{"id":4394,"date":"2025-12-30T16:47:45","date_gmt":"2025-12-30T15:47:45","guid":{"rendered":"https:\/\/www.cacp-villaperochon.com\/agenda\/photographers-in-residence-2022\/"},"modified":"2026-03-31T09:20:49","modified_gmt":"2026-03-31T07:20:49","slug":"photographers-in-residence-2022","status":"publish","type":"agenda","link":"https:\/\/www.cacp-villaperochon.com\/en\/agenda\/photographers-in-residence-2022\/","title":{"rendered":"Photographers in Residence 2022"},"content":{"rendered":"\n
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Photographers in Residence<\/strong><\/h1><\/div>\n<\/div>\n\n\n\n
From 01 April
To 28 May<\/div>\n<\/div>\n<\/div><\/div>\n\n
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Rencontres de la jeune photographie internationale 2022<\/h2><\/div>\n\n\n\n

At the heart of the Rencontres de la jeune photographie internationale is a unique Artist Residency. In 2022, 7 photographers were welcomed and coached by Fran\u00e7ois Cheval.<\/p><\/div>\n\n\n\n

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See In Conversation with Fran\u00e7ois Cheval and the 2022 residents<\/div><\/a><\/div><\/div>\n<\/div><\/div>\n<\/div>\n\n\n\n
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Further information<\/h2><\/div>\n\n\n\n
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<\/path><\/svg><\/span>Exhibition from April 1 to May 28, 2022 at l’\u00celot Sauvage<\/span><\/div>\n\n\n\n
<\/path><\/svg><\/span>Tuesday to Saturday, 1:30 to 6:30 pm, closed on public holidays<\/span><\/div>\n\n\n\n
<\/path><\/svg><\/span>FREE ADMISSION<\/span><\/div>\n<\/div><\/div>\n<\/div><\/div>\n<\/div><\/div>\n\n
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Lucie Belarbi – This image is all we know what to do with<\/em><\/h2><\/div>\n\n\n\n

I questioned the cosmos to better understand what’s happening on earth.Speech is made of images. From one image to another that we can’t explain. Sometimes images we don’t know what to do with, images of violence and domination, suspended and heavy to bear, remain dormant for a long time. On the first morning of the Artist Residency, I watched the full moon set over the city of Niort. As the star came close to the horizon, its oversized size appeared in the sky. The lunar illusion is an optical effect that leaves scientists wondering how to interpret it. That day, a concentric circle insulated my films. The series is organized arbitrarily, in a double narrative based on two phenomena we can’t explain to ourselves: the collective inability to make our stories of violence emerge, and the illusion of the moon’s growing diameter as it approaches the horizon. In the form of a loop, without imposing an answer, the story questions our collective beliefs. On the one hand, a video and ten photographs reflect my experience and encounters during the residency; on the other, a sound montage of an exchange between three characters, interrupted by silences, deciphers the devices that enable victims of violence to make their words known. Hidden images, forgotten images, images that are impossible to reveal, that we don’t know what to do with. <\/p>\n<\/div>\n\n\n\n

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Lucie Belarbi website<\/a><\/p>\n<\/div>\n<\/div><\/div>\n\n

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Lisa De Boeck website<\/a><\/p>\n<\/div>\n\n\n\n

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Lisa De Boeck – The Dissidents<\/em><\/h2><\/div>\n\n\n\n

(Belgium)<\/p>\n\n\n\n

Just before I left for Niort, I noticed that the residency would take place during the French presidential elections. I immediately thought of working around this theme.During our first meeting with the public at l’\u00celot Sauvage, I said that I was looking for local people who would like to run in the presidential elections. The first part of the work consisted in meeting all the people who had expressed an interest, and spending time with them to discuss both personal and political issues. In this way, I could begin to imagine myself as the art director of the communications agency trying to understand and shape the societal desires and political views of my “clients”. I came up with images that look like election posters but refer very strongly to the official portraits of each of France’s previous presidents.The title of this work – Les Dissidents <\/em>– is a reference to a quote by Harold Pinter: “It’s so easy for propaganda to work and for dissent to be mocked”. But I fear that today it is even easier for dissidents to be ignored and therefore censored. <\/p>\n<\/div>\n<\/div><\/div>\n\n

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Cl\u00e9mence Elman – If I can make it here, I can make it anywhere, that’s what they say<\/em><\/h2><\/div>\n\n\n\n
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“Arrival at John F. Kennedy Airport. I was 17 the first and only time I went to New York. I’m glad to be back.” Empire State Of Mind<\/em>, Alicia Keys (2009).<\/p>\n<\/blockquote>\n\n\n\n

Starting from a naive and deliberate confusion between Niort and New York, I’m looking for traces of the American megalopolis. By mixing personal fantasies and collective clich\u00e9s about American culture, I anchor them in the Deux-S\u00e8vres region. The final project takes the form of an edition in which the text – a mixture of personal impressions and objective information found on Wikipedia – guides the visual form and dialogues with the images. As I weave links between the two territories, a narrative emerges that allows me to question the illustrative function of images and the interpretative potential of information, both visually and textually. <\/p>\n<\/div>\n\n\n\n

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Cl\u00e9mence Elman website<\/a><\/p>\n<\/div>\n<\/div><\/div>\n\n

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Julia Genet website<\/a><\/p>\n<\/div>\n\n\n\n

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Julia Genet<\/h2><\/div>\n\n\n\n

My latest series, Shubbiha Lahum <\/em>, questions our perception of reality through our senses as messengers of the outside world. With this body of work, I question our relative apprehension of reality by degrading the image’s legibility, obstructing the viewer’s vision. I came to the Artist Residency with the desire to take this approach further. This time, I’ve chosen to question our relationship with others through the face as a symbol of otherness. I wonder: do we ever meet? Is it possible to apprehend the other without prejudice, without projecting our own desires and limitations, without applying the filter of our own experiences to the other? To try to grasp this “non-encounter”, I draw on the ideas of Jacques Lacan and Emmanuel Levinas. In addition to photography, which I see as material, I work in a variety of media, mixing pictorial practices. I play with the transparency of supports, their reflection, but also the opacity of pastel or the oxidation of silver leaf.Here, a blurred face is only visible through a self-portrait that hinders its reading. Here, a portrait is placed under a pane of glass on which the viewer’s reflection prevents full perception. This Artist Residency is an opportunity to open up a new line of questioning that I’d like to explore further. <\/p>\n<\/div>\n<\/div><\/div>\n\n

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Erdiola Mustafaj – Life is beautiful and so much the better<\/em><\/h2><\/div>\n\n\n\n

(Italy)<\/p>\n\n\n\n

April1st<\/sup>, the start of my research.Few cars, and shops closed along the road. Only half an hour from the border, and eighty years later, I cross over into Greece.In the effort to return to a place or an idea.Filiat\u00e8s, these are the memories of my ancestors.The gentle line of the mountains to the left accompanies me, while in my head I hear the oriental symphoniesthat my grandfather used to play for me on his Zamar\u00e8. Only five kilometers to go.Stop right there!The poplar-studded valley in the distance catches my eye,The sky darkens.I’m in the middle of the road while the rain rubs my face, a distant energy shakes me.The mountains anticipate by spreading the sound,I tremble.A bolt of lightning falls in front of me on the wet black asphalt.A metallic smell, electric shock,the car won’t start.Behind the curve appears a man in an orange raincoat, who doesn’t turn around and continues on his way.So began my journey.I looked for the same in Niort,a point of contact between interrupted, liquefied landscapes, which open up to the search for differences.Instead of remaining uniform.<\/p>\n<\/div>\n\n\n\n

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Erdiola Mustafaj website<\/a><\/p>\n<\/div>\n<\/div><\/div>\n\n

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Jos\u00e9phine Vall\u00e9 Franceschi website<\/a><\/p>\n<\/div>\n\n\n\n

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Jos\u00e9phine Vall\u00e9 Franceschi – Mana, Margaux, Alma, Jos\u00e9phine and the others<\/em><\/h2><\/div>\n\n\n\n

At the beginning of 2022, I learn that I will be an Artist Residency at the Rencontres de la jeune photographie internationale in Niort. Talking to my grandmother Mana, with whom I have a special bond, I realize that Niort is close to her father’s original village, Champdeniers. Working on the superimposition of images and timelessness, I set out on a quest to link the past, the present and undoubtedly the future.Arriving in Niort, I set off for Champdeniers. I have with me a few photographs of the house where my grandmother used to return in the summers. I soon found the house again, thanks to the Art Nouveau gate that my great-great-grandfather Louis Bourdet had designed. The gate was a gateway to my project here, my family and our color palettes. Like us, Mana belongs to a family of four sisters whose mother Josephine seems to be free, independent and whimsical. War broke out in September 1939, and three of the sisters managed to catch the last boat ride with their mother Jos\u00e9phine to Morocco, where they enjoyed a light, easy and sunny life. While the eldest, Jeanine, stayed with her paternal grandmother in Champdeniers, in the house on rue des Hivers with its Art Nouveau portal.I wanted to bring all these women together through the timelessness of the places and landscapes gathered in the region, and by inventing a correspondence, a blend of what might be called a Deux-S\u00e8vres Morocco. I also gathered these portraits of women from different eras around a video entitled “La plage” (the beach), made from super-8 archive footage, always ensuring a loss of temporality and confusion of identities for these women who look so much alike. <\/p>\n<\/div>\n<\/div><\/div>\n\n

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Ali Zanjani – Memorial n\u00b01<\/em><\/h2><\/div>\n\n\n\n

(Iran)<\/p>\n\n\n\n

This archive of studio photographs taken over a period of thirty years, from 1975 to 2005, belonged to Mr. Arbab’s small, busy studio in downtown Tehran. After his death, everything in the studio, including the archive, was sold to photographic equipment dealers in Tehran’s bazaar.Arbab’s archive consists of 26,691 black-and-white negatives and 120 color negatives arranged in wooden drawers in groups of 500. Photographs dating back to pre-revolutionary Iran must certainly have been archived, before being destroyed during the Revolution.In 2015, I was looking for my usual 16mm films when I discovered this archive in a dingy, damp storeroom. It took the Ag Galerie Lab staff two years to digitize these negatives, and finally in 2017, I began my research into this archive.So far, I’ve created several different groups of images: ID photos for driver’s licenses and military service, children’s birthdays, schoolgirls wearing their first Islamic headdresses and hijabs, family passport photos, American green card lottery photos, and even photos taken by brides for their absent husbands.So far, I’ve exhibited a series extracted from this archive in the series entitled Military Makeup <\/em>in 2019 at Ag Galerie <\/em>and consisting of eleven images of soldiers. They didn’t want to cut their hair for their military service ID cards and asked the photographer to conceal their hair using retouching techniques with a red marker. This process has the same effect as a red filter used in printing black and white photogra- phies.The issue of hair is an important one in this archive, which also includes over ten thousand photographs of women and girls wearing the hijab. Interestingly, despite Iran’s strict hijab laws, many of these women dared to break the law and have their photos taken without covering their hair.These photographs reminded me of my wife’s passport and the contradiction it contained: she had to present an entirely Islamic photo of herself for the passport agency, but for the Schengen visa, she had to provide a photo without the hijab. Throughout the modern history of this region, and in some European countries, the issue of the hijab – both its application and its prohibition – has been the cause of conflict and unrest. The question arises: why do governments think they have the right to impose or ban a particular garment on women when they claim to respect women’s rights? <\/p>\n<\/div>\n\n\n\n

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Ali Zanjani’s Instagram account<\/a><\/p>\n<\/div>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

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