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Giles Duley_Kintsugi

19 JANUARY - 30 JULY 2023

The Centre International du Photojournalisme (CIP) present :


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


What their eyes have seen...

Curator : Jean-Luc Monterosso, Jean-Luc Soret, Nicolas Petit.

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

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.

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.


Legacy Of War

Commissariat : Jean-Luc Monterosso, Jean-Luc Soret, Nicolas Petit.

Curator : Jean-Luc Soret

Photographer: Giles Duley / Video production: Lou Baron / Music: Dayan & Lekemar

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


Uganda, June 2020


Kintsugi is a Japanese process of repairing broken ceramics with gold lacquer. Kinsignifies golden. Tsugi means joint. Kintsugi is inspired by the Zen concept that when a ceramic piece is broken, whether it is a bowl or a precious dish, one should not try to make an invisible repair, as we do in the West, but, by joining the pieces, to emphasize the lines of the break, so that the beauty and strength of the cracks are emphasized. The precious gold veins running across the surface of the bowl are there to highlight the breaks that are an integral part of the history of the object, to be remembered and contemplated. To me, kintsugi represents resilience. The experiences we have had that have broken us, damaged us, hurt us, made us suffer, are the makeshift lines of our lives that must be repaired with gold. We should not be ashamed of them, nor should we hide them, but see them as the source of our strength and resilience. For many years I was ashamed of the war scars on my body, I hid them; but now I have accepted them and celebrate them as my personal kintsugi. So I was very touched when Toni Hollis, my dear friend, created these kintsugi from the photos and stories of two South Sudanese women. For Catarina Kade, 70, life in Southern Sudan had been good. Friends and family surrounded her, food was plentiful, and the roads and paths were smooth, so she could get around in a wheelchair. Then the war came to her village and the massacres of the population began. Her family helped her as best they could, but in their flight, Catarina had to abandon her wheelchair because the terrain was impassable. She had to be carried during the week-long exodus to the Omugo refugee camp in Uganda. Here in the camp, Catarina feels isolated. She would like to be able to chat with her neighbors, but she spends most of her days alone in the shade of her hut, because the rocky terrain prevents her from coming and going easily; she can't even go to the communal toilet. "When you're disabled, you can't ignore it, you have to deal with it," she explains, "but wouldn't it be possible to make the ground flatter so I could get around?" She misses the thou [desert date tree] in her village, in whose shade she used to chat with her friends. From the first words I exchanged with Deborah Nyuon, I knew I had met an extraordinary woman. She has been living in a camp for internally displaced people in South Sudan for five years, but she has lost none of her positive and infectious life force. She has a wicked sense of humor, a prodigious memory and a poetic voice. Seeing my wounds, she said with a smile: "You still have your eyes to see. You still have your ears to hear. And you still have your hand to write your words. So don't worry about what you've lost." Coming from a woman like her, who has suffered and lost so much, this is a life lesson for all of us. To refocus on what we have in our existence, and be grateful for it. How old is Deborah? "I stopped counting a long time ago," she replied, "Now only God knows!" She would like to fulfill one last dream before she dies: to return home and drink the milk of her childhood. "I miss the taste of home. When I see people carrying milk, I think of home. That's why we cry, to find our cows. If I could drink milk, I would know we have peace too." Deborah's and Catarina's lives are shattered, the breaks still visible. I hope with all my heart that one day their lives, like those of millions of other refugees, will be repaired. Then the war will no longer shatter their personal stories; they will be cemented with gold.

We are here because we are strong

Angola, December 2018

The story of Congolese refugees in Angola

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"Everything happened very quickly. I heard gunshots, very loud. My husband had gone to work. I didn't know what to think, everything was so confusing. I was terrified, so I ran away with nothing but my baby in my arms. When we ran off into the bush, it was as if my little girl knew that our lives depended on it, because she didn't cry once. I had no milk to give her, but she didn't cry." - a young Congolese woman upon her arrival at the UNHCR (United Nations High Commissioner for Refugees) reception center in Angola. In modern conflicts, women are often the ones who carry the heaviest burden. As wars no longer have front lines, civilian populations are increasingly targeted. Rape and sexual violence continue to be used as a weapon of war, and when forced to flee their homes, it is women who bear the responsibility for family cohesion and child-rearing. Violence against women has been particularly brutal during the recent clashes that began in March 2017 in the Kasai region of the Democratic Republic of Congo. A conflict that displaced some 1.4 million people in the DRC and exiled more than 34,000 people who sought refuge in Lunda North province in northeastern Angola. Refugees reported widespread violence, massacres, mutilation, burning of homes, destruction of villages, schools, and churches, human rights abuses, as well as food shortages and lack of access to basic needs. Specifically, refugees arriving in Angola reported the worst gender-based violence in the region, perpetrated by government forces and militias that deliberately targeted women. Medical staff hosting refugee families who crossed the border into neighboring Angola were shocked by the stories and health conditions of many women and girls. "The refugees were arriving in terrible condition, some with machete wounds, many starving, exhausted and traumatized." - Philippa Candler, UNHCR representative in Angola. Many of the Congolese refugees who arrived in Angola have been settled in a UNHCR camp in Lóvua. More than 9,000 Congolese are currently living in the camp, which can accommodate 30,000 people. In Lóvua, 75% of the Congolese refugees are women and children. With men often absent, dead or unable to work, it is the women who are trying to rebuild their shattered lives and provide for their families. "The victims are all those who could not escape and died in this atrocious conflict. The refugees are survivors. They have lost everything but their lives and their dignity. We [UNHCR] are there to help them get back on their feet and rebuild their lives. The refugee women embody this extraordinary strength more than anyone else: I am struck time and again by their ability to adapt, to cement their families together and to face adversity with a smile. Yet they are not made of steel, they are human beings, they are women with a big heart, strong women." - Margarida Loureiro, UNHCR External Relations Officer, Angola. On my first visit to Lóvua camp, I saw two women sitting in front of their tent and something immediately drew me to them. Rose (whom I would soon call Aunt Rose), her sister Mimi, and then Bernardette. We spent the whole day telling each other stories, laughing and eating together. By mutual agreement, we decided to make a series of portraits of these women, and only them, so that they would tell us their stories. When I came back the next day, it was like a party. Children and men were forbidden to attend; food was prepared, new batteries had been bought for the radio. We danced, ate and took pictures. Truth be told, it was the most memorable photo shoot of my life - and in many ways, like a celebration, a celebration of life. Resilience is an overused word, but thanks to Aunt Rose and Mimi, thanks to all the women I met later in the camp, I discovered its true meaning. The women I came to know and visit every day were full of life, joyful, and in spite of all they had endured, they radiated a deep strength in which their whole family was rooted. However, I am aware that resilience should not be idealized. By its very nature, resilience is a necessity born of suffering. It is not a virtue to aspire to, it is a path paved with trials and pain. While I admired the strength and resilience of the women I met, I could not help but be touched by the terrible violence they had witnessed and suffered along the way. For some, the memory of these experiences was still too present and too violent for them to cope with; this is reflected in their words and their eyes, in their portraits. These portraits express the strength of these women. But they are also a reminder of the appalling gender-based violence, rape and sexual abuse that women face in conflicts around the world. On the first day, sitting with Rose, Mimi and Bernardette, I asked them how they had endured all this and survived. "It's very simple," they replied, "we are here because we are strong."

The Friendship Salon 

Uganda, June 2020


"We have a saying here: 'It's a community that raises a child, not an individual'." When Sarah Aba talks about her old home, she recalls afternoons spent with her friends, breaks from work during which they braided each other's hair. "We used to laugh and give each other advice," she recalls wistfully. "Today, I don't know where they are. South Sudan, the world's newest country, was plagued by violence and instability long before its creation in 2011. Civil war broke out in 2013, with both opposing sides targeting civilian populations. This new conflict exacerbated the consequences of famine and led to the displacement of nearly four million people, half of whom sought refuge and safety in neighboring countries. Women and children represent nearly 80% of the displaced. They are particularly vulnerable. A massive population displacement that has led to the dislocation of villages and entire families. From birth, South Sudanese grow up and live in a close network of allegiances to family, extended family, village, clan and tribe. As a result, those who find themselves on their own, often for the first time, may have considerable difficulty forming new friendships within a group. In the new environment of a refugee camp, young mothers, in particular, are often isolated. This situation has led to an increase in suicides among young women. "All the people I know, I knew them from the moment I was born," Sarah tells me about the depression she suffered when she arrived alone in the Bidi Bidi refugee camp in Uganda. At home, most tasks, including raising children, are taken care of communally. But here, knowing no one around her, she found herself in trouble. "Loneliness is the biggest killer of South Sudanese refugees," noted a staff member of the United Nations High Commission for Refugees. That's why Sarah and seven other South Sudanese refugees decided to take action. Although they had no training in hairdressing, they opened a hair salon in the Bidi Bidi camp. Located in northern Uganda, not far from the town of Yumbe, Bidi Bidi is the second largest refugee camp in the world. Nearly a quarter of a million South Sudanese live there, the majority of them since 2016. It is actually a small town where many small businesses have been established with the support of the Ugandan government, UNHCR (United Nations High Commissioner for Refugees) and other humanitarian agencies. For the women who run it, this hair salon is much more than a business. Their original intention was to establish an association of single mothers, which keeps them busy and does not leave them time to think about past events alone. Most of them have lost family members, husbands and children. They also wanted to create a place where they could support each other and build their own families. "Women have a hard time talking about themselves and their lives," says Sarah, who is a bit of a mother to the group. "At the salon, when something is wrong, we can say it, we ask questions, we talk and together we find answers." Celina Amana, also a member of the cooperative, agrees: "When I came here with my baby, I was pregnant and my husband was gone. I was so lonely! But here, together, we console each other with our personal stories." However, these women also see their hair salon as a business; they are all committed to making it a success, and the little money it brings in allows them to provide for their children. "Why do you think we strive to look so beautiful? When a woman sees me, she might think, 'I want to look like her' and ask me where I got my hair done like that. So she will come here. We are like walking advertisements for the salon!" Some of the women have another reason to take care of their appearance. South Sudan has seen an increase in sexual violence in recent years. Women who often flee alone with their young children are regularly targeted by the various warring factions. Even in the camps, single women are still often victims of sexual and gender-based violence. "Many women here are afraid and hide," says Yeno Lili, "but we are proud to be beautiful, to stand out and to be seen as women. Why should we hide? Together we feel safer." The hair salon is set up in a small hut made of plastic tarps and canvas. There is no electricity or equipment. In fact, these self-taught women work with the most basic equipment: a few combs, a brush, scissors and a mirror. But the salon is still a huge success. More than that, it has become like a big family. "In South Sudan, I had a very large family," says Mary Sande. "I knew everyone in the village, but when I came here, I was alone. My husband was gone, I had two children. I had no one to turn to, no one to advise me, no one to support me. I was very worried. That's when I discovered this group, the hair salon. It became my family.


Shard of War

Curator : Lucie Saada

Exhibition from the CIP's photographic collection

From 1991 to 1999, a series of wars devastated Yugoslavia. Alexandra covered this conflict, she wrote "I covered this conflict to the point of disgust. I saw the same hysteria at work, again and again, as the Serbs tried to put their hold on the republics that wanted to separate from Yugoslavia. For almost ten years, I accompanied thousands of people to the cemetery (...) Along the way, my vision of humanity became darker and so many atrocities made me aware of the presence of the devil on Earth." On February 24, 2022, war broke out in Ukraine. When I saw these images of fleeing civilians, crammed into buses and roads, buildings on fire, lives blown apart and burned to the ground, I was disturbed by the similarity between Sandra's images[1] and these. So close in their horror. Why go to war? This is a question I have always asked myself. I don't think I've ever known the world at peace, although wars often seem past or distant. I thought, probably utopianly, that history had already shown us the atrocity of conflicts, and that we would have learned from it. It's sad to see History repeat itself, it's beyond and it serves our throats to all. In The Plague, Camus writes: "When a war breaks out, people say, 'It won't last, it's too stupid. "And no doubt a war is certainly too stupid, but that does not prevent it from lasting. Stupidity always insists, we would realize it if we did not always think of ourselves." What is happening in Ukraine is a tragedy. We are all concerned by the return of peace, I do not believe in the discourse that we can do nothing at our level. Let's read, listen, observe history, become aware of our universality and not forget that freedom is never accepted. It is defended. "It all started when I was 27 years old, and my view of the world was still that of a teenager. The vocation of photographer, which I inherited from my father, had never confronted me with death or violence, and war had only an abstract value for me", said Sandra. Her photographs in Yugoslavia summarize, in my eyes, all the injustice of a war. The consequences of a war are concrete and its first victims are the people. Sandra has always managed to capture this, the humanity of a war, its concrete value. This exhibition pays homage to civilians, to those men and women suddenly taken by surprise by the violence. It also pays tribute to journalists, I believe in the importance of information. Without them, without their courage and their desire to show the truth of the world, we would not be able to confront both the joys and the violence of what surrounds us. Lucie Saada - April 2022

[1] Sandra is the name given to Alexandra in the family.

with Jean-François Leroy

Interview : Jean-Luc Soret. Director : Sylvain Chatelain. Septembre 2022

The history and challenges of the Visa pour l'image festival

Jean-François Leroy was born on October 3, 1956. Journalist, passionate about photography, he collaborated to the magazines Photo-Reporter, Le Photographe, Photo-Revue and Photo Magazine, and at the same time, he made reports for the agency Sipa Press. In 1988, he became the agent of Dominique Issermann. In 1989, alongside Yann Arthus-Bertrand, he realized "3 days in France", an operation that paints the portrait of France in 1989, 150 years after the invention of photography. Since September 1989, he has organized the International Photojournalism Festival "Visa pour l'Image - Perpignan", a major event in photography, both from a critical and public point of view and from a professional point of view.

Agnès Sajaloli


Excerpts from: "Nous, l'Europe : banquet des peuples" (2019, Actes Sud) and "De sang et de lumière" (2017, Actes Sud) by Laurent Gaudé.


Put in resonance photojournalism, literature and poetry. 

Performance, sound device.

Accompaniment on accordion: Prêle Abelanet

Duration : 35mn.

Faced with the strength of the photographic work and the approach of Alizé Le Maoult, Giles Duley and Alexandra Boulat, I felt it was necessary to put these proposals in resonance with Nous, l'Europe : banquet des peuples and De sang et de lumière by Laurent Gaudé. First of all, for the convergence of the views of these creators. It is a question for one as for the others of giving an account of the reality of the world, of assuming this commitment, and of incarnating each in their own way what the direct witnesses of the violence of the world live. In this sense, Laurent Gaudé's literary work, directly related to the trips he has made (Calais Jungle, Bangladesh, Iraqi Kurdistan, Port au Prince, etc.) and to the reports he has made in the press, is similar to the work of the photojournalists exhibited in the cycle The World Before Our Eyes. Then for the link that these works establish between History and our reality of today. Whether it is the First World War, the ravages of colonialism, particularly on the African continent, the war in Bosnia, or what is called "the migrant crisis", the photographs of Giles Duley, Alexandra Boulat or the portraits of photojournalists made by Alizé Le Maoult and exhibited in diptych opposite the emblematic photographs of these witnesses of the world join in many points some texts of Laurent Gaudé, and I think particularly of Cries and Eldorado, And the Colossi Will Fall, Dancing Shadows, Hurricane, of course. Finally and above all for the place given to the reader/spectator in their respective work. Whether we dive into the reading of their writings or the contemplation of their photographs, the exigency of their approach, the quality of their work, the sensitivity of their approach enjoin us to change our view of the world and to leave our solitudes to reach a collective dimension. Among all the works of Laurent Gaudé, it seemed to me that it was necessary to privilege his poetic writing, perhaps tighter, sharper, more rhythmic, and better able to be the object of a 35-minute reading. And Nous, Europe : banquet des peuples as well as De sang et de lumière resonate, in my opinion, with a particular force for this exhibition: firstly because they allow us to create direct links with some of the photographs presented on the historical and geographical levels, secondly because they constitute a true manifesto of a "committed poetry", which is why I chose to mix the two texts, and finally because they allow us to set out on the path of our own humanity.

Agnès Sajaloli


After studying literature and theater, Agnès Sajaloli has led a career as a teacher, actor and director. Having created some fifty shows and reading salons based on the crossing of artistic disciplines and the development of cultural action projects for a wide variety of audiences, she has been an associate artist in charge of cultural action at the Scène Nationale de Châteauroux, director of the Établissement National de Production et de Diffusion Artistique Le Grand Bleu in Lille, and then director of the Établissement Public de Coopération Culturelle du Mémorial du Camp de Rivesaltes. Today she leads various projects around the literary life (writing, public readings, programming, training ...) open to very large audiences, especially for youth.

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