communities whose governance is seen toby well-educated monks coming from around the world.Today, thousands of visitors have descended upon themonastery looking for new forms of spirituality, or simplyfor its exoticism. As Stratos Kalafatis has written, “Mt.Athos is a difficult place to photograph because it needs agreat of deal time to reveal itself…This has been a year offrequent visits to Mt. Athos, with the goal being to realize myvision of what is changing there and what is staying intact…Specifically, I capture these closed communities of men whomust confront their frequent proximity to the curious visitorswho try to approach them.”Stratos Kalafatis was born in Kavala (Greece) in 1966. Hestudied photography at the Art Institute of Philadelphiafrom 1991 – 1993. Between 1992 and 1997, he organizedthe photography community of Thessaloinki and servedon the artistic committee of the Museum of Photographyin Thessaloniki from 1994 – 1997. Nowadays, he is afreelance photographer and photography teacher. He isrepresented by Agra Publications, and by two galleries,Athens and Kalfayan.


MEDITERRANEAN PHOTOGRAPHERSMelisa Önel (Turkey), Carolle Benitah (Morocco), Or nela Vorpsi(Albania)Investigations into the theme of memory link these three female photographers,who, in their own unique ways try to exorcise the ghosts of the past.Melisa ÖnelIn her series “Clouds of a Different Time”, Melisa Önelapproaches in a metaphorical way the notion of traces.She locates the clues of a receding life, one that peoplehave been forced to abandon for political, economicand other reasons, and veils these artifacts in a shroudof death. As a representation of individual memory, thiswhite diaphanous sheet brings into focus the remains of aprevious life. Family photographs, decorative ornaments,daily accessories… A poetic series on the importance ofmemory.Carolle BenitahThe disguise, 2009 © Carolle Benitahrepresented by Galerie 127 in MarrakechFrom the series «Clouds from a different time»© Melisa ÖnelCarolle Benitah reflects on her own past by lookingthrough the prism of both her past and present lives. “Firstof all, I begin to search. As an archaeologist, I excavate thefamily albums and the shoeboxes full of photographs forimages of myself. I choose the snapshots that are linkedto memory and loss. I classify the photographs, put themin order, digitalize them, crop them if need be, then I printthem. Once everything is done, the work of interpretationbegins. I look back on my own history retrospectivelyfrom a distance of sometimes more than 30 years, andinterrogate the lived experiences that affect my perceptionof the events. Unlike the remains of a temple from antiquity,an individual’s past is neither stable nor finished; it is, in fact,rebuilt by the present.Toward this aim, I use needleworks, like embroidery andbeading. Embroidery is an especially feminine activity. Longago, the woman who did embroidery was a symbol ofvirtue. The notion of waiting is also closely connected tothis activitiy. The women used to practice embroideryin anticipation of their husbands’s return home. Thereis nothing inherently subversive in this activity, but I amperverting it in the way I use it.I employ this decorative approach in order to reinterpretmy history and denounce what I’ve been through. Takentogether, I engage these two forms of handicraft as myweapons of meaning. With embroidery, the typical skill ofa well-educated housewife, I use it to denounce that whichI am supposed to be: a well-behaved girl, a good wife, anda loving mother.The pearls, chosen for their brilliance and fragility, andwhich serve to accentuate those decorative aspects, addto the sense of disorientation. I reintroduce these artisanaltechniques in my works in order to invoke my previouswork as a fashion designer. I use the written word as well. Itis the essential key to unlock the mystery. These sentences,as they are pronounced, perform an analytical purpose.This slow precision work is a metaphor for the detailedconstruction of both the self and the passage of time.”


Ornela VorpsiNothing obvious © Ornela VorpsiThrough portraits and self-portraits, Ornela Vorpsiattempts to awaken memories and create an intimateexperience for her models. “In most of her images, thewomen are alone in empty spaces that represent thenegotiation of interiority and exteriority, between memoryand substance. The models are not professionals; they aresimply friends of the photographer who are shown assymbols of a personal experience rather than objects ofstudy. In fact, there is nothing passive in this series of poses.The women are the protagonists of their own space and,despite their nudity, one does not look upon them asobjects of sexual desire. Even though these images conveya clear sensuality, their main function is to summon forthreminiscences of the past.” (Gianni Romano)Ornela Vorpsi, photographer, novelist, and video artist, livesin Paris.


CLAUDE NORIThe Journey of loveNude woman climbing. Stromboli 1989© Claude NoriClaude Nori is a Mediterranean photographer, par excellence. He’sgiven us many books, among them Vacances a l’Italienne (“ItalianHolidays”) and Stromboli. Stromboli is a voyage in photographs ofa journey more magical than real: “The first time I embarked forStromboli, he writes, I was overcome with an amazement like what achild feels when he opens the pages of a book containing his favoritecharacters and landscapes. My favorites came to me in black andwhite, captured in the fury of the volcano and the streams of lavathat poured from its mouth, and which were hiding the tumultuouslove of Rossellini and Bergman. Then, on my second journey, I tookthe hand of the woman I loved, and suddenly the island began to takeon its form.”Love is also the theme found in Vacances a l’Italienne, as seen on thebeaches where, one summer, girls and boys first meet in the sunshineof their youth and beauty.For the first edition of Photomed, Claude Nori has culled from amongthe images in these two books, first published in the 1980’s, to makeus realize again the fragility and modesty contained in those fleetingemotions from that “first time”.ALAIN KANTARJIANIn the footsteps of Henri Matisse in TangierRoom #35/II, 2004 © Alain KantarjianA photographer, video artist, and sculptor, Alain Kantarjian wasborn in Beirut in 1970. This exhibition is the result of a work bothdocumentary and poetic about the mythic Grand Hotel Villa deFrance i n Tangier.This building, constructed in the 19th century, has hosted manyfamous guests, among them Henri Matisse who, from the balcony ofroom #35, painted the Bay of Tangier.Abandoned for many years, today this hotel is undergoingrenovations.In his color photographs, Alain Kantarjian takes us on an unusual tripthrough a place that is still fully intact, though deserted. As Gustavede Staël writes in his preface, “La Villa was built 150 years ago asa diplomatic residence. It was an oasis where one could tame thesurroundings and access an unfamiliar civilization. La Villa, whose nameis indicative of France and her vision, became a popular destination fortravelers. Who could forget the bad weather of Tangier that forcedMatisee to stay in his room, and to paint from his window an entirelynew vision of the world?This one painting managed to capture the spirit of a country, thusensuring its future long after it fell into neglect. The views presented inthese works give witness to the typical cycle of destruction and rebirthof all things in life, and are a true representation of the universal.Nothing took place but the place,” wrote Mallarmé, “Stemming froma restless idle, they evoke a sad beauty permeated through with adiffuse light.”


ANGEL ALBARRAN & ANNA CABRERAThis is not a Mediterranean cityBarcelona © Angel Albarran & Anna CabreraBorn in 1969, these Barcelona residents have been practicingphotography since 1996.Very sensitive to various techniques of printing processes, they aremainly interested in platinum prints.Their works presented in Sanary, collected under the enigmatictitle “This is not a Mediterranean city”, constitute a reflection onthe contradictions of Barcelona: a city built on the shores of thesea but whose nature is fundamentally of the land. Nourished bythe best of the constructivist school, their gaze on the city is bothsensitive and without complacency. “Barcelona takes pride in beingan immense showcase for the droves of toursits who flock here.Having placed its bets on the tourist industry, Barcelona has, in recentyears, experienced the proliferation of budget airlines through thealienation toward the city felt by many of the local residents.This exhibition aims to show this duality, mixing two photographicpoints of view: on the one hand, platinum prints evoking thosehistorical parts of the city that make its residents proud, and onthe other, digital images revealing a vision of the city at once morerealistic and bitter. This could seem contrary to find beauty in theurban contradiction, but, as Robert Adams managed to show, wethink that it’s possible for praise and criticism to go hand in hand.PHILIPPE RAMETTEA Rational Exploration of the UnderseaTaken while holding his breath, the photographs of Philippe Rametteare a performance. Spectacularly, these images, based on initialsketches, were staged so that the photographer himself is the mainsubject in the works. Philippe Ramette humorously takes on severalroles and inverts the contents from irrational to reasonable.A video, presented alongside these photographs, shows us the entireprocess that went into immortalizing these moments.This exhibition is presented in collaboration with Galerie Xippas.Philippe Ramette, is a visual artist born in 1961 in Auxerre in I’Yonne,France. He lives and works in Paris.A rational exploration of the undersea: Contact(2006)© Philippe Ramette


NICOLAS HENRYAfter working for several years with Yann Arthus-Bertrand, Henryset off to travel the world in order to complete a personal workthat involved asking various local peoples to build small cabins, thenphotographing the people in front of their creations.In Sanary, he will present an interactive work set in these temporarycabins consisting of a series of 6-10 images of elderly people living inproximity to the different exhibition sites. These photographs will beprinted and exhibited on Galli square.As Nicolas Henry writes, “The cabin wil give birth to a ‘spectacle’which will include an interview with one of the elderly people fromSanary depicted in the photographs, and a public debate focused onthe followed themes:1) F amily: Transference, Sharing, Values2) Tradition: Religion, Stories, Local Culture3) Mediterranean Identity: Crossing identities and the “South”4) The Changing World: Consumption, Architecture, and therelationship with “the other”5) Nature: Sea, Changes in the Landscape, PollutionWoo Kwong Hou, Hong Kong (Cabins of ourGrandparents, 2005) © Nicolas HenryThe goal is to remind us of exceptional nature of the individual:“When an old person passes away, it’s the death of a library.”The debate uses issues related to identity as its starting point, and bydrawing on stories taken from family, village, and professional lives, itmoves the focus of the conversation from an individual’s experiencethe universal one shared by all.The photos wil be printed each night and added the following day tothe “Cabins of Our Grandparents” exhibition in Galli square.


PIERRE-ANTHONY ALLARDThe Italian walkBorn in Chicago, the lighting designer and photographer Pierre-Anthony Allard gave new life to Harcourt Studio. Throughout hiscareer, he has kept himself close to those personalities who shapethe world: Nobel Prize winners, heads of state, singers, athletes, andcelebrities of all kinds.Pierre-Anthony Allard’s savoir faire as a director of photography incinema shines through in his interplay of natural and artificial light.In his use of artificial light, he excels at creating “dramatic,” theatrical,simple, and allegorical scenes. In Allard’s hand, any emotional effectis magnified. With the eye of a painter, covering the full range ofchiaroscuro, he arranges the light with striking subtlety.Messine © Pierre-Anthony AllardAllard says this about his exhibition presented at Photomed:“It is a testimony to the south of Italy – the region we encounter after weleave Naples behind us. A world in which the scenes and actions of lifelook like they do in the cinema. Streets where you’re allowed to shout andto laugh. The fantastic geniality of the people you come across. A bath ofcraziness and poetry. The nautral and daily creativity of a people poor intheir pockets but rich with the colors of life. A cinema paradiso!”CRISTIANA THOUXiMarseillePalais of Pharo © Cristiana ThouxNext May at the Domaines Bunan, Cristiana Thoux – with the supportof the L’artprendl’air association in Marseille – will debut her workabout Marseille and the surrounding region. Using the iPhone as hermeans of creation opens a new line of possibilities, both in termsof impressions and emotions…a mélange of spontaneity, movement,and high technology, from a novel and unusual perspective.Born in Aosta, Italy, Christina Thoux, who graduated from the Academyof Fine Arts in Florence with a doctorate in art history, was initiallyintroduced to photography by her father, Luigi. He first instilled in herthe passion, which, to this day, has never left her. It was in 2010 thatCristiana first started using an iPhone to shoot photos. “It is alwayswith me, in the street, in the subway, at parties. It’s discreet, no-onenotices it, and it allows me to work freely in capturing movementand expression.” Cristiana’s work, completed in New York and Paris,was recently exhibited in Paris. “I thought of the photographers whomade such amazing things simply by using a 35mm camera, and I’vealways admired them. To be a good photographer, you should havesomething you want to say, show that reality in a particular way, andsuccessfully convey the attending emotions.”In 2011, for the first festival of Mediterranean photography, Cristianagave herself a new task: Marseille and its surrounding region, themixture of the urban and the natural, a city of contrasts filled withmystery set between the sea and the rocky peaks. For this project,Thoux was offered a residency position by the L’artprendl’airassociation. Her photographs will be presented exclusively at thefestival. Through these photos, we will glimpse at the specificity ofher work with the iPhone. “The spontaneity of the iPhone, its hightechnology, the technical adjustments required for each pictures, allthis creates a unique alchemy. My photographs are changing all thetime. There is always a feeling of movement, even if the subject matteris static. An image both slightly deformed and full of vibrant colorsoffers a new way of seeing, while also adding layers of meaning. Whatis important is the atmosphere captured in an instant, the momentthat will never happen again, and that, after being shot, disappears likea cloud in the wind.”


WORKSHOPSAt the Maison du Cygne in Six-Fours-les-PlagesFESTIVAL CABINSVIDEOSPARTNERS “VILLAGE”...


WORKSHOPSAt the Maison du Cygne in Six-Fours-les-PlagesThe workshops are sessions dedicated to shooting, image processing, and printing, with each part lasting 2-3 days.These sessions are intended for accomplished photographers, both semi-professional and professionals. The anticipated listof instructors includes: Angel Albarran and Anna Cabrera, Laurence Leblanc, and Pierre-Anthony Allard.The Maison du Cygne is a remarkable exhibiton space. The visiting public will discover for themselves the works of theseinsturctors, whose photographs engage the themes that will be covered in the workshops.The workshop instructors:Laurence LeblancVisual Narration: Confronting oneself, discovering oneself / workshops : 30, 31 May, and 1 June 2011Photography is a mystery because it reveals the personality of the each individual.It’s never easy to define oneself, to develop one’s own language, or to be coherent.The goal of this training is to discover what is deep inside ourselves and what makes us each unique – these things shapeour photographic language.Keeping in mind the obsessions, weaknesses, and doubts of the participants, Laurence Leblanc will guide each of themindividually in a process of personalized dialogue.The point is not to stay on the surface of things, but rather to set in contrast one’s own choices, wishes, and vision with theworld we see around us – that which is given to us to see – so that we might uncover a new way of seeing, and in so doing,search out an aesthetic order as a basis for discerning meaning.The purpose of this exercise is to learn to make choices, to construct a narrative, to be conscious of one’s own sense ofexpression, and to feel what It means to conceive of an idea and the develop it into a finished work.Cuba, La Havana © Laurence Leblanc Somalia, Wajid © Laurence Leblanc Brasil, Bahia © Laurence LeblancAngel Albarran et Anna CabreraDigital negatives for analog processes / workshops : 2 - 3 June2011As a couple, Angel Albarran and Anna Cabrera work together asphotographers. They were born in Barcelona, and their exhibitionentitled “This is not a Mediterranean city” will be shown atPhotomed. For ten years, they have been working with “digital”negatives in a traditional dark room. They develop their ownprints, as well as interpret the works of other photographers.Angel worked as color specialist for HP. He combines his passionfor alternative printing processes with his work as a research anddevelopment engineer, and he developed “digital” negatives for thelarge-format HP printers. Last year, working in New York, alongisdeGabe Greenberg and Arkday Lvov, he produced the negatives fora new series of platinum prints by Elliott Erwitt. These negativescan be used in monochrome printing processes like platinum/palladium, but also color processes like dye-transfer or carbro..../...OriginalBlow up


.../...During this workshop, they will explore all the techniques and processes in the field of printing in order to gain the bestof both worlds, analog and digital: making negatives destined for the dark room, thanks to a solution provided by HP; andinterpret the works of other photographers. The participants in this session must have basic knowledge of Photoshop anddigital photography. They can bring a digital file to create their own final negative using the HP technology. The languagesspoken in this session will be English and Catalan, depending on where the participant comes from.Pierre-Anthony AllardMastery of lightning in photography / workshops : 4 - 5 June 2011The pedagogical goal for this training is to develop an expertise in handling natural and artificial light in photography, thusimproving the professional level of shooting. Formerly the artistic director of Studios Harcourt – to which he brought newlife – Pierre-Anthony Allard puts himself close to those personalities who shape the world: Nobel Prize winners, heads ofstate, singers, athletes, and celebrities of all kinds.The workshop will be separated into two parts, over the course of two days.The first will be theoretical, covering the functionality of all kinds of lights used in painting, cinema, and photography. Thissession will also explain: how to choose your material, how to regulate the levels of light for a shooting, the importance ofmakeup for a portrait, set photography, and analysis of photo masterworks.The second part will be practice oriented: doing applied exercises with a model, working on your own subject matter bothin a studio and in natural light, doing exercises using professional software, and engaging in one-on-one debriefing sessionsbetween participant and instructor.Marion Cotillard © Studio Harcourt by Pierre Anthony AllardFor registration and other information, please send an email to:stage@festivalphotomed.com


THE CABINS OF THE FESTIVALFor the sunset, the visitors will be able to watch the photoshoot of the “cabin” and its occupant for the evening, andengage in a dialogue on the topics of place memory and changes in the world through the eyes of elderly people.A video team will shoot a behind-the-scenes look at the festival, which will be made available on the Photomedwebsite.VIDEOSTHE PARTNERS “VILLAGE”The videos will be screened at the Maison Flotte in Sanary-surmer.The programming will be announced at a later time.Photo2011ExhibitionSites1.2.3.4.5.6.House of the festival / press meeting point:port of SananyPartners “village”: port of SanaryMaurice Fargues salon: Lauzet Ainé StreetMarie Mauron salon - Médiathèque in Sanary:Rober Schuman StreetMaison Flotte: Charles de Gaulle quayArtist’s studio: Lucien Guérard Street7.8.9.10.11.12.The port, from where you may embark forthe islands: Charles de Gaulle quayBarthélémy de Don Gallery: Barthélémy deDon StreetEspace Saint Nazaire: Joseph Courreau StreetPetit Galli: Raoul Henry StreetIn the front the Galli TheaterLe Patio: allée Estienne d’OrvesOther venues: the Maison du Cygne à Six-Fours-Les-Plages, the Paul Ricard salon for the environment on the islandof Embiez, the Mykonos and Patmos salon on the island of Bendor, and Les Domaines Bunan in Cadière d’Azur


AKNOWLEDGEMENTSWe would like to express our deepest gratitude to the Mayor of Sanary and his Cabinet Head, and thankas well the entire of team from the city for welcoming us so warmly; without their enthusiasm and support,this festival would not have been possible.We would also like to acknowledge the county of Var, and especially Mr Ricardo Vasquez, the Directorof Cultural Affairs, and also the region of PACA, represented by Mr Patrick Menucci, whose supportcontributed greatly to the success of the festival. We also would like to thank the Embassy of Turkey, thefeatured country honored at the festival, for their valued contributions, and we are pleased to be able toorganize an unexpected continuation of the Year of Turkey in France.We also want to thank the Deputy Mayor of the city of Six-Fours-Les-Plages who wanted to see his cityassociated with the festival. Along with the deputy mayor, we thank as well the Ricard family, who generouslymade available exhibition spaces on their islands, and enriched the festival experience by stretching itspresence beyond the Sanary city limits.We send our sincere thanks as well to the Brother company for their financial support, without which thefestival wouldn’t have taken place – and we extend that same debt of gratitude to all the official privatesector funders whose contributions are extremely precious.Philippe Heullant et Philippe SérénonInitiators of PhotomedPARTNERS (to this point)The town of Sanary-sur-MerThe Cultural Council of the Union for theMediterraneanThe town of Six-Fours-les PlagesBrotherFnacGares & ConnexionsDuponPaul Ricard IslandsDomaines BunanPacha Tours – Re v VacancesTurkish Board of TourismTurkish Airlinese-CenterCansonImages MagazineARTtrustLutetia Hotel


HOW TO REACH SANARYBy carIf you are coming from Paris, Lyon orMarseille, exit at Bandol or Toulon fromthe A7 highwayParking:Parking de l’EsplanadeParking des PicotièresParking ArnaldiBy trainStation: Toulon/MarseilleLocal stations: Bandol, Sanary sur Mer/OllioulesBy planeToulon/Hyères airportMarseille / Marignane airportLa Môle/ Saint Tropez airportNice Côte d’Azur airportQuestions & InformationTourisme Offi ce: +33 4 94 74 01 04Sanary City Hall: +33 4 94 32 97 00www.sanarysurmer.comPhoto2011www.festivalphotomed.comAll the exhibitions are free of chargePress Contact2 e B U R E A US Y L V I E G R U M B A C H1 8, RUE PORTEFOIN 75003 PARIST. 01 42 33 93 18/05 F. 01 40 26 43 53m a i l @ 2 e - b u r e a u . c o mw w w . 2 e - b u r e a u . c o mSanary-sur-Mer ContactSylvie Grumbach : sylvie.grumbach@2e-bureau.comCaroline Comte : c.comte@2e-bureau.comMartial Hobeniche : m.hobeniche@2e-bureau.comtel +33 (0)1 42 33 93 18Mairie Sanary-sur-MerEvelyne Meriadec : communication@sanarysurmer.comtel +33 4 94 32 97 37V2b


festivaldelaphotographieméditerranéennesanary sur merîles des embiez & de bendorsix fours les plagesPhotomed27MAI19JUIN2011SIX-FOURSVILLE deLES-PLAGES

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