Jul 12, 2019
The entire reason why we’re in Arles is to attend Les Rencontres d’Arles. It is a three month long international photography festival, now celebrating its fiftieth year. Throughout the festival, the city is awash in photography. There are photographic images, photographers, and photography students. Street art of a very special kind springs up on almost every wall of the ancient city--digital prints of photographs wheat-pasted to the stucco, plaster, wood, and brick. Every little cafe or shop seems to have its own show. And throughout Arles there are major exhibits featuring some of the most important figures in the history of photography.
So far, we have been almost half a dozen shows. Yesterday I went to Germaine Krull & Jacques Remy, Un Voyage Marseille-Rio 1941 and La Movida, Chronique d’une Agitation, 1978 — 1988. Both were in or adjacent to the Cloître Saint-Trophime, a magnificent 12th century cloister featuring exquisite stone carvings surrounding a beautiful courtyard.
The Germaine Krull exhibition chronicled the voyage and exile of a group of French political dissidents and European refugees. They fled Paris on the eve of the Nazi invasion. They boarded a freighter run by Vichy partisans and eventually ended up in a penal colony in the North of Africa. The photographs themselves were not particularly interesting. They more-or-less looked like snapshots that someone took of their friends. But as historical documents they are incredible. They show the conditions under which important dissidents like Victor and Vlady Serge lived during the opening years of World War II. And they emphasized that the existence of stateless or semi-stateless refugees is not a recent problem. It dates from the instant that states acquired the necessary technology to demarcate people along the lines of citizenship.
As La Movida exhibition paired beautifully with Libuse’s exhibition. The bodies of work were roughly contemporaneous. And so was the subject matter. While there were many aesthetic differences, the primary difference was the political environment under which the photograph’s were taken. Most of Libuse’s photographs are intimate personal documents chronicling people on the margin’s of society efforts to privately find freedom under a totalitarian regime. In contrast, the four photographers whose work is featured in La Movida lived in a society where people were beginning to publicly pursue freedom after the collapse of a fascist state. Their work generally lacked the intimacy of Libuse’s. It captured the hunger for freedom that people have after freedom becomes possible—as opposed to the way people create free spaces, autonomous zones, in their efforts to privately resist.
The other thing I was reminded of in La Movida exhibition is that I am now old enough to have lived through periods that are now historical. I was an early teen—almost precisely the age my son is now—when the late photographs in both Libuse’s exhibition and the La Movida exhibition were taken. Looking at them I was also reminded of my friend Todd Sines’s photographs of the 1990s techno scene in Detroit--another moment that is both increasingly historically distant and important.