On an image advertising on the other man

Raymond Depardon is one of the jewels of the French cultural heritage. He is known for his photographs and his films on the rural world and for his documentary on the presidential campaign of Valérie Giscard d'Estaing in 1974 or the tenth correctional division of the Court, in 2004. A type that seeks to rebroadcast the real inspiring sensitive bias. The heir to the American genus shows images of emotions there where it is not expected them: the political world, justice... This year, it is the Commissioner of the meetings of Arles who occupy all summer with 60 events. His choice is similar to what he does: the classic. There is therefore no surprise this summer at the Festival of Arles, it is question of art or concept. Simply of photography. Such a profusion of images of the same type is difficult to consume a coup. Thus, the old warehouses of the SNCF just behind the garden of the Alyscamps, Van Gogh preferred location have more than 30 photographers work. There are in bulk images in color and large format on the Korea of the highly sanitized by Philippe Chancel North, the poignant portraits of harkis accompanied by sound by Julien Chapsal evidence, people all looking in the air, in the series of "Stations" of Philippe Debanne or Chinese of the new capitalism in Chengdu su Maxence Riffet talented goal... a real marathon of photos-testimony pending.

A complete art of the implication yet an excellent reason it only movement in Arles: the retrospective devoted to David Goldblatt, to City Hall, in the Church of Sainte-Anne. David Golblatt, seventy-six years, has worked for more than fifty years on South Africa. In 1998, it was the first photographer of his country to benefit from exposure to personally at the Moma in New York. Also shows it the reality, but with deference and an art completed the implication that gives a depth to its clichés, as shown in this first major French exhibition. A year without pathos or pleurnicherie. In the 1970s, he produced a series named "details", devoted to the body and clothing. He for example photography the bust of a black woman with a very crude fabric, a kind of coverage. Three quarters of the black and white image are occupied by the cloth. It is not his head and one hand only. The other is hidden beneath the cover to take the money. On the edge of the image a large and firm breast is unveiled. The anonymous woman prefers to show his chest over his coins. In 1980, still using black and white, it Immortalizes black servants waiting the bus in a shopping centre white. The place is deserted, sinister. Time passing slowly under the Sun is perfectly rendered. It could also fun series of artisans. They are all black and have wild advertising closets, touting their merit on roadsides. On an image advertising, on the other man. One way to illustrate the reign of the débrouille, but also a certain poetry of everyday life as in this walking broom seller who has disposed of its merchandise so that it forms totem poles.

Raymond Depardon writes about Goldblatt: "I have great admiration for this African photographer." His country has gone through the horrors of apartheid and out slowly from the "middle ages". Goldblatt has the art of suggest. And precisely the ability to suggest, is what differentiates the art of journalism.