The Rencontres d’Arles: 5 must-see shows at the photography festival’s 50th edition
Highlights from the bumper extravaganza
The Rencontres d’Arles is celebrating its 50th anniversary, with shutterbugs and photography enthusiasts making the pilgrimage to the South of France to visit the annual event, which runs until 22 Sept.
Now in full swing, we picked out our five must-see shows from the bumper photography festival.
The Living, the Dead and Those at the Sea In Greek photographer Evangelia Kranioti’s work, on show at Chapelle Saint-Martin du Méjan, physical spaces embody the deep state of marginalisation which her human subjects undergo in their daily lives. These include sailors depicted in ‘Exotica, Erotica, Etc’, the queer scene of Rio de Janeiro, the maids trapped among the streets of Beirut: each of them project their vulnerability and emotions onto the spaces they find themselves in: moody cargo ports, derelict war ruins, the decadent backstage of a carnival, deserted highways. Photography: Evangelia KraniotiEvangelia Kranioti
The Living, the Dead and Those at the Sea In Greek photographer Evangelia Kranioti’s work, on show at Chapelle Saint-Martin du Méjan, physical spaces embody the deep state of marginalisation which her human subjects undergo in their daily lives. These include sailors depicted in ‘Exotica, Erotica, Etc’, the queer scene of Rio de Janeiro, the maids trapped among the streets of Beirut: each of them project their vulnerability and emotions onto the spaces they find themselves in: moody cargo ports, derelict war ruins, the decadent backstage of a carnival, deserted highways. Photography: Evangelia KraniotiEvangelia Kranioti
The Living, the Dead and Those at the Sea In Greek photographer Evangelia Kranioti’s work, on show at Chapelle Saint-Martin du Méjan, physical spaces embody the deep state of marginalisation which her human subjects undergo in their daily lives. These include sailors depicted in ‘Exotica, Erotica, Etc’, the queer scene of Rio de Janeiro, the maids trapped among the streets of Beirut: each of them project their vulnerability and emotions onto the spaces they find themselves in: moody cargo ports, derelict war ruins, the decadent backstage of a carnival, deserted highways. Photography: Evangelia KraniotiHelen Levitt: Observing New York’s Streets Set within Espace van Gogh, originally built in the 16th-century as Arles’ primary hospital, Observing New York’s Streets is an insightful collection of images from one of America’s most talented photographers. Levitt spent her life capturing scenes of daily life against one of the most dynamic urban backdrops of all time: the streets of the Big Apple. Pictured: New York, 1940. The Albertina Museum, Vienna. Permanent loan of the Austrian Ludwig Foundation for Art and Science Film Documents LLC/Courtesy Thomas Zander Gallery, CologneHelen Levitt: Observing New York’s Streets Set within Espace van Gogh, originally built in the 16th-century as Arles’ primary hospital, Observing New York’s Streets is an insightful collection of images from one of America’s most talented photographers. Levitt spent her life capturing scenes of daily life against one of the most dynamic urban backdrops of all time: the streets of the Big Apple. Pictured: New York, 1940. The Albertina Museum, Vienna. Permanent loan of the Austrian Ludwig Foundation for Art and Science Film Documents LLC/Courtesy Thomas Zander Gallery, CologneHelen Levitt: Observing New York’s Streets Set within Espace van Gogh, originally built in the 16th-century as Arles’ primary hospital, Observing New York’s Streets is an insightful collection of images from one of America’s most talented photographers. Levitt spent her life capturing scenes of daily life against one of the most dynamic urban backdrops of all time: the streets of the Big Apple. Pictured: New York, 1940. The Albertina Museum, Vienna. Permanent loan of the Austrian Ludwig Foundation for Art and Science Film Documents LLC/Courtesy Thomas Zander Gallery, CologneWalls of Power: Man-made barriers throughout Europe This group exhibition at Maison Des Lices uses the concept of space as a means to reflect on the most controversial topic of the 21st-century: immigration and the efforts being raised to contain it across Europe. The show, which includes photographs by the likes of Frankie Quinn, Olivia Arthur, Arnau Bach, Attila Balázs and István Bielik, delves into man-made barriers such as walls and fences. Pictured: ‘Roma Wall, Michalovce, Slovakia’, 2010. Attila BalazsWalls of Power: Man-made barriers throughout Europe This group exhibition at Maison Des Lices uses the concept of space as a means to reflect on the most controversial topic of the 21st-century: immigration and the efforts being raised to contain it across Europe. The show, which includes photographs by the likes of Frankie Quinn, Olivia Arthur, Arnau Bach, Attila Balázs and István Bielik, delves into man-made barriers such as walls and fences. Pictured: ‘The Fence of Gibraltar, British Overseas Territory of Gibraltar’, 2016. Arnau BackWalls of Power: Man-made barriers throughout Europe This group exhibition at Maison Des Lices uses the concept of space as a means to reflect on the most controversial topic of the 21st-century: immigration and the efforts being raised to contain it across Europe. The show, which includes photographs by the likes of Frankie Quinn, Olivia Arthur, Arnau Bach, Attila Balázs and István Bielik, delves into man-made barriers such as walls and fences. Pictured: Frankie Quinn, from the Peacelines I series, North Belfast, 1994 (c)Walls of Power: Man-made barriers throughout Europe This group exhibition at Maison Des Lices uses the concept of space as a means to reflect on the most controversial topic of the 21st-century: immigration and the efforts being raised to contain it across Europe. The show, which includes photographs by the likes of Frankie Quinn, Olivia Arthur, Arnau Bach, Attila Balázs and István Bielik, delves into man-made barriers such as walls and fences. Pictured: Sergi Cámara, ‘The Wall of Europe’, Spain, 2014.Home Sweet Home: 1970 – 2018: The British home, a political history One of Les Rencontres’ largest shows, Home Sweet Home brings together works by over 30 photographers exploring how the domestic space has changed and evolved in the last 50 years. The idea of the ‘British home’ serves as a starting point to investigate broader themes such as politics, society and pop culture across the late 20-21st centuries. Among the artists on display, are Martin Parr, Juno Calypso, John Paul Evans, Andy Sewell, Daniel Meadows and David Moore. Pictured: From the series Belgravia 1979 – 1981. Karen Knorr (c)Home Sweet Home: 1970 – 2018: The British home, a political history One of Les Rencontres’ largest shows, Home Sweet Home brings together works by over 30 photographers exploring how the domestic space has changed and evolved in the last 50 years. The idea of the ‘British home’ serves as a starting point to investigate broader themes such as politics, society and pop culture across the late 20-21st centuries. Among the artists on display, are Martin Parr, Juno Calypso, John Paul Evans, Andy Sewell, Daniel Meadows and David Moore. Pictured: ‘Subterranean Kitchen’, 2017. © Juno CalypsoHome Sweet Home: 1970 – 2018: The British home, a political history One of Les Rencontres’ largest shows, Home Sweet Home brings together works by over 30 photographers exploring how the domestic space has changed and evolved in the last 50 years. The idea of the ‘British home’ serves as a starting point to investigate broader themes such as politics, society and pop culture across the late 20-21st centuries. Among the artists on display, are Martin Parr, Juno Calypso, John Paul Evans, Andy Sewell, Daniel Meadows and David Moore. Pictured: Andy Sewell, ‘Untitled’, from the series Something like a Nest, 2014.1 of 16
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