1 / 7       Cambridge. GB. England. Clare College May Ball. From Luxury. 2005. Courtesy of Martin Parr/Magnum Photos – Kamel Mennour. © Rencontres Arles.

2 / 7       Mayor of Todmorden's Inaugural Banquet, Calderdale, England, from The Non-Conformists series, 1975-1980. Courtesy of Martin Parr/Magnum Photos - Kamel Mennour © Rencontres Arles.

3 / 7       During the visit to the exhibition MMM - Matthieu Chedid rencontre Martin Parr. © FPmag.

4 / 7       During the visit to the exhibition MMM - Matthieu Chedid rencontre Martin Parr. © Stefania Biamonti/FPmag.

5 / 7       During the visit to the exhibition MMM - Matthieu Chedid rencontre Martin Parr. © Stefania Biamonti/FPmag.

6 / 7       During the visit to the exhibition MMM - Matthieu Chedid rencontre Martin Parr. © Stefania Biamonti/FPmag.

7 / 7       During the visit to the exhibition MMM - Matthieu Chedid rencontre Martin Parr: after one day of exposure maintenance is already necessary. © Stefania Biamonti/FPmag.

Matthieu Chedid rencontre Martin Parr

The press conference to present this edition of the Rencontres d'Arles announced with great emphasis a series of cultural activities which the normal exhibitions on which is based the principle of contamination between the expressive forms came to take on a prevalent worth. With this concept in mind we went in to the splendid venue of the Église des Frères Prȇcheurs in rue du Dr. Fanton, already venue to the editions of the last decade of wonderful settings with an underlying tension directed at a multidisciplinary approach to image.
Inside the deconsecrated church nine stations of a Via Crucis of unresolved multimedia ambitions, with something like 500 (!!!) images projected or exposed on the walls and retrospectively extrapolated from the depths of compulsive collections on which is founded Martin Parr’s archive. Each of these nine iconic locations winks at the synaesthesia supported by nine audio tracks, each corresponding to an instrument (including the human voice), composed by Matthieu Chedid, co-author with Martin Parr of the exhibition. The outcome makes the spectator think. Reflections arise with difficulty, which we believe is not due to a personal physiological decline of auditory functions originated from expected reasons of age, to hear with clarity the track associated with the images. In fact there is no acoustic separation between the various areas, which is why, positioning yourself in the middle of the nave, you can hear more or less the mélange of sounds that supposedly should help to rebuild the musical thought of Chedid. But approaching each individual area, the contamination of the different distances, of emission of sounds causes disturbance in the overlapping, not mixed by adequate production, creating difficulty in listening.
As the association between images and sound during the visit appeared questionable, then the judgment must be necessarily suspended in this regard because of the above-mentioned listening conditions. In fact, the result certainly does not appear exciting. The multimedia approach is conceptually basic, the want to do tireless exercise and convinced do-goodery. Much more sophisticated operations can occur in many social centres devoted to the presentation of multimedia projects of synesthetic, certainly realised with less prestigious names (and presumably budget).
A consideration that is not difficult to do is that of the conflict of interests that sees the now ubiquitous Martin Parr in the dual role of commissaire des expositions and author of what in fact is nothing but a more than substantial retrospective. Moreover, for anyone who has attended the Capitolini festival of photography, it is not certainly surprising.
That said, the first exhibition visited this year has certainly not dissolved the doubts inferred by the change in management. We certainly do not regret the Hébel management, especially that of last year, but the initial impact is certainly not shouting a miracle. Regardless of the graphics that shocked the model to which we were accustomed, and that will probably require an adjustment period in order to be appreciated, to find one of the installations on display already damaged one day after the inauguration, has destabilised us by introducing a variable that until now we had been spared. In fact, however, the familiarity with Arles has taught us that in this event there is always some good to take away. And after the first day and the first exhibition we visited we like to think that this year the tradition will be upheld. [ S. I. ]

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Église des Frères Prȇcheurs | until August 30th, 2015
admission fee: 12,00 €

published on 2015-07-08 in NEWS / EXHIBITIONS

ARLES2015 MagnumPhotos


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editor in chief Sandro Iovine | sandro.iovine@fpmagazine.eu - senior writer Stefania Biamonti - web developer Salvatore Picciuto | info@myphotoportal.com - linguistic coordination Nicky Alexander - translations Nicky Alexander, Rachele Frosini - contributor Davide Bologna, Mimmo Cacciuni Angelone, Laura Marcolini, Stefano Panzeri, Pio Tarantini, Salvo Veneziano - local Lazio correspondent Dario Coletti local Sardinian correspondent Salvatore Ligios - local Sicilian correspondent Salvo Veneziano - editorial office via Spartaco, 36 20135 Milano MI | redazione@fpmagazine.eu - phone +39 02 49537170 - copyright © 2015 FPmag - FPmag is a pubblication of Machia Press Publishing srl a socio unico, via Cristoforo Gluck, 3 20135 Milano MI - VAT no. 07535000967 C.F. (TAX code) 07535000967 - Copyright © 2015 FPmag - Registered at Tribunale di Milano No. 281 on the 9th September 2014

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