{"id":4412,"date":"2025-12-30T15:20:15","date_gmt":"2025-12-30T14:20:15","guid":{"rendered":"https:\/\/www.cacp-villaperochon.com\/agenda\/photographers-in-residence-2023\/"},"modified":"2026-03-31T09:20:49","modified_gmt":"2026-03-31T07:20:49","slug":"photographers-in-residence-2023","status":"publish","type":"agenda","link":"https:\/\/www.cacp-villaperochon.com\/en\/agenda\/photographers-in-residence-2023\/","title":{"rendered":"Photographers in Residence 2023"},"content":{"rendered":"\n
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Photographers in Residence<\/strong><\/h1><\/div>\n<\/div>\n\n\n\n
From 05 April
To 25 May<\/div>\n<\/div>\n<\/div><\/div>\n\n
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Rencontres de la jeune photographie internationale 2023<\/h2><\/div>\n\n\n\n

At the heart of the Rencontres de la jeune photographie internationale is a unique Artist Residency. Eight emerging French and international photographers are invited to Niort for a creative residency. Accompanied by JoanFontcuberta<\/a>, they have carte blanche to experiment and compare their practices over a two-week period. <\/p><\/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 March 25 to May 27, 2023 at the M\u00e9diath\u00e8que Pierre-Moinot<\/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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Romy Aliz\u00e9e – I’m incapable of doing anything<\/em><\/h2><\/div>\n\n\n\n

A pair of slightly faded white boxer shorts, her toothbrush, an old perfumed t-shirt, her mirror, the keys to her house… I brought it all back. Or almost everything. I said goodbye, my love, and didn’t look back. Looking back is already hurting yourself. And because I want to be well, I didn’t hesitate, got into the elevator and was out the door in two minutes. I usually go up to his floor, knock, enter (often in tears) and kiss him again. But on March 30, I decided that no, really, we’d both better avoid this. When I packed my suitcase at home, I realized that half of it was filled with all her things. So I took an extra big bag, and then another smaller one. If I didn’t have this fear of missing (her), I would have traveled light. With a light heart and a light suitcase. In Niort, when the sun finally came out, I hugged the gray T-shirt she’d left me, still scented with floral and orange notes (her scent, in fact). “A lesbian who celebrates her desire symbolizes the possibility of social change for all women,” says Joan Nestle in her book Fem<\/em>. Saying that, I quickly ask myself. Am I celebrating my lesbian desire by doing this? How can I be sure I’m not just a tiny bit manic? Emotionally dependent? Extreme? Maybe it’s only pleasing me after all, and not her… I’m even sure of it, in fact, right now I’m absolutely convinced that she won’t appreciate it, that she won’t understand. But hey, we have to do the things that make us feel good, otherwise, what’s the point? Still in Niort, I interviewed lots of people, photographed them and was reassured. Obviously, there are plenty of others for whom love must be a thousand times stronger. Being separated? Not really. Writing passionate notes to each other in notebooks for years? You bet. My girlfriend says she can live without me, because the prospect of meeting up again on April 17 is more than enough to appease her. Yes, she says that, but on April 7, by sms, it was something else. “Finally you’re so busy, you’ll never miss me”, she wrote. I replied: “Yes, yes, I do miss you, but as you’re at the center of my creative project, it’s a bit more complex than usual. First of all, I’m not bored. The days are rich and long. We take photos, work in the lab, talk, have a snack and bim, it’s already time for bed. Hell, we don’t even have time to jerk off, I added. But the real reason is that all the objects I’ve brought with me have a real, magical power: it’s as if I were with her all the time. Besides, I think lack really comes with boredom. <\/p>\n<\/div>\n\n\n\n

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Romy Aliz\u00e9e website<\/a><\/p>\n<\/div>\n<\/div><\/div>\n\n

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MD Fazla Rabbi Fatiq website<\/a><\/p>\n<\/div>\n\n\n\n

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MD Fazla Rabbi Fatiq – Untitled<\/em><\/h2><\/div>\n\n\n\n

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

It was the first time I’d been so far away from home. It was very difficult for me to communicate with people here because of the language barrier. Nobody understood me and I understood nobody. But one thing was remarkable about the town of Niort and the surrounding countryside: almost every house seemed to have a dog. There was a wide variety of dogs that I had never seen before. There were all kinds of dogs of mixed breeds. The first day I went out alone, four different dogs chased me in several places. Maybe these dogs aren’t used to seeing too many people. I nearly tired myself out that day, running away from the pursuing dogs. Over the next few days, I went on aimless excursions in and out of town, sometimes on foot, sometimes by car. I saw different kinds of animals, tried to get close to them and realized that it was easier to interact with animals than with humans here.I saw animals used for circuses, others for security, sometimes on farms, and others in sanctuaries. I started taking photos and observing their expressions and activities. Over time, I learned to better understand the animals’ characteristic behavior. <\/p>\n<\/div>\n<\/div><\/div>\n\n

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Victor Gamarra – Aleatoriedad de la deriva<\/em><\/h2><\/div>\n\n\n\n

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

Drifting can be an act of discovering chance. There’s no escaping the whims of chance. I began this project by drifting, indulging in what seemed to be an aesthetic search for paradoxes, metaphors and contradictions among Niort’s landscapes. Without a map or set plan, I wandered through squares, streets, corners and urban spaces to surprise myself with the unexpected. As the days went by, I dug deeper into the visible and ended up exploring, unwittingly, my own emotions.Rainy days and sunny days.I was surprised to be confronted, in such a small space, by a father carrying his daughter on his bicycle and, a few hours later, by the eerie sound of crows and church bells as the rain fell.The same photographic drift eventually confronts me with myself: it makes me aware of contradictory emotions. Being aware is akin to being sensitive and formal, so it’s no longer a question of drift, but of a contradiction with chance.The last photo I took was of a deck of Italian cards. A surprise poem that rewarded a trip to the local dump, where the cards in the deck staged their latest metaphor. Yet this was indeed a pre-planned trip. Perhaps another whim of possibilities. <\/p>\n<\/div>\n\n\n\n

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Victor Gamarra website<\/a><\/p>\n<\/div>\n<\/div><\/div>\n\n

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France-Lan L\u00ea Vu website<\/a><\/p>\n<\/div>\n\n\n\n

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France-Lan L\u00ea Vu – A stone went through the glass<\/em><\/h2><\/div>\n\n\n\n

At the bottom of his garden, Didier shows me his old stable. Upstairs, a window broke while he was mowing the lawn. He never repaired the accident, so I transformed the hole into a pinhole camera, to take photographs only through this opening. By blocking out the window and allowing light to pass only through this crack, the exterior landscape is projected onto the interior. In this dark, dusty space, I set up my laboratory and capture fragments of the garden directly on paper.From a simple breach, a multitude of photographic tests result, the fragility of the glass shining through in the images, evoking Andr\u00e9 Kert\u00e9sz’ s N\u00e9gatif sur verre bris\u00e9 <\/em>(1929). The series revisits the use of the camera obscura and invites us to take a journey through the first steps of photography. <\/p>\n<\/div>\n<\/div><\/div>\n\n

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Clo\u00e9 Azzopardi – Non technological devices<\/em><\/h2><\/div>\n\n\n\n

In this series, I have constructed a universe of futuristic objects: somewhere between rudimentary productions and science-fiction creations, these are composite tools made from natural elements gleaned from the Villa P\u00e9rochon’s surroundings, assembled in such a way as to mimic the technological artifices that populate our daily lives.With this series, I began to reflect on our imaginations and fantasies of the future: how can we make people see an alternative future in the face of our dreams of a hyper-artificialized and technologized world? Using fiction and games, I looked for other ways of imagining augmented lives, and wanted to create a kind of organic cyborg whose aim was to inscribe the body differently in our environment. In particular, I used the shift and poetic hijacking of artefacts symbolizing technical progress to question our relationship with the living and with the disappearance of the earthly “resources” used to build the components of our technological objects.I wanted to create new desires here, to generate images that could be resources for our imaginations. This is how virtual reality masks, satellite antennas, exo-skeletons and invented poetic artefacts whose use has yet to be imagined came together. <\/p>\n<\/div>\n\n\n\n

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Chlo\u00e9 Azzopardi website<\/a><\/p>\n<\/div>\n<\/div><\/div>\n\n

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Valia Russo website<\/a><\/p>\n<\/div>\n\n\n\n

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Valia Russo – Margin of error<\/em><\/h2><\/div>\n\n\n\n

During my stay in Niort, I accumulated 1,272 photographs. This intentional overproduction of images documents what architect Rem Koolhaas calls Junkspace 1: generic, undifferentiated, uniform and repetitive urban spaces, often created by globalization and rapid urbanization.Using this bank of images that I have built up, and with the help of Photoshop’s automatic tools and artificial intelligence, I have created hybrid and absurd compositions. Each image is composed of different elements intentionally introduced to produce errors in the final result. This can include variations in focus, overprinting, unexpected shadows, reflections or unwanted elements that reflect this fragmentation and information overload. Technical error is seen as both a creative and a destructive tool: the greater the margin of error, the less reliable the results, and the greater the likelihood that they will be far from reality.This work aims to explore how today’s environment, both physical and virtual, is a space cluttered with signs, symbols and images that often make no sense and conflict with one another. In L’art \u00e0 l’\u00e9tat gazeux2 (Art in a Gaseous State)2<\/em>, Yves Michaud observes this vaporization of art through our everyday spaces, in common, standardized places and consumer objects. Margin of error <\/em>proposes a reflection on the construction and hybridization of our environments, but also on the architecture of the image itself, its fluidity and instability. <\/p>\n<\/div>\n<\/div><\/div>\n\n

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Yehor Simakov – Eat me if you can<\/em><\/h2><\/div>\n\n\n\n

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

For a long time, I’d been wondering about how memory works, how it influences us, influences others, and in fact creates our whole identity. More specifically, what interested me was short-term memory, which seems much brighter and clearer, and which we can feel and experience more fully than long-term memory, which we still use a lot, but which we can’t feel in the same way as short-term memory. Each of us normally receives a certain amount of information through the senses of sight, smell, hearing and touch. Visual information is transmitted by the eyes and can be reproduced by photography. However, every photograph is itself limited by framing, the number of pixels, the size of the paper, etc., which means that visual information cannot be reproduced 100% as it was initially received by the eyes.To evoke a memory or show something I’ve seen to someone else, I use photography as a snapshot, the pure and simple way of capturing the things around us. What you see – you photograph what you photograph – is what you want to remember. The snapshot captures a moment, which is a very important element in both types of memory.The use of different colors underlines the difference between my understanding of long-term and short-term memory. Brightness, optimism and rawness at the same time are a formula for our short-term memory, because we still remember a lot of events that happened not so long ago, so we can still feel and remember precisely what we experienced, what we saw and what we memorized. The repetition of colors in the various images has its own symbolic meaning, and I leave it to the viewer to define and imagine what a given color actually means.The installation itself functions as an interactive element of the exhibition as a whole. The idea of tasting, eating and consuming memories may seem irrelevant and unrealistic, but the concept itself, the idea of receiving and experiencing someone else’s memories, is part of the process of distorting the image, which is equivalent to distorting memory, and consuming it, which is equivalent to receiving it, just as with any kind of drug. It’s also another way of sharing a memory we’ve experienced, not through words, but through visual effects that can occur when consuming an image or flashback. <\/p>\n<\/div>\n\n\n\n

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

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