Seven is said to be a lucky number, which is just as well, as The Boutographies change location every seven years! From 2001 to 2007, it was in the Boutonnet district of its origins, from 2008 to 2014 came the occupation of the Pavillon Populaire, and now, in 2015 it is the Panacée until, who knows, 2021? A Centre for Contemporary Culture seems a fitting venue for The Boutographies propose: the most current forms of European photographic creation, at the leading edge of the questions which agitate the various forms of visual representation, between the functions of art and information. There is something of all that, notably, in the retrospective accorded to Christian Lutz, a Swiss photographer already present for the Boutographies of 2008, and whose work is, at this moment, at the heart of an important debate on the artistic and judicial aspects it raises. His trilogy on power,Protokoll,Tropical GiftandIn Jesus’ Name, is presented for the first time in France in its entirety.
We haven’t yet finished with our Swiss neighbours, with four more young artists representing the vitality of that country’s implication in contemporary photography. Romain Mader and Nadja Kilchhoffer lead us into a series of absurd stagings, up-dating the codes of propaganda photography of the1940’s. Laurence Rasti, a young photographer recently graduated from the ECAL in Lausanne, takes on the subject of homosexuality in Iran, assuming a certain fictionalisation to better understand the reality. Olivier Lovey also presents us with the reality of a person, but whose world is perched on the borderline of science fiction. This work has affinities with that of German photographer Mario Brand in the sense that, in both cases, images of a scientific rigour lead us towards a powerful imaginary dimension. This approach of looking beyond the immediately visible is equally the domain of Cyril Costilhes, in his very personal history, where the images plunge us into a Madagascar unimagined. A photographic style closer to social documentary is proposed by Birte Kaufmann, with a series on Irish Travellers, by the Andalusia of Alvaro Deprit and the Russia of André Lutzen. Three situations on the periphery of Europe, where the landscape and assumed lifestyles oppose conformity.
Photography has a particular ability to authenticate both the people and the communities that link them. It is often at the time of adolescence that these relations between the individual and the society exhibit their most complex aspects. Emanuele Brutti with his young boxers and Heiko Tiemann with his psychologically fragile teenagers, show the facets of this moment in life, marked by an extreme receptivity to affection and an intense inner privacy.
Finally, we see the return to Montpellier of Michel Le Belhomme, a photographer in perpetual search, with an unclassifiable body of work, nowadays exhibiting Worldwide. After a first participation in the Boutographies in 2011, it is with a great pleasure that we welcome his new series,The Two Labyrinths, a magnificent reflexion on our strange relationship with the visible.
As has become a habit with the Boutographies, the official selection on the walls is accompanied by the Jury projection, numerous exhibitions hors-les-murs in participating galleries, rendez vous with professionals from within the world of photography and involvement with local schools. It is therefore a period of promise that opens on the 4th of April for three weeks, with photography as the pretext and the object of our desire for art, culture and encounters.
The Boutographies team joins with all those who defend the freedom of speech and thought. The Boutographies team refuses a World of absolute truths, of forbidden doubts and of fear. We claim the right to laugh or cry at whatever enters our minds.
For the Boutographies team,