The Exhibitions of Rencontres d’Arles 2019 Selected for Jimei x Arles

Each year a selection of exhibitions of Rencontres d’Arles travel in China for Jimei x Arles. After Joel Meyerowitz, René Burri, Toilet Paper, Matthieu Gafsou, Mathieu Pernot, Paolo Woods or Gabriele Galimberti, the 2019 edition will feature: Tom Wood, "Restless Bodies - East German Photography, 1980-1989", Evangelia Kranioti, Clergue & Weston, The Anonymous Project, “On Earth - Imaging, Technology and the Natural World”, an exhibition of the New Discovery Award, the selected books for the Book Award.




Born in 1951, County Mayo, Ireland. Lives and works in Wales.



Before moving to Merseyside in 1978 and becoming the “photie man” photographing people on streets, in pubs and nightclubs, markets and docks, workplaces, parks and football grounds, Tom Wood used to collect old postcards and magazines. The exhibition Mothers, Daughters, Sisters brings together a corpus of prints selected among Tom Wood’s eponymous series, shot on the streets of Liverpool and the surrounding area between the early 1970s and the late 1990s, alongside a selection of found family postcards from his above-mentioned personal collection. The selection of works presented here appears as a rare occasion to put in perspective one aspect of Wood’s prolific and wide-ranging photographic practice with the personal vernacular collection that has impacted his work. Mothers, Daughters, Sisters strikes the viewer with its attention to the mundane and the everyday life of common people. Sometimes posed and sometimes caught on the go, these scenes from street life that Tom Wood captured with his camera impact us by the deep sense of intimacy and feminine complicity they convey.


Exhibition curator: Martha Kirszenbaum.

Exhibition produced in collaboration with Sit Down Gallery.

Publication: Mothers, daughters, sisters, éditions Textuel, 2019.

Tom Wood,  Walking Through Shoes , 1991. Courtesy of the artist and Galerie Sit Down.

Tom Wood, Walking Through Shoes, 1991. Courtesy of the artist and Galerie Sit Down.



Tina Bara (1962), Sibylle Bergemann (1941-2010), Kurt Buchwald (1953), Lutz Dammbeck (1948), Christiane Eisler (1958),
Thomas Florschuetz (1957), York der Knoefel (1962-2011),
Ute Mahler (1949), Eva Mahn (1947), Sven Marquardt (1962), Barbara Metselaar Berthold (1951),
Manfred Paul (1942), Rudolf Schäfer (1952),
Gundula Schulze Eldowy (1954), Gabriele Stötzer (1953),
Ulrich Wüst (1949)


What do we know about East German photography 30 years after the fall of the Berlin Wall? This exhibition focuses on the final decade of this large, little known chapter of history from the prism of the body. It aims to show how, from within an authoritarian state based on the negation of individuality, physical confinement, surveillance and normativity, photography was a medium through which artists were able to express the singularity of their lives and their unique relationships to their bodies, displaying a powerful inner freedom. Following three decades of documentary, humanist photography, a more subjective, hybrid language starts to emerge at the beginning of the 1980s. Without disavowing what they inherited from their predecessors, photographers distanced themselves from subtly critical realism in order to directly confront social taboos and lend substance to the men and women of their time. Marginalized or unified, staged or self-performed, dreamy, introspective, or explosive—bodies express the life boiling over from under the cover of repression, the solitude of the individual at the heart of the collective, the irreducible subject.


Exhibition curator: Sonia Voss, winner of the Rencontres d’Arles curatorial research fellowship.

Publication: Les Libertés intérieures, texts by Sonia Voss and interviews with the artists, Xavier Barral, 2019 (French edition); The Freedom Within Us, Koenig Books, 2019 (English edition).

With support from IFA (Institut für Auslandsbeziehungen).

Gabriele Stötzer,  Mirror reflexion , 1984. Courtesy of the artist.

Gabriele Stötzer, Mirror reflexion, 1984. Courtesy of the artist.


Born in 1979 in Athens, Greece. Lives and works in Paris, France.



Evangelia Kranioti explores the borderlines of the world and captures individual destinies caught in the net of Man’s trade. Cargo ports, highways, the backstage of a carnival, graveyards, war ruins: settings of both ceaseless transit and immobilized lives, nailed to the ground or anchored at sea. In her project Exotica, Erotica, Etc., long-distance sailors await the next stopover, longing to form temporary and priced loves. In Obscuro Barroco, the urban queer scene unfolds in Rio de Janeiro, a vertiginous territory of gender and metamorphosis. In Beirut Fictions, African and Asian maids are confined to a foreign country, Lebanon, with no hope of integration. Finally, in Era Incognita, it is the living who migrate to the home of the dead, in Cairo’s necropolis, driven by the housing crisis in Egypt. In the heart of her work, faces and bodies meet and reflect each other across the oceans. Thus, Kranioti weaves the cartography of a vulnerable and marginalized group that she places at the center: the fresco of a community of outsiders which transcends the borders of the Mediterranean, matrix of exiles.

Léandre Bernard-Brunel


Exhibition curator: Matthieu Orléan

Evangelia Kranioti,  Miss Without Papers , série  Beirut Fictions .

Evangelia Kranioti, Miss Without Papers, série Beirut Fictions.


Lucien Clergue, born in 1934 Arles, France. Died 2014 in Nîmes, France.

Edward Weston, born in 1886 Highland Park, United States. Died 1958 in Carmel-by-the-Sea, United States.



In July 1970, the Festival d’Arles opened the first Rencontres Photographiques under the leadership of Lucien Clergue, Jean- Maurice Rouquette and Michel Tournier with An Homage to Weston, a show of 36 prints by Edward Weston, whose photographs were then very rare in France. To mark the festival’s 50th anniversary, we are recreating the Weston show as it was presented in 1970. At the same time, we wanted to celebrate the festival’s founder, photographer and curator Lucien Clergue. Weston seems like a tutelary figure who guided Clergue’s first steps as a photographer, as his notebooks, most dating from the 1950s and unknown until now, attest. We have brought them together for this show. Reuniting them for this anniversary is a way of recognizing that the history of photography is written in successive strata. Clergue’s fossilized carrion singularly respond to Weston’s anthropomorphic works.


Exhibition curator: Sam Stourdzé

Exhibition produced in collaboration with the musée Réattu et l'Atelier Lucien Clergue.

With support from Saif.

Lucien Clergue,  Dead Flamingo in the Sand, Faraman Lighthouse , 1956. Courtesy of the Atelier Lucien Clergue. Courtesy of the Atelier Lucien Clergue and Saif 2019.

Lucien Clergue, Dead Flamingo in the Sand, Faraman Lighthouse, 1956. Courtesy of the Atelier Lucien Clergue. Courtesy of the Atelier Lucien Clergue and Saif 2019.




The Anonymous Project is proud to present The House. Moments and memories once lost in time brought back to life to illustrate the importance of the home in our daily lives. When filmmaker Lee Shulman bought a random box of vintage slides he fell completely in love with the people and stories he discovered in these unique windows in to our past lives, The Anonymous Project was born. Collecting and preserving unique color slides from the last 70 years, the project was born out of a desire to preserve this collective memory and give a second life to the people often forgotten in these timeless moments captured in stunning Kodachrome color. These amateur photographs are a kaleidoscopic diary of that era, all the more fascinating and arresting because of their unpolished quality. Often funny, surprising and touching these images tell the stories of all our lives.


Exhibition curators: Emmanuelle Halkin et Lee Shulman

Publication: The Anonymous Project, The House, Éditions Textuel, 2019.

With support from the Picto Foundation.

Anonymous, 1972. Courtesy of The Anonymous Project.

Anonymous, 1972. Courtesy of The Anonymous Project.


Thomas Albdorf (1982), Jeremy Ayer (1986), Melanie Bonajo, (1978), Matthew Brandt (1982), Persijn Broersen & Margit Lukács (1974 & 1973), Mark Dorf (1988), Rafael Dallaporta (1980), Lucas Foglia (1983),
Noémie Goudal (1984), Benoît Jeannet (1991), Adam Jeppesen (1978), Wang Juyan (1982), Anouk Kruithof (1981), Mårten Lange (1984), Awoiska van der Molen (1972), Drew Nikonowicz (1993), Mehrali Razaghmanesh (1983), Maya Watanabe (1983) , Guido van der Werve (1977)



Since its inception, photography has testified to the paradoxical relationship between man, nature and technology. In the wake of great nineteenth-century landscape photographers, a new generation of artists is employing contemporary imaging techniques to document and question our relationship with the natural world. Photography enables us to observe this world and the effects of our existence in it. But can it also function as a catalyst for alternative ways of engaging with our environment? On Earth brings together the work of 25 contemporary artists who use innovative imaging strategies to reflect on the evolving relationship between humans and nature. Besides photography, the artists make use of installation, sculpture, in-game photography and video. The various visual approaches diverge and converge throughout the exhibition, showing how artists seek to both scrutinize and reconcile our technological, socio-economical, spiritual and political connection with the world.


Exhibition curators: Marcel Feil and Hinde Haest.

Exposition coproduced by FOAM, Amsterdam, and the Rencontres d’Arles.

Thomas Albdorf,  The Path is Marked [ 4 ] , from the  I Know I Will See What I Have Seen Before  series, 2015. ( On Earth  exhibition).

Thomas Albdorf, The Path is Marked [ 4 ], from the I Know I Will See What I Have Seen Before series, 2015. (On Earth exhibition).





Ten projects of artists submitted by 10 galleries have been selected for the New Discovery Award 2019, and will be exhibited during Rencontres d’Arles. During the opening week, a jury will bestow the New Discovery Award to one of the 10 projects an through an acquisition of 15,000 euros, while the public selects its laureate through an acquisition of 5,000 euros. In 2018 the New Discovery Award had been awarded to PAULIEN OLTHETEN, for The Defense, the look that tries itself, submitted by the Gallerie Les Files du Calvaire (Paris, France) and the Public Award went to WIKTORIA WOJCIECHOWSKA for Sparks, submitted by the Gallery Confluence (Nantes, France).


With support from the Louis Roederer Foundation and Polka.


The nominees for the New Discovery Award 2019 are:


MÁTÉ BARTHA (Hungaria)

Presented by Tobe Gallery, Budapest, Hungaria.



Presented by YCOS-Project, Paris, France.



Présented by Cédric Bacqueville Gallery, Lille, France.


STACY KRANITZ (United States)

Presented by Tracey Morgan gallery, Asheville, United States.



Presented by Galeria Da Gávea, Rio de Janeiro, Brésil.


JJ LEVINE (Canada)

Presented by La Castiglione gallery, Montréal, Canada.



Presented by Stephen Bulger Gallery, Toronto & Pierre-François Ouellette art contemporain, Montreal, Canada.



Presented par Taka Ishii Gallery, Tokyo, Japon.



Presented par Lumière des roses, Montreuil, France.



Presented par HackelBury Fine Art, Londres, Royaume-Uni.





The Rencontres d’Arles Book Awards were created in order to support the swift growth in the publishing of photography books to reach a broader audience. There are now three categories of books: Authors’ Book award, Historical Book Award and Photo-text Book Award. The Fondation Jan Michalski pour l’Écriture et la Littérature backs and encourages the Photo-Text Award, which celebrates the relationship between words and images. Each award comes with a €6,000 prize and singles out the best photography books published between June 1, 2018 and May 31, 2019. A jury of photography book experts announces the winners’ names during opening week. Each book is received in two copies: one is deposited at the library of the École Nationale Supérieure de la Photographie d’Arles, the other put on public display throughout the duration of the festival.


Main partner: Fondation Jan Michalski pour l’Écriture et la Littérature.

With support from Fnac for the Author book Award.