Dans le cadre des Rencontres de la Photographie d’Arles 2016, Innocences est heureux d’annoncer le prÃªt par la collection Jean-Marie Donat deÂ plusieurs tirages pour 2 expositions de la programmation officielle des Rencontres 2016.
CHAPTER 1:Â THE BIRTH OF PHOTOGRAPHY BY FRANCESCA SERAVALLE
CHAPTER 2:Â THE PATH OF PHOTOGRAPHYÂ BY CATHERINE BALET
CHAPTER 3:Â THE ICONS OF PHOTOGRAPHYÂ BY JOJAKIM CORTIS & ADRIAN SONDEREGGER CHAPTER 4:Â THE PRIVACY OF PHOTOGRAPHYÂ BY JEAN-MARIE DONAT
CHAPTER 5:Â THE MAN OF PHOTOGRAPHYÂ BY VOLKER HINZ
CHAPTER 6:Â THE EXPERIENCE OF PHOTOGRAPHYÂ BY ARTUR URBANSKI
CHAPTER 7:Â THE OPENESS OF PHOTOGRAPHYÂ BY TOM STAYTE
CHAPTER 8:Â THE IMMORTALITY OF PHOTOGRAPHYÂ BY ERIK KESSELS
INTRODUCTION.Â The 3 series presented are from a collection of 10,000 photos. One of their distinguishing characteristics is the repetition of a detail, which creates a sense of strangeness that questions the source of feelings. The body of work tells stories to those who know how to listen to them.Â Jean-Marie Donat is an informed collector of photographs, which he has been gathering, for more than twenty-five years, during his journeys in Europe and the United States. The collection revolves around a powerful idea: providing a singular interpretation of the century. His photographs collection is subject of exhibitions troughout Europe and books in rare limited and unique edition. « The art of assembly, montage, juxtaposition assuredly creates connections between those images. The oblique gaze we cast upon them is the true constituent of the grouping that gives them significance, without which those images would remain dispersed, scattered, unknown, uncomprehended. » JacintoÂ Lageira, about the Jean-Marie Donat Collection.
Born in 1962 in Paris, France, Jean-Marie Donat has worked in publishing for thirty years. He contributed to the trendy Italian review ‘Frigidaire’ at the beginning of the 1980s, and was the studio manager and artistic director of Sarbacane Design for fifteen years, and participated in 2003 in launching Ã‰ditions Sarbacane.Â He now manages his own publishing company, AllRight. In 2015, Les Rencontres dâ€™Arles is an occasion for him to launch Innocences, a publishing house dedicated to images of all kinds.
TEDDYBÃ„R.Â These intriguing snapshots were taken by street photographers between the end of the First World War and the late 1960s. These prints were discovered by collector Jean-Marie Donat in various regions of Germany. â€¨Anonymous models pose next to placid, playful, sometimes disturbing â€˜polar bearsâ€™: these bears traverse the decades, unchanged. The history of Germany unfolds. « It is difference that intrigues us. More than multiplication, it is the multiplicity of bears and â€˜clientsâ€™ that holds the attention. . [â€¦] we find, in this low art corpus, elements of the most sophisticated high art image structuring. Beyond the type of bear, the relationships formed during the shot, and rare, unexpected framings, it is our own perception of these photographs that must be examined. What does our spontaneous way of looking at these images teach us about our gaze? In short, this is an opportunity to perform an analysis, rudimentary as it may be, of how we see. » By Klaus Peter Speidel, artist and philosopher.
PREDATOR.Â These photographs were taken in the 1920s through the 1970s, throughout the world. They have one detail in common, which reminds us of the history of amateur photography: the shadow of the photographer. Donat appropriated this incongruity, choosing only images in which the shadow appears wearing a hat. The effect of repetition created by imagining this series becomes its subject: the same man looms, always and everywhere. « As a similar shadow reappears in multiple photographs, this familiar apparition becomes, in fact, a familiar: strange, bizarre, disturbing, what is known in German as â€˜disturbing strangenessâ€™ (Unheimlich), a non-familiar that nonetheless presents a familiar face, homely yet eldritch, an â€˜otherâ€™ that is still, somehow, known. [â€¦]We are thus given access to a sort of view from nowhere, as though the shadow were engendered naturally without the assistance of instrument or technique. This third gaze is found there, somewhere, in the shadow of its shadow. »Â By Jacinto Lageira, Professor of aesthetics a Paris-Sorbonne and art critic.
BLACKFACE .These photographs were taken in the United States between 1880 and the late 1960s. Some of them promote troupes of travelling performers: the minstrel shows in which whites made up as blacks incarnated, in musical numbers, the â€˜good coloured folkâ€™ whose music Americans particularly appreciated. Other pictures are souvenirs from private parties, birthdays, or carnivals. « To put on the face of the other is a primitive ritual that may release primitive emotions. M. Donatâ€™s photographs take us to the dark side of reality, the mysterious side of ourselves, filled with desire to know who we are and to feel more deeply our hallucinatory reality, our pathetic delirium. But the racial dimension of being another is something be\yond the scope of what we can grasp unless we accept that skin is merely a covering of a personâ€™s soul, and that ultimately we are all the same. » by Robert C. Morgan, art critic, professor at the School of Visual Arts, New York.