CENTRE INTERNATIONAL
DU PHOTOJOURNALISME
The Centre International du Photojournalisme (CIP) present :
THE WORLD IN FRONT OF OUR EYES,
Cycle of exhibitions dedicated to the representation of violence,
from metaphor to frontality.
Couvent des Minimes - Perpignan
Winter hours: October 1 to May 31, 2023Open Tuesday to Sunday from 11:00 am to 5.30 pm
Summer hours: June 1 to September 30, 2023Open Tuesday to Sunday from 10:30 am to 6:30 pm
Please note that the CIP exhibitions at the Couvent des Minimes are closed:-
From May 23 to June 16, 2023 included
Series of diptychs composed of portraits of war reporters facing their most iconic or most personal images.
Abbas, Ameer Al Halbi, Ali Arkady, Lucas Barioulet, Patrick Baz, Yannis Behrakis, Guillaume Binet, Alexandra Boulat, Éric Bouvet, Alain Buu, Sandra Calligaro, Alvaro Canovas, Robert Capa, Patrick Chauvel, David Seymour, dit Chim, Rachel Cobb, Enrico Dagnino, William Daniels, Jérôme Delay, Françoise Demulder, Maxim Dondyuk, Corinne Dufka, Giles Duley, Thomas Dworzak, Edouard Elias, Corentin Fohlen, Stanley Greene, Thomas Haley, Ron Haviv, Guillaume Herbaut, Olivier Jobard, Jon Jones, Alain Keler, William Keo, Bulent Kilic, Gary Knight, Bénédicte Kurzen, Frédéric Lafargue, Catherine Leroy, Pascal Maitre, Evgeniy Maloletka, Aline Manoukian, Don McCullin, Steve McCurry, Aris Messinis, Christopher Morris, John G.Morris, Yan Morvan, James Nachtwey, José Nicolas, Anja Niedringhaus, Emmanuel Ortiz, Sergey Ponomarev, Noël Quidu, Patrick Robert, Chloé Sharrock, Joao Silva, Christine Spengler, Maggie Steber, Tom Stoddart, Gerda Taro, Pierre Terdjman, Goran Tomasevic, Nick Ut, Véronique de Viguerie, Alfred Yaghobzadeh, Raphaël Yaghobzadeh, Francesco Zizola.
With the series of diptychs entitled "What their eyes have seen..." Alizé Le Maoult pays tribute to war reporters, to witnesses of History, to those who bear witness to the upheavals of the world, often at the risk of their lives. In 1994, Alizé Le Maoult was in Bosnia to prepare the film "The Perfect Circle" by Bosnian filmmaker Ademir Kenović, which began shooting in December 1995 after the signing of the Dayton Agreement, which officially ended the conflict. The filming sites themselves, places of fighting between Serbs and Bosnians, near the Sarajevo airport, first involved mine clearance operations. Alizé Le Maoult lived on the famous "Sniper Alley" of Sarajevo. It was in the city under siege for more than three years that she met reporters, and in particular, a new generation of photojournalists, such as Rémy Ourdan, who were still numerous in covering what was the first war in Europe after the Second World War. From these encounters, Alizé Le Maoult was born with the desire to pay tribute to those who bear witness. Trained as a filmmaker, it was for her feature film project, whose main characters were reporters, that she naturally began to research war photographers and met Stanley Greene in New York and Patrick Chauvel in Paris. In April 2012, Patrick Chauvel and Rémy Ourdan are preparing their documentary "The Siege", recounting the siege of Sarajevo and decide to bring together, 20 years later, all those who had covered the siege, in the Bosnian capital. At the invitation of Patrick Chauvel to join the photojournalists in Sarajevo, at the Holiday Inn, the hotel where many of them were during the siege, Alizé Le Maoult has some restraint, she is not a reporter, nor even a journalist. "In front of my reserve", she tells us, Patrick Chauvel said to me: "you may not be a reporter but you know" and so, this "you know" was the starting point, because it acknowledged the legitimacy of my presence among these great photojournalists (...)". That year, the city of Sarajevo celebrated the 20th anniversary of the beginning of the war with a particular scenography: a huge red panel crossing the whole width of the main street of Sarajevo and, written in the center in white, the number 11,541, the number of deaths during the siege. Behind the panel, a stream of red plastic chairs stretches out; each chair symbolizes a dead person, and forms "like a stream of blood that crosses the city" comments Alizé Le Maoult. "On the day of the inauguration, we arrive with the reporters, and something physically grabs us all. We walk along the hundreds of chairs, and all of a sudden we arrive at the height of very small chairs, nearly 600 chairs, which symbolize the children who were killed. And there, the parents bring flowers, toys and stuffed animals that they put on the small red chairs. At this point, even the most seasoned reporters are overwhelmed with emotion. Everyone was trying to hold back tears, we were in a state of shock. Twenty years later. It all seemed unreal, absurd. Back at the Holliday Inn, I wanted to archive the uniqueness and paradox of this moment, so I asked the reporters to photograph them against the wall of the hotel with a Polaroid 180, and that's how the series of portraits "What their eyes have seen..." began. The first part "Generation Sarajevo" will be exhibited in 2014 at the Hotel Europe during the commemorations for the centenary of the First World War. "Then, in 2016, as part of the preparation of an exhibition in the permanent collections of the Museum of the Great War, in Meaux, with my curator, we wanted to put opposite each portrait an image taken by the photographers themselves. I asked them to choose a photo among all the conflicts they have covered that would represent "the war", because only they know what they have seen... I also wanted us to hear their voices to accompany the portrait and the image, so I asked them to give me personal words either about the war, their profession or about being a witness to history. It was important to be able to capture as intimately as possible their voice, the relationship these photographers have with the conflicts they cover, with their commitment. A. Le Maoult, interview with JL. Soret, 24 October 2022
Alizé Le Maoult has been immersed in photography since she was very young. Her passion was born with her father, a "talented amateur photographer", who transformed the family bathroom into a photo lab. At first, she was his favorite model, but at a very young age, she was recruited by the cinema to take her first steps in front of the camera. After studying cinema in New York, she collaborated with renowned directors such as Walter Salles, Balthazard Kormakur, Manuel Pradal, Jorge Navas or Elia Suleiman for the film "Divine Intervention" (Jury Prize in Cannes in 2002). The year 1995 is a key date. The cinema takes him to the war in Sarajevo for the filming of "The Perfect Circle" by Ademir Kenovic. This intense professional and emotional experience will later inspire her to create the first part of the series of portraits of war photographers "What their eyes have seen / Generation Sarajevo...". Alizé extended this original project to other war photographers and new generations. Her photographic work is a constant companion to her cinematographic trajectory around the world, she detaches herself from it, and tries to extract with photography the beauty and the poetry that surrounds us. The human being, the city, the nature are her recurring fields of exploration and without borders. From the portrait to the abstract, her visual universes are told in series: Reconciliation I & II (with Romain Léna), Pink Shanghai, Cuba Blues, White Washington, Serenity, Vibrations, Lighted Nights... Alizé Le Maoult has exhibited in Paris, Beirut, Sarajevo, Caen, Meaux and Verdun in galleries and fairs as well as in Museums and institutions. She has also exhibited alongside Yann Arthus-Bertrand, the series "Vegetal Sand" at the Galerie Mandarine (Paris) in 2018-2019, and "À ciel ouvert" at the Galerie Myriam Bouagal (Paris) in 2019.
JÉRÉMY LEMPIN, PHOTOGRAPHE Visa d’or Presse magazine Visa pour l’image Perpignan 2021 Istanbul Photo Awards Winner Story Daily Life 2021 World Press Photo Contemporary Issues 2021 Pictures of the Year International Award of Excellence 2021 Jérémy Lempin est fils d’un père ouvrier mécanique et d’une mère aidesoignante en réanimation. Pour marcher dans les pas de Robert Capa, il fait ses armes dans la Marine nationale en tant que photographe à bord du porte-avions Charles-de-Gaulle puis à l’Ecpad (Établissement de communication et de production audiovisuelle de la Défense). Il a toujours témoigné avec humanité des conditions de vie de l’équipage en mer que ce soit lors des opérations Agapanthe au large de l’Afghanistan et Harmattan près des côtes libyennes. À terre, il a participé notamment à l’opération Serval au Mali et l’opération Sangaris en République centrafricaine. Décoré pour sa bravoure au feu de la médaille militaire par le président de la république François Hollande, il a documenté pendant quatre ans les principaux combats menés par l’armée française. En 2016, il décide de poser sa casquette de sous-officier pour endosser pleinement le gilet de photojournaliste. Qu’il s’agisse de vivre le quotidien d’un pompier urgentiste, d’intégrer le groupe très fermé des ultras du Racing Club de Lens, ou l’intimité des légionnaires du prestigieux 2ème REP, Jérémy Lempin n’a de cesse d’« aller voir », de confronter les regards pour contrer les idées reçues. Il ne s’interdit aucun sujet au nom d’une curiosité qu’il place à la hauteur de sa passion pour le reportage. Sa méthode, le travail au long cours, qui s’apparente plus au documentaire photographique qu’au seul pris sur le vif. Ce travail de 4 ans « Aux Armes et Caetera » (2017/2021) sur les soldats français atteints de stress post traumatique en est une nouvelle preuve.
For the past fifteen years, Giles Duley has documented the long-term effects of conflict around the world through his photography and writing. His Legacy of War project explores the lasting impact of war on individuals and communities through the stories of those who live in the aftermath of war. What happens to countries and their people once a conflict is over? While most media focus on the short-term economic and political consequences of war, Duley's work focuses on the human and personal. He explores the local environment and daily lives of those affected by conflict and raises issues often overlooked by mainstream media and history. His work bypasses the dramatic dimension so often associated with war. You won't see images of tanks, guns, explosions in his work, but rather stories of the daily lives of those caught up in war (...) "Wars are not like people imagine. It's not constant action, like in movies and video games; rather, war is made up of long periods of monotony, punctuated by moments of extreme violence. It is these painfully long periods, when not much happens, that drain people's morale: the isolation, the suspended lives, the lack of work, the limited choices, the scarce food, and the persistent fear. Yet, remarkably, life goes on. You will hear laughter from the dark humor, attend weddings and birthdays, form close friendships, and feel what it is to be alive. It was in the intimate moments that I realized I am not a war photographer, but documenting love." Duley is Executive Director of the Legacy of War Foundation, a photographer, writer, chef and presenter, born in 1971 in London. His work focuses on the long-term humanitarian impact of conflict. Starting out as a music photographer, Duley has worked with artists such as Mariah Carey, Oasis and Lenny Kravitz for publications such as Q, Vogue, Sunday Times and Elle. In 2000, his image of Marilyn Manson was named one of the 100 greatest rock photographs of all time. In 2004, Duley turned to documentary work, partnering with respected charities such as HI (Humanity and Inclusion), EMERGENCY, Save the Children, and UNHCR (United Nations High Commissioner for Refugees) to highlight lesser-known stories that deserve public attention and action. Although he documents difficult, and sometimes horrific, situations, Giles captures the strength of those who fight adversity rather than succumb. His photographs draw the viewer into the subject, creating an intimacy and empathy for lives that differ from our own only in circumstance. His work has taken him to Iraq, Afghanistan, South Sudan, the Democratic Republic of Congo, Angola, Bangladesh, Kenya, Ukraine, Jordan, Lebanon, Colombia, Vietnam, and Nigeria, among other places. In 2015, he launched his Legacy of War project, which seeks to explore common themes of conflict. A key part of the project involves collaborations with other artists and writers to reach a wider audience. His collaborations include musicians Massive Attack and PJ Harvey. In 2011, while working in Afghanistan, Duley was severely injured by an IED. As a result of his injuries, he is a triple amputee. In 2012, he returned to Afghanistan to continue his work as a photographer. The NGO Legacy of War Foundation, which he founded and runs, is an international charity that helps communities and individuals rebuild their lives after conflict. Duley advocates for the rights of refugees and people with disabilities. As a presenter, he has produced two Unreported Worlds shows for the UK's Channel 4 television and produced and presented the six-part VICE television series, The One-Armed Chef, which aired in 2022. In 2017, the Sunday Times included him in its alternative rich list, for those who are "rich in experience, rich in spirit, rich in life....." In that list, anchorwoman Natasha Kaplinsky said of Duley, "Even catastrophic injuries haven't stopped him from doing what he feels he needs to do with his life." In 2019, he was awarded the Amnesty Media Award for Photojournalism. "Different photographers may use the same camera, the same light, or all choose the same frame. But what's different is the soul of the person behind the lens, and the moments they recognize and are drawn to - the emotional connection they make. That's what I love about Giles' photography. Looking at his images, we can feel what he feels. It's clear that he cares deeply about the human condition of people around the world. He has been through an ordeal himself. They say that adversity helps develop compassion, and Giles' art seems to reflect that." Angelina Jolie
