July 2021 April 2022 - 13TH DOCUMENTARY PHOTOGRAPHY RENDEZVOUS
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13TH DOCUMENTARY PHOTOGRAPHY RENDEZVOUS July 2021 > April 2022 PRESS KIT / REPROGRAMMING Centre photographique documentaire - ImageSingulières / Festival office 15-17 rue Lacan - 34200 Sète 04 67 18 27 54 / info@cetavoir.org /www.imagesingulieres.com © Cecilia Reynoso
EDITO The current health situation obliges us to cancel the scheduled dates of 12 to 30 May 2021 for the 13th edition of the documentary photography event, ImageSingulières. But the exhibition programme, which we prepared with care and diligence, will be maintained and rescheduled from July 2021 to April 2022. An occasion to begin our mutation and anticipate the change of name of our actual space “la Maison de l’Image Documentaire”. In fact, with increased space on the ground floor and before beginning a restructuration programme currently being considered with François Commeinhes, the mayor of Sète, we will henceforth be able to present two exhibitions as well as an installation on the outer wall and to organise screenings and other events in the courtyard. It is therefore at the “Centre photographique documentaire - ImageSingulières” that the 2021 festival programme will be launched on 3 July, with two or three exhibitions every two months, meetings, screenings, and all the other events that we usually offer during our cultural season. We warmly thank the photographers, our partners and the public for their confidence in us and their commitment, and invite you to join us for a crazy photographic season in Sète! This singular summer will open with Laura Pannack’s striking portraits of young adolescents in the North of England which will be shown at Sète’s railway station from mid-May through April 2022. At the new Centre photographique documentaire - ImageSingulières, on the ground floor which we are using for the first time, Hugues de Wurstemberger’s 2021 residency project promises a poetic journey redrawing a portrait of the city and its environs. On the first floor, it is Ute Mahler’s Germany, before the Wall fell, with street views, and interiors, for an infinitely tender overview of private life in the former East Germany. Tendance Floue will retrace the 30 years of the collective with an imposing mural inspired by its film POESIS, on the outside wall. On the occasion of Brassens’ centenary, we present Clementine Schneidermann’s 2020 residency which searched out traces of the singer-poet, at the Musée Ethnographique de l’Etang de Thau. Then, for the start of the new season in September, exhibitions of the winners of the 2019 and 2020 ISEM Grand Prize: Romain Laurendeau, for a dramatic dive into the world of drugs among Palestinian youth on the West Bank and Christian Lutz with his project looking at the rise of nationalism in old Europe. Next, women photographers will be in the forefront with the striking work of Marylise Vigneau “Article 19”, about a Pakistani law attacking freedom of speech and the arresting family saga of the young Argentinian photographer Cecilia Reynoso. The environment will be at the heart of two exhibitions presented at the beginning of 2022. The series “Oil and Moss” by Igor Tereshkov, bears witness to the ravages of the petroleum industry in the autonomous region of Khantys-Mansis, in the heart of Russia, and Robin Friend’s “Bastard Countryside” explores the British countryside through metaphors showing how our modern way of life is destroying the planet. To close the season, we will show the work of Panos Kefalos about young Afghan migrants in Athens and that of Ioana Cirlig who brings us a tender portrait of post- industrial Romania. The year will also see meetings, film screenings but also workshops, book signings... Gilles FAVIER Valérie LAQUITTANT Artistic Director Director
REPROGRAMMING 2021-2022
EXHIBITION AT THE CENTRE PHOTOGRAPHIQUE DOCUMENTAIRE - IMAGESINGULIÈRES
(Former: Maison de l'Image Documentaire - MID)
3 JULY > 5 SEPTEMBER 2021 13 JANUARY > 3 MARCH 2022
> Hugues de Wurstemberger / SÈTE #21 > Robin Friend / BASTARD COUNTRYSIDE
> Ute Mahler / ZUSAMMENLEBEN > Igor Tereshkov / OIL AND MOSS
> Tendance Floue / POESIS
17 MARCH > 1 MAY 2022
16 SEPTEMBER > 7 NOVEMBER 2021 > Panos Kefalos / SAINTS
> Christian Lutz / CITIZENS > Ioana Cîrlig / POST-INDUSTRIAL STORIES
> Romain Laurendeau / MISTER NICE GUY
18 NOVEMBER 2021 > 2 JANUARY 2022
> Cecilia Reynoso / THE FLOWERS FAMILY
> Marylise Vigneau / ARTICLE 19
EXHIBITIONS HORS-LES-MURS
MAY 2021 > APRIL 2022
> Laura Pannack / THE CRACKER - Gare SNCF de Sète
JUNE > AUGUST 2021
> Clémentine Schneidermann/ SÈTE#20 - Musée Ethnographique de l'Étang de Thau, Bouzigues
PRACTICAL INFORMATION
Free acces to the exhibitions (except for the Musée Ethnographique de l'Étang de Thau).
The program of ImageSingulières is subject to the evolution of the health crisis. All the visits
and events will take place in strict compliance with the sanitary measures and instructions
in force and could be cancelled, modified or postponed due to government restrictions.
EXHIBITIONS HORS-LES-MURS
From May 2021 to April 2022
LAURA PANNACK
THE CRACKER
ENGLAND / INLAND
A vast wasteland stands between the two estates.
‘Tibby’ ; its cul-de-sac of residential houses curls around
a small playground. Kids push prams with their hands
above their heads or zip past on bikes.
Through a narrow alleyway you enter the Cracker ;
rolling grass lined with blackberries and stinging nettles.
Motorbikes, peds and quads bark loudly every day and
at all times. The boys race them until they burn out,
perfecting the art of the wheelie. Horses are usually
kept in the back gardens or local stables and are just as
popular.
The girls nestle around small fires despite the baking
summer sun. On my second trip I discovered an entirely
black Cracker, sporting the occasional patch of grass
that had escaped a burning.
On the adjacent side lies ‘The Lost City Estate’. Most
of the boys meet at Jack Barrett’s bars (a metal fence
that lies to the opening of the field). They perch and
exchange stories, cigarettes and zoots alight referring to
each other affectionately as ‘Mush’
© Laura Pannack / InLand I ‘m drawn to this area for its insular community. Everyone
knows each other and the name. The community chose
the name ‘The Lost City’ as they felt forgotten. With
limited entertainment or inspiration and a lack of role
models these young people do feel lost. The police
battle against them. I want to explore the friendships,
the unique language and tradition of the area and the
characters that for me ; should not be lost or ignored.
+ As every year, with the faithful support of SNCF Gares & Connexions, the ImageSingulières festival takes over the Sète SNCF
station, its corridors, its lobby and its facade. All year long, we will see a selection of "SÈTE#21", the residency work, and an
anthology of the 2021-2022 programme.
THE PHOTOGRAPHER
Laura Pannack is a London based photographer.
Renowned for her portraiture and social documentary work, she seeks to explore the complex
relationship between subject and photographer.
Her work has been extensively exhibited and published worldwide, including at the National
Portrait Gallery, the Houses of Parliament, Somerset House and the Royal Festival Hall in
London.
www.laurapannack.com/
GARE SNCF DE SÈTE
EXHIBITIONS Residency 2021
From 3 July to 5 September
HUGUES DE WURSTEMBERGER
SÈTE #21
SWISS / VU'
Each year, ImageSingulières invites a photographer
in residence in Sète and around the Bassin de Thau to
create a carte blanche on the territory and its inhabitants.
For the 2021 edition, the Swiss photographer Hugues de
Wurstemberger has been chosen.
The first thirteen residents invited to share their vision
of Sète had to remain within the boundaries of the
city’s area. Such constraints are quite often a source
of inspiration and structure, as resulting exhibitions
and books testify. This time, the area covered widened,
and considerably so. And Hugues de Wurstemberger
(or H2W for short) very much took advantage of this
freedom – which is just like him.
He roamed over a huge area that includes lakes with
melodious names (Thau, Arnel, Vic, Ingrill), a lagoon and
its waters, without being insensitive to the minerality of
the cliffs of “White Stones” and “Creux de Miège”. He
surveyed the area by foot – as he demonstrates with a
few snap shots of his feet – which is still the best way to
claim, evaluate and scan the space around, because the
walker keeps his eyes opened at all times, which enables
him, in summer and in winter alike and under intense
lights, to find the right distance, to lengthen his breath
and to make discoveries. Focusing his attention, he
observes and captures in two stages the small changes
that a landscape undergoes over a period of time, be it
long or short. Thus is born a binary rhythm that matches
walking, and suggestions, like many questions being
raised, that are more decompositions than diptychs. As
soon as the wind rises and shakes the leaves, the light
turns and one comes back to look at a tree just a few
months apart, this questioning comes up, soberly, about
the way we see and perceive things.
H2W walked and gave thought to the direction of his
paths ; he observed, often closely, plants that he later
© Hugues de Wurstemberger / VU' researched. He met people, men, women, youths, who
live far from the city, some of them hunters, others
fruit and vegetable growers, wine producers, all of this
relying on organic and permacultural processes, which
corresponds to the photographer’s concerns and values.
From the people he met, he learnt much – because he
is always curious, wanting to know more about nature,
its challenges, its mutilations, what still is and always
will be possible. He collaborated with those who know
and photographed them without any consideration for
the “portrait” genre ; he was clearly in the moment of
the encounter, finding, here again, the relevant distance,
as he was able to with the space that he traversed
while observing it. In his own way, H2W resumed many
approaches that had been started long ago or more
recently. He developed and dug tracks that are deeply
his own. The walker is the same, already demonstrating
an eye for detail, as the one who explored the mountain
of the Freiburg region in his native Switzerland, squaring
the landscape, going out to meet farmers and cattle
that he eventually gathered in a book ; the same who
accompanied his partner Michel Vanden Eeckhoudt,
who once immortalised his burning hiking shoes. These
were the days of the square format, of black and white,
which he has rediscovered, with more calm, with its
subtle range of greys, capturing the musical stave of a
CENTRE PHOTOGRAPHIQUE DOCUMENTAIRE - IMAGESINGULIÈRES
flamingo flight to mark the pace of his journey through
the Sète country. But this is also a new photographer,
one who has not yet shown the colours he has been
developing over the past fifteen years or so and who has
decided to focus on inventing a water and floral palette
in a dialogue with his most recent research. A teacher
since 2005 at the 75 in Brussels,
he has addressed the topic of colours with his students
while cultivating his garden. With the help of expert
friends, he has gradually enriched it and photographed
it to make a herbarium that keeps evolving, growing,
expanding with new varieties, in a blend of flowers
and fruits. The two activities, teaching and gardening,
are certainly related, in intensity at least, and have
manifested in this approach to colour. A realistic as
much as inconsequential approach, subtle and vibrant,
which can testify to the delicate light that strokes the
water surfaces as well as the organisation, the textures,
the shapes of plants and rocks. It also has the ability
to make one feel and share the variations between two
moments or two seasons. A kind of photography linked
to time through colour itself. Like an echo of Penone’s
works, which he admires.
Constraint is indeed a wonderful way of achieving rigour.
As in this work for which H2W strived to work in a vertical
format, which he sees as an avatar of the square. Even
though, as he puts it, with his irresistible humour, “it’s not SÈTE #21 - HUGUES DE WURSTEMBERGER
easy to set a pond vertically.”
Text : Christian Caujolle
Christian Caujolle
Publishers : CéTàVOIR, LE BEC EN L’AIR ÉDITIONS
Released : Mai 2021
The residency is supported by the Fonds de dotation Art, Culture et
Print : 20 x 25 cm, 96 pages
Patrimoine.
French – English
Price : 27 € (hors frais de port)
Available in pre-order on www.imagesingulieres.com
+ Book signing SÈTE#21 on 3rd et 4th July 2021
THE PHOTOGRAPHER
Swiss photographer, born in 1955, member of Agence VU' since its creation in 1986 and
represented by Galerie VU', lives in Brussels where he teaches photography.
As a former member of the Swiss Guard, Hugues de Wurstemberger first made a name for
himself thanks to the photographs he took of the Swiss Guard daily life, which were brought
together for an exhibition in 1985 at the Musée de l'Elysée in Lausanne. His work was granted
in 1990 by the Niépce Prize, in 1991 by the World Press Photo, and in 2002 by the Silver Prize.
In the perspective of transfiguring the banality of the ordinary by the grace of a fair distance,
between tenderness and smile, he also devotes himself to subjects that are closer to him. In
1995, he photographed the farmers in the Swiss mountains, who are a "counterpoint to the
Switzerland of banks and cleanliness", fighting against the modernization and standardization
of lifestyles. In 2005, "AOC, une identité retrouvée" (Infolio) was published, as well as "Pauline
et Pierre" (Quo Vadis), a family album that brings together over 18 years the "little white
pebbles" of his two children's youth.
http://h2w.xyz/
EXHIBITIONS
From 3 July to 5 September
UTE MAHLER
ZUSAMMENLEBEN
GERMANY / OSTKREUZ
Ute Mahler (born in Berka in 1949) is one of the
photographers from the ex-GDR with the most prominent
style. After the fall of the Berlin Wall, with several East
German colleagues she founded the agency OSTKREUZ,
that has since been very successful. Through the series
Zusammenleben (Live together), begun over forty-five
years ago, she intended to show the way in which people
live together and depict the unsaid in a subtle way. These
black and white photos gently, but uncompromisingly,
illustrate life in former East Germany.
In 1988, Ute Mahler ended this series of infinite possible
compositions with men, women, children, friends
and strangers, as she felt that she had captured the
© Ute Mahler / OSTKREUZ
essentials.
Ute Mahler talks about her work in 2019 with exhibition
curator Sonia Voss:
‘I was still a student in Leipzig when I began to photograph
groups of people. To begin with, they were just random.
But they all raised the same question: how do people
interact together? (…) I was twenty or so years old. I
wanted answers. I wanted to see what was hiding behind
the prescribed official false optimism. I was looking for
the truth in the inner realm of people’s lives. (…)
I met them in their homes, in the street, at parties and in
their day-to-day lives that they were living in this country
that they called GDR. (…)
I carried out this work freely, at liberty; it was very
personal in nature and not commissioned. Without any
staging. (…) But I took them for myself. (…) I wasn’t looking
for anything sensational, I wanted to find something
universal, extending from tenuous relationships, family
and friendship, depicting happiness, impermanence,
despair, resignation and/or proximity.
I took my last photo in 1988. I felt that I had found
enough answers to my questions. Maybe it was linked to
the political upheaval at the time but I’m not sure.’
+ Discover the exhibition « Zusammenleben » in an exclusive video format on the website www.la-mid.fr.
THE PHOTOGRAPHER
Ute Mahler (1949, Berka) studied photography at the Hochschule für Grafik und Buchkunst in
Leipzig from 1969 to 1974 and then worked as a freelance photographer. Starting from 1977,
she received commissions from Sibylle magazine and the record label Amiga, for which she
took fashion photographs and portraits mainly to illustrate the record sleeves of East German
rock groups. She also is developing a long-term piece of work called Zusammenleben (Live
together), subtly depicting the reality of everyday life in the GDR and the dynamics that exist
between private and collective.
In 1990, after the fall of the Berlin Wall, Mahler founded the photography agency OSTKREUZ
with her six colleagues. Alongside her personal projects, she has taught photography since
2000, firstly at the Hochschule für Angewandte Wissenschaften in Hamburg then at the
Ostkreuzschule für Fotografie in Berlin. Since 2009 she has produced various series with
her husband the photographer Werner Mahler (Monalisen der Vorstädte, Die seltsamen Tage,
Kleinstadt).
www.ostkreuz.de/fotografen/ute-mahler/
CENTRE PHOTOGRAPHIQUE DOCUMENTAIRE - IMAGESINGULIÈRES
EXHIBITIONS
From 3 July to 5 September
TENDANCE FLOUE
POESIS
FRANCE
« The title of Tendance Floue’s new opus is POESIS. from
the Greek word that signifies creation. Here of course
it is again a question of inventing and re-inventing in
images. It is our function; to adopt a view-point, to focus
on a blurred image and show the images that appear.
This new page of our collective work has thus its place
in a contemporary movement of artistic resistance. It
is our role, to stand beside those engaged in defending
the permanent celebration of a poetic vision ; the magic
of looking at the moon and seeing it for the first time.
Nowadays, during this barbaric epoque of consumption
when the universe is slowly consumed, it is urgent to
declare the freedom of the emotions ; to desire, not to
© Tendance Floue hope ; to evoke the unknown, to question the power
of our imagination, to feed the language of the image
with poetry and mystery. Photography cannot change
the world, but it can take part in the process of change.
Let us celebrate together in our vision, this savoury
damnation. »
Photographers : Pascal Aimar, Thierry Ardouin, Denis
Bourges, Gilles Coulon, Olivier Culmann, Ljubiša
Danilović, Grégoire Eloy, Mat Jacob, Caty Jan, Yohanne
Lamoulère, Philippe Lopparelli, Bertrand Meunier, Meyer,
Flore-Aël Surun, Patrick Tourneboeuf, Alain Willaume
Direction : Meyer
Editing : Félix Fouchet
With the support of Fujifilm France
+ Projection of POESIS movie on friday 2 july 2021
nd
+ Book signing by members of Tendance Floue collective on friday 2 nd
july 2021
THE COLLECTIVE
Founded in 1991, Tendance Floue is a group of 16 French photographers. It has won international recognition and won
awards for its work, which intersects social, cultural, documentary and artistic concerns. Forever exploring the world
against the grain of a westernized image, revealing the hidden side of exposed issues, capturing unique moments. For
30 years, an indefinable alchemy of ideas and energies have made it possible not only to create a new and original
photographic language, but also to question the photojournalistic tendencies and attempt to renew the field of narration.
Beyond their individual approaches, the 16 photographers, in a collective spirit, have launched into a photographic
adventure of a different order, all-encompassing and akin to performance. Comparing pictures, putting others together,
forming combinations: work which is done together engenders new organic matter.
https://tendancefloue.net/
CENTRE PHOTOGRAPHIQUE DOCUMENTAIRE - IMAGESINGULIÈRES
EXHIBITIONS HORS-LES-MURS
from June to August 2021
CLÉMENTINE SCHNEIDERMANN
SÈTE#20
FRANCE
«Come near, you whose eyes sparkle bright »
This first verse from The Legend of the Nun, written by
Victor Hugo in 1828 and recorded by Georges Brassens
in 1956, is an order to which many photographers could
subscribe as they too address it, in their own way, to
all who look at their pictures, and more generally to all
who are convinced that seeing is essential. This could
be a sort of guide for Clémentine Schneidermann, who,
following in the footsteps of twelve other photographers,
has immersed herself in the Sète region, to meet people
and characters, spaces and lights. And cats too.
She did so with a sparkle in her eye, which, as usual,
was careful to avoid categories, practising a gentle
and inquisitive form of documentary that verges on
the staging of fashion, as well as sociology, or even
ethnology, creating a tension that convinces us that the
real – or what we consider as such – is an inexhaustible
source of fictions.
Clémentine Schneidermann travelled through Sète and
the surrounding towns in sunny weather, but did not
insist on the warmth. Instead, she decided to use half-
© Clémentine Schneidermann tones, at all levels, enabling her to present a comfortable
and flexible vision. She does not describe; rather she
takes us through ochre spaces, the angles of which are
never too blunt and quietly await passers-by or, as they
turn into decors, welcome characters. [...]
Christian Caujolle
The residency is supported by the Fonds de dotation Art, Culture et
Patrimoine.
+ Exhibition presented in the trail of the Brassens Centenary
THE PHOTOGRAPHER
Clementine Schneidermann is a French photographer. She developed her first series in Wales
where she moved in 2012 prior to her studies in documentary photography at University of
South Wales, Newport. She is interested in the representation of class and communities in the
United Kingdom and started a collaboration with Charlotte James, a Welsh creative director
and with groups of children since 2015 in the South Wales valleys. The photographs are a
cross between documentary and fashion and are both surreal yet fixed into the real. Her
work received the Leica Oskar Barnack Newcomer Award in 2016. Her documentary project "I
Called her Lisa Marie" was published by Chose Commune as a monograph in 2018. Her work
recently became part of the Martin Parr Foundation collection and is also included in the
National Museum of Wales collection.
https://www.clementineschneider.com/
MUSÉE ETHNOGRAPHIQUE DE L'ÉTANG DE THAUPRIZES
ISEM DOCUMENTARY PHOTOGRAPHY PRIZES
2021 / 4e ÉDITION
How many talented photographers, in France or elsewhere, lack the means to finish a
project? How many, after spending several months documenting a subject, stop. Because
their subject is more complex than they had thought, because it requires more time than
they imagined. Photographers then go on to other things hoping to find a more lucrative
story, requiring less of their own funding.
It is in order to support these difficult projects that the ImageSingulières festival, the news
service Mediapart and ETPA, the photography and game design school in Toulouse, have
committed themselves since 2018 to two awards :
The ISEM Grand Prize is open to photographers around the world. With an endowment of
8000 euros, it is intended to help complete a documentary project already in progress. The
prize is to be used to finalise the winning work. Once the winners are announced, the project
will be presented in portfolio form on Mediapart and once completed, will be exhibited at
ImageSingulières.
The second prize, ISEM Young Photographer Prize is for those under 26 years of age residing
in France. With an endowment of 2000 euros, it is also to support a work in progress and will
be published on Mediapart. The winner may also attend a 3rd year Masterclass at the ETPA.
ISEM Prize award 2021
Finalists announced on 12 May 2021
Prizes awarded on 16 september 2021 at 19h
2020 winners
ISEM Grand prize 2020 : Chirstian Lutz
ISEM Young Photographer Prize: Julia Gat
2019 winners
ISEM Grand prize 2019 : Romain Laurendeau
ISEM Young Photographer Prize: Maxime Matthys
2018 winners
ISEM Grand prize 2018 : John Trotter
ISEM Young Photographer Prize: Valentin RussoEXHIBITIONS ISEM GRAND PRIZE 2020
From 16 September to 7 November 2021 for documentary photography
CHRISTIAN LUTZ
CITIZENS
SWISS / MAPS
I live in Switzerland, a country where the far right is the
main political party in government.
The strength of populist right-wing parties affects all of
Europe.
For 7 years, I crossed Europe following these “common
sense” parties who promise a better life.
Populism is an evil fairy, it appeals with promises of
future happiness. It tries to make us forget that its
tendrils are toxic, that it produces segregation, exclusion,
misery. Its arguments send us back to our physical and
symbolic borders; it sows the seeds of social unrest,
fear; stifling thought and human bonds. It manipulates
© Christian Lutz / MAPS
our minds and our instincts. The parties spreading this
ideology are familiar birds, who strike suddenly. They
blend into the landscape, live in industrial waste sites,
in calm, bourgeois cities, in the look of individuals. They
are present in every instance of inattention to our moral
values, in every crack that fear inhabits.
This story is a bit the tale of a Europe In touch with itself
and the redefinition of its values.
Christian Lutz
THE PHOTOGRAPHER
Between 2003 and 2012, Christian Lutz produced a trilogy on the theme of power: politics
with Protokoll, economics with Tropical Gift and religion with In Jesus’ Name. Each part has
appeared as a book, published by Lars Müller, and each has been exhibited many times.
Christian Lutz graduated from the ESA 75 art school in Brussels. He joined the VU agency in
2007 and co-founded MAPS in 2017. A photographer’s approach is based on a scrupulous
observation of society’s dynamics. In 2016 he published Insert Coins (André Frère Editions)
and in 2019 The Pearl River (Patrick Frey Editions). These two series were exhibited at the
50th Rencontres de la photographie in Arles in 2019, with the title Eldorado.
http://www.christianlutz.org/
CENTRE PHOTOGRAPHIQUE DOCUMENTAIRE - IMAGESINGULIÈRESEXHIBITIONS ISEM GRAND PRIZE 2019
From 16 September to 7 November 2021 for documentary photography
ROMAIN LAURENDEAU
MISTER NICE GUY
FRANCE / HANS LUCAS
Israelians and Palestinians live side by side, sometimes
intermingled, but always in partitioned areas. Almost
everything differentiates them and yet, in recent years,
drug use has continued to increase on both sides. The
latest fashionable substance for youth is “Mister Nice
Guy”.
Mister Nice Guy is a synthetic cannabis 50 to 100
times more powerful than marijuana and much more
dangerous. It comes in the form of grass onto which
various products have been sprayed: acetone, pesticides,
speed and sometimes even rat poison. The high is short
and violent and addiction is immediate. The impact on
health is disastrous: kidney and liver problems, dizziness,
© Romain Laurendeau / Hans Lucas
delirium and paranoia, depression.
This drug first arrived quietly in the Palestinian Occupied
Territories: via Israel where it was legal up to 2013
and very popular with young conscripts in the Israeli
army. Since its introduction, labs have grown up like
mushrooms in the neighbouring West Bank.
The association Al Sadiq’s detox centre is in Al’Eizariya
in the West Bank, a few kilometres as the crow flies
from Jerusalem, but on the other side of the wall. It is
found in one of the numerous Palestinian “buffer zones”,
left to themselves, and among the most affected by
drug trafficking and use. It is one of the only treatment
centres in the Palestinian Occupied Territories. It is also
the oldest and the toughest. With its practice of total
confinement and withdrawal without drugs, il accepts
around 30 patients for periods of several months. These
addicts are younger and younger, and almost all have
succumbed to “Mister Nice Guy.
THE PHOTOGRAPHER
After training as a photographer, Romain contracted kerataconus, an ailment that progressively
deforms the cornea. During the years of this illness, he explored intimacy, through introspective
series which were fed by his doubts.
In 2009, a corneal transplant saved his sight. It was a liberation. He was overwhelmed by
a thirst for freedom and the desire to understand the world. Since then he hasn’t stopped
travelling in order to document the human condition in all its aspects, social, economic and
political.
In Senegal, for 3 years he worked on topical subjects, in particular gold miners.
Since 2014, he has worked on a long-term and fundamental project on a country little covered
by the French press: Algeria.
www. romainlaurendeau.myportfolio.com/
CENTRE PHOTOGRAPHIQUE DOCUMENTAIRE - IMAGESINGULIÈRESEXHIBITIONS
From 18 November 2021 to 2 January 2022
CECILIA REYNOSO
THE FLOWERS FAMILY
ARGENTINA
In 2009, on Christmas, I took the first photo of what it
would be the work on my extended family: “The Flowers
Family”. It's a group photo and also a self-portrait. There
are parents, grandparents and great grandparents,
uncles and aunts, cousins, in-laws, twins, and a newborn,
eighteen in total. Now, some of them are gone, there are
newborns, including my son, some couples are new and
some are dissolved. Pedro, the great-grandfather used
to say: “I'm a billionaire because of the family I have”, he
truly felt that way and that fascinated me.
In Argentina, it's a common saying that family and
friends are sacred. We take affections very seriously.
Don't even think of skipping a Sunday meal, a birthday,
© Cecilia Reynoso
or Christmas. These special moments are pretexts to
get together. Like most families here, mine goes back
to Italian and Spanish immigrants, with the exuberance
typical of Buenos Aires middle-class suburbia. I've
taken most of the photographs at my in-law’s house,
sometimes I just have to step back a little to get a sense
of unreality, like I was witnessing a tableau vivant or a
scene taking place in Luchino Visconti's film “Rocco and
his Brothers”. They are a very loud, playful family, with
lots of hugs and kisses, affectionate and physical. In
some opportunities, I ask them if I can take their portrait
alone, so we go to a quiet space of the house and connect
more intimately. I´m mostly interested in depicting the
beauty of youth and the dignity of age within the family
members, just like the cycle of flowers. It´s important
to me not just to be an observer but to keep a balance
between being in and out of the scenes, but if I feel I´m
becoming disconnected, I put the camera away and just
enjoy the conversation. I sense of connection is crucial
to my work because it’s important that they feel relaxed
and trust me when I photograph them.
Cecilia Reynoso
THE PHOTOGRAPHER
Born in 1980 in Buenos Aires, Cecilia studied cinema. For twelve years, she has photographed
the family of her companion, focusing on the relationship to the body of members of this
community. A meal where everyone is gathered around the table, games of young people
stacked on top of each other, moments of the end of life for old people: everything takes place
in absolute physical proximity. Cecilia’s photos tell of the intimate moments of a close-knit
family. But they also tell the story of the creative process behind the aesthetic approach. A
process that is woven together around a world of invisible references. Among her influences,
she cites Italian cinema, and more particularly that of Luchino Visconti. She also says she
draws her inspiration from family albums and group portrait photography.
http://www.ceciliareynoso.com.ar/
CENTRE PHOTOGRAPHIQUE DOCUMENTAIRE - IMAGESINGULIÈRESEXHIBITIONS
From 18 November 2021 to 2 January 2022
MARYLISE VIGNEAU
ARTICLE 19
FRANCE / ANZENBERGER
The article 19 of the constitution of the Islamic Republic
of Pakistan says:
“Freedom of speech: Every citizen shall have the right
to freedom of speech and expression, and there shall
be freedom of the press, subject to any reasonable
restrictions imposed by law in the interest of the glory
of Islam or the integrity, security or defense of Pakistan
or any part thereof, friendly relations with foreign
States, public order, decency or morality, or in relation
to contempt of court, commission of or incitement to
an offence.”
These “reasonable” restrictions are often exploited
© Marylise Vigneau / Anzenberger against different groups of people such as minorities,
journalists, human rights activists, atheists,
homosexuals, etc. They are interpreted as a freedom to
disregard others’ faiths or perceptions. They produce
outcasts. Status quo and ruling alliances, liberty- fearing
and frustrated people led by radical, obscurantist or
manipulative clerics, all acting in the name of a so-called
decency, build a wall around these fabricated pariahs
and silence them. In the recent years, the enforcement of
Pakistan's blasphemy laws remain a significant concern,
as well as new laws to extend controls over the right to
freedom of expression online. Killings and attacks on
journalists, media workers and human rights defenders
remain endemic and characterized by ongoing impunity.
This story takes place in Lahore and constitutes a series
of portraits of people whose way of thinking, living, loving,
is obviously against the official Pakistani narrative. It is a
story of suffering but also of resilience and hope.
After long conversations, these images have been
carefully staged to respect the safety and therefore the
anonymity of the people pictured. Each of them is named
"Noor", a name that means light and is used indifferently
for women and men.
They are the cracks in the system through which change
may arise.
This work is dedicated to the memory of Asma Jahangir,
a Pakistani lawyer who dedicated her life to defending
minorities and died in Lahore in 2018.
THE PHOTOGRAPHER
Raised in a conventional Parisian family, Marylise Vigneau developed an early taste for peeping
through keyholes and climbing walls. Her “Compared Literature” thesis, at the Sorbonne, was
about cities as characters in Russian and Central-European novels; where and when the
clearest narrative gets lost in a heady, haunting uncertainty.
Despite her fascination with literature, over time her mode of expression has become
photography, without her knowing precisely why - maybe the mix of precision, immediacy,
truth and lies which is behind every image. What attracts her first and foremost is how
human beings are affected by borders both physical and mental, this fugitive space where an
unexpected, bold and fragile act or glimpse of freedom can arise.
She is represented by the Anzenberger Agency in Vienna.
www.marylisevigneau.com/
CENTRE PHOTOGRAPHIQUE DOCUMENTAIRE - IMAGESINGULIÈRESEXHIBITIONS
From 13 January to 3 March 2022
ROBIN FRIEND
BASTARD COUNTRYSIDE
ENGLAND
‘Bastard Countryside’ explores the British landscape as a
series of metaphors. Each photograph represents a small
part of the story of how our modern living is destroying
the planet. Although the series has been made in the UK,
the subjects and themes are global and invite the viewer
to reflect on the actions that have shaped and shifted
the spaces they relate to in these pictures.
Many of the photographs in this series possess a
magical sadness and inhabit what Victor Hugo described
as “that kind of bastard countryside, somewhat ugly but
bizarre, made up of two different natures… The end of
the beaten track, the beginning of the passions”. Hugo
also described how observing a city’s edge “is to observe
an amphibian”; thinking of the Paris periphery as a living,
breathing creature pushing out and changing everything
in its wake, blurring the city/countryside divide. Fast
© Robin Friend
forward two hundred years, and Hugo’s amphibian has
grown tentacles on steroids and is not just devouring
everything in its path, but shitting and puking incessantly
as well. The “Bastard Countryside” is no longer found in
the fringe areas, it’s everywhere you look.
Central to this story is the struggle between humanity
and nature, two contrasting forces fighting for control.
But there’s also a part of Bastard Countryside that
resides someplace else; in a fictive realm that gestures
towards some unknown, a less certain landscape. With
a feeling of things left behind and what is still to come,
these pictures tap into our cultural anxiety of what the
future holds and how we are leaving this planet broken
for generations to come.
THE PHOTOGRAPHER
Robin Friend was born in London but spent his childhood in Melbourne, Australia. His time is
split between personal projects and commissions.
He uses his camera to investigate the uneasy relationship between human beings and nature,
taking exquisite photographs that reveal the various ways, both subtle and overt, in which we
encroach upon the natural environment. Working in thematic series, Friend approaches his
subjects with an explorer’s adventurousness, an activist’s concern, and an artist’s sensitivity
to beauty.
Exhibited worldwide, his work is featured in the book “Bastard Countryside” published by
Loose Joints in 2018.
www.robinfriend.co.uk/
CENTRE PHOTOGRAPHIQUE DOCUMENTAIRE - IMAGESINGULIÈRESEXHIBITIONS
From 13 January to 3 March 2022
IGOR TERESHKOV
OIL AND MOSS
RUSSIA
The primary cause of global warming is human activity
that releases carbon into the atmosphere, most
significantly the burning of fossil fuels.
This photos shot in KhMAO the district were produced
about 50% of oil in Russia. This work shows how
irresponsibly we treat fossils even at the producing
stage, what damage does it bring to Indigenous People,
nature and traditional way of life. Fossil fuels developing
primarily affects those who are most vulnerable, those
who receive in fact the least benefit from the use of
this resources. From these dishonesty and violations of
people’s rights — climate crisis begins. Now the impact
of our activities are noticeable around the world, but the
climate changing begins with specific violations, places
and people.
Near Surgut (Khanty-Mansi Autonomous Okrug) in
Russkinskaya village lives Antonina Tevlina from Khanty
people, her parents still live an indigenous way of life.
Nomadize and grazing
reindeers at their ancestral territory of about 600
hectares and they faced a problem, oil producers came
to their land.
Companies mount checkpoints on roads, now only close
relatives on lists can get to territory of ancestral lands,
some guests of family are have to dress up to national
Khanty people clothes in case of go throw checkpoints.
«Yagel moss is like a bread for a deer, if something
happens it took around 30 years to restore» — says
Antonina Tevlina. Pollution of water and lakes,
destruction of ecosystem, all this leads to a reduction of
number of reindeers and endanger the traditional way of
life of Indigenous people.
© Igor Tereshkov Shot on 35 mm film, oil-containing liquid from oil spills
was used during film developing. Oil randomly destroys
gelatinous flesh of film deform it with holes and
scratches exactly as harmed environment deformed
under the oil spillage.
THE PHOTOGRAPHER
Igor Tereshkov Russia based photographer and visual artist, b.1989 Energodar.
Working in mixed media including performative practices, site specific art, documentary and
alternative process photography mediums.
Study documentary photography and photojournalism, at School of Modern Photography
Docdocdoc in Saint-Petersburg, in 2019 was graduated from course «Experiences of
Contemporary Photography».
In his work researching themes of environment, ecology and Anthropocene.
Tereshkov been a winner and nominated of various international competitions and grants
such as CENTER Grant (USA, 2019), Direct Look (Russia, 2019), Lucie Photo Book Prize (USA,
2019), been nominated to Prix HSBC pour la Photographie (France, 2019) and
chosen as one of FOAM Talent (Netherlands, 2021)
His works been published world wide including Washington Post, Lenscratch, Takiedela,
Phmuseum, Artdoc.photo, Internazionale, FOAM.
https://igortereshkov.com/
CENTRE PHOTOGRAPHIQUE DOCUMENTAIRE - IMAGESINGULIÈRESEXHIBITIONS
du 17 March to 1 May 2022
IOANA CÎRLIG
POST-INDUSTRIAL STORIES
ROUMANIA
In 2012 I moved from Bucharest to a small gold mining
town, to try and understand the changes in the landscape,
the architecture and in the way people live their lives in
this time of change. Mono-industrial areas are the most
vulnerable, as they have been depending, for as long as
the community can remember, on the mine as a main
source of income.
Everyone worked there, cultural and sports activities were
organised by the industrial center. Romania was heavily
industrialised during its 40+ years under communism.
People were moved from all over the country to these
areas to work in the mines and factories. Villages turned
to towns, mountains turned to quarries. During the
transition to a market economy, these mono-industrial
areas have been left adrift, without a long-term plan of
reconversion.
Now the wave is reversed: people are forced to move,
looking for a way to make a living, the towns are
shrinking, the industrial centers are being sold for parts.
Post-Industrial Stories is a long-term photography
project documenting this time of change and the effects
of deindustrialisation on Romania’s small mining towns.
© Ioana Cirlig
The project is aimed at capturing the atmosphere and
the daily life from inside the community.
Ioana Cîrlig
THE PHOTOGRAPHER
I am a Romanian freelance documentary photographer. I studied Cinematography and worked
for a few years as a photojournalist in Bucharest before dedicating myself full- time to long-
term independent personal projects.
After working for three years on the project and living in two Romanian mining towns, in
2015, together with Marin Raica, I co-authored the Post-Industrial Stories photobook. In 2016
I co-founded The Romanian Center for Documentary Photography. I am also working with a
Romanian culture magazine, Scena9, as a photo editor. I am currently working on a project
about the botanical world, endangered, rare plants and the researchers who study them.
www.ioanacirlig.ro/
CENTRE PHOTOGRAPHIQUE DOCUMENTAIRE - IMAGESINGULIÈRESEXHIBITIONS
du 17 March to 1 May 2022
PANOS KEFALOS
SAINTS
GREECE
‘Why ‘saints’? The correlation between the title of my book
and its subject matter is not an obvious one. I chose the
word ‘Saints’ because, to me, it is the signifier of a spiritual
search. What I was looking for with my work was a missing
spiritual connection: something linking me with the people
portrayed in these photos, or linking them with my city, or
me with the lingering shadow of my past.
In the fall of 2012, my involvement in an unrelated work
brought me to Victoria Square, in downtown Athens. In
these early stages my goal was to capture the everyday life
of the children – most of them refugees from Afghanistan
– that worked and played on the square. It quickly became
about much more than that. It became about childhood
– that broken mirror image of adult life – and the forces
tearing it apart: fragility and unconstrained freedom, the
brutal violence of war and the instinctive expression of
child’s play.
The Saint is he who opens to the sinner the way to
atonement and transcendence. The bond I formed with
three of the children and their families released a tension
that took away all my innermost fears. They taught me that
the truest connection would come by looking at their world
as a photographer ultimately should: through my own eyes.
By delving into intimate feelings and personal truths, the
memories and primeval impulses that struggled inside me
to reach the surface were suddenly free to pour forth.
These photos don’t tell any stories. They are a free
association of images, reflections
of the way I felt about our encounter.
By 2015 all the people I knew had left Greece. I documented
the refugee crisis that broke out in August of that year:
surrounded by TV Channels and photojournalists from all
over the world, I took my last pictures. It was a time for
© Panos Kefalos international headlines – personal journeys and friendships
seemed now, in the face of pressing news cycles, like
concerns of the past. A few days later I decided the time
had come to commit this experience into the book I had
been planning and I finally left for Italy to edit it.
Panos Kefalos
THE PHOTOGRAPHER
Panos Kefalos is a photographer whose work has appeared in magazines, newspapers, books
and national & international exhibitions.
He is best known for his book "Saints" that was published in July 2016 by Fabrica, Italy. With
his work "Saints" he's been the recipient of many grants and awards and he has figured on
numerous shortlists and finalist picks, including: Leica Oskar Barnack Award 2014 | Jurors'
picks for the LensCulture Street Photography Awards 2016 | Gomma Grant 2016 Best Black &
White Picture award | 15th Reminders Photography Stronghold Grant in 2017, Tokyo, Japan |
finalist for the second annual Magnum Photography Awards | winner of the PHmuseum Grant
/ New Generation Prize 2018.
He works on his in personal long term projects in the central district of Athens, Greece, where
he lives.
www.panoskefalos.com/
CENTRE PHOTOGRAPHIQUE DOCUMENTAIRE - IMAGESINGULIÈRESThe organisation of the festival is subject to the evolution of the sanitary measures. All the visits and
events will take place according to health measures instructions applicable and are subject to cancellation,
modification or postponement in accordance with government restrictions.
IMAGESINGULIÈRES - CENTRE PHOTOGRAPHIQUE DOCUMENTAIRE
OPEN TO THE PUBLIC/FREE ENTRY (within the limits of the required gauges)
From july to mid-september : From Tuesday to Saturday from 10h to 19h / On Sunday from 14h to 19h
From mid-september 2021 to april 2022 : From Tuesday to Sunday from 14h to 18h
15-17 rue Lacan 34200 Sète / +33 4 67 18 27 54 / info@cetavoir.org
www.imagesingulieres.com
MUSÉE ETHNOGRAPHIQUE DE L'ÉTANG DE THAU
Price and information : https://patrimoine.agglopole.fr/musee-de-letang-de-thau/
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