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ROCK'N'ROLL:
A PHOTO ALBUM

Rock’n’roll, two magic verbs and a letter in the middle to evoke every atmosphere: urban, night, rainy, melancholy or sunny. SUN as in the studio in Memphis where Elvis Presley, in July 1954, recorded That’s All Right Mama, the founding single. SUN, the source of light that gives us the image: all those photographs tattooed in our hearts that are the legends, the visual novel of Rock’n’roll.

The twentieth century gave us the Leica and the Gibson guitar (the first amplified guitar), instant photography
and electricity. Rock’n’roll is a sketch of the present time, voice and sound mixed, reportage. Such is the stance underlying this 2014 edition of Photaumnales, Rock’n’roll: A Photo Album, to evoke the urgency, the frontal attack that the late Joe Strummer, lead singer of The Clash, alluded to in an interview: «We would pick up stuff out of newspapers to write our songs. Even our name came from the press.»

Three parts mark the beat of this story: This is England, Rock Icons and The Disciples, like so many pieces of a puzzle where the presented photographers compose a great song in images and sound.
ROCK’N’ROLL, reeling, pitching, expressing desire, the body, life, energy.

Let this 2014 edition of Photaumnales be first and foremost a whole lot of fun for everyone.
BEAUVAIS CALLING!

Daniel Challe, Photographer, Guest Curator


LES
PHOTOGRAPHES



JOCELYN BAIN HOGG
Photographe de pub et de mode, Jocelyn Bain Hogg travaille également sur des projets documentaires, comme les figures du crime organisé ou encore la jeunesse londo- nienne. Il est représenté par la galerie VII.
Advertising and fashion photographer Jocelyn Bain Hogg also works on documentary projects, such as those on gangland figures or London youth. He is represented by the VII Gallery.
www.jocelynbainhogg.eu


PAUL DAVIS
Paul Davis est né en 1962 à Somerset au Royaume-Uni. Artiste, illustrateur, écrivain, designer et professeur, il collabore à de nombreuses revues et expositions et donne des conférences dans le monde entier.
Paul Davis was born in Somerset, England in 1962. Artist,illustrator, writer, designer and teacher. He contributes to numerous publications and exhibits and gives talks worldwide.
www.copyrightdavis.com


PETER DENCH
Peter Dench est né en Angleterre en 1972 ; il vit à Londres et travaille dans le monde entier. Il a rejoint en 2012 Reportage by Getty Images. Il est surtout connu pour ses dix ans de travaux documentant l’Angleterre.
Peter Dench, born in England in 1972, lives in London and works in worldwide. He joined Reportage by Getty Images in 2012. He is best known for his ten years of work documenting England.
www.peterdench.com


DANIEL MEADOWS
Daniel Meadows est né en 1952 en Grande-Bretagne. Photographe devenu auteur de biographies numériques (narrations réalisées à l’aide de matériel sonore, de photos et de films), et enseignant de photographie devenu enseignant en médias participatifs, il vit au Pays de Galles.
Daniel Meadows was born in Gloucestershire, UK, in 1952. He is a photographer turned maker of digital stories, and he was a teacher of photography turned teacher of participatory media. He lives in Wales.
www.photobus.co.uk


MARTIN PARR
Martin Parr est né en 1952, en Grande Bretagne. Il a acquis une réputation internationale par son approche originale du reportage documentaire et son impact sur la culture photographique au Royaume-Uni et à l’étranger. Il est membre de Magnum depuis 1994.
Martin Parr was born in Epsom, Surrey, UK, in 1952. He has developed an international reputation for his innovative imagery, his oblique approach to social documentary, and his input to photographic culture within the UK and abroad. He is a full member of Magnum Photographic Corporation since 1994.
www.martinparr.com


CHRIS STEELE-PERKINS
Chris Steele-Perkins est né en 1947 à Rangoon (Birmanie). Il vit à Londres. Il a rejoint l’agence Magnum Photos en 1979.
Chris Steele-Perkins was born in Rangoon, Burma in 1947. He lives
in London. He joined Magnum Photos in 1979.
www.chrissteeleperkins.com


ANNA FOX
Anna Fox est née à Alton (Angleterre) en 1961. Elle enseigne la photographie à l’Université pour les arts créatifs (University for the Creative Arts) à Farnham.
Anna Fox was born in Alton (England) in 1961. She teaches
photography at the University for the Creative Arts in Farnham.


KEVIN CUMMINS
Kevin Cummins est né en 1953 à Manchester. Portraitiste de rock, avec des musiciens aussi différents que Joy Division, The Smiths, The Sex Pistols, Courtney Love
ou David Bowie. Ses images font partie des collections permanentes de la National Portrait Gallery à Londres.
Kevin Cummins was born in Manchester in 1953. Rock portraitist, with musicians as varied as Joy Division, The Smiths, The Sex Pistols, Courtney Love and David Bowie. His images are included in the permanent collection of the National Portrait Gallery in London.
www.kevincummins.co.uk


RENAUD MONFOURNY
Renaud Monfourny est né en 1962 à Reims. Il participe à la création de plusieurs journaux dont Les Inrockuptibles. Il se revendique photographe rock’n’roll autant par la musique qu’il aime que par son attitude vis à vis de son art et de la vie en général.
Renaud Monfourny was born in Reims in 1962. He has participated in the creation of several magazines including Les Inrockuptibles. He calls himself a rock’n’roll photographer as much for the music he loves as for his attitude towards his art and life in general.
www.renaudmonfourny.com blogs.lesinrocks.com/photos


NICOLAS COMMENT
Photographe et auteur-compositeur, Nicolas Comment est né en 1973. Son travail photographique est représenté
par la galerie VU’. Il vit et travaille à Paris. Actuellement
en phase de finalisation d’un second album solo, il prépare conjointement une exposition et un livre de photographies réalisées dans la ville de Tanger (Maroc), à paraître à l’automne 2014.
Photographer and songwriter, Nicolas Comment was born in 1973. His photographic work is represented by the VU’ gallery. He lives and works in Paris. Currently nearing completion of a second solo album, he is at the same time preparing an exhibition and a book of photographs created in Tangier (Morocco), to be published in the autumn of 2014.
http://www.nicolascomment.com


RICHARD DUMAS
Richard Dumas est né à Paris en 1961. Il vit à Rennes.
On lui doit de nombreux portraits en noir et blanc de personnalités. Il est par ailleurs l’auteur de nombreuses pochettes de disques, notamment celle de son ami Alain Bashung, L’Imprudence. Il est représenté par la Galerie VU’.
Richard Dumas was born in Paris in 1961 and lives in Rennes. We are indebted to him for numerous black and white portraits of leading figures. He has also written the sleeve notes of many album covers, including that of his friend Alain Bashung, L’Imprudence. He is represented by the VU’ gallery.


JEAN-MARIE POUZENC
Jean-Marie Pouzenc est né en 1943 à Paris. Il est l’auteur de plusieurs ouvrages sur son idole Elvis Presley. Le dernier en date : Elvis un homme, toute la musique (2 volumes), édition Didier Carpentier, 2013
Jean-Marie Pouzenc was born in 1943 in Paris. He is the author of several books on his idol Elvis Presley, the most recent being Elvis un Homme, Toute la Musique (2 volumes), published by Didier Carpentier, 2013
www.elvismyhappiness.com


COLIN JONES
Colin Jones est né en 1936 à Londres. Il a commencé sa carrière comme danseur à l’English Royal Ballet. En 1962, il devient photographe pour The Observer et s’impose comme un témoin majeur de la société anglaise.
Colin Jones was born in London in 1936. He began his career as a dancer with the English Royal Ballet. In 1962, he became a photographer for The Observer and subsequently established himself as a leading documenter of English society.
www.colinjonesphotography.co.uk


LUDO LELEU
Ludo Leleu est né en 1969 à Amiens. Photographe de spectacle, il couvre toutes les disciplines culturelles comme la musique, le cirque ou le théâtre. Il est représenté par l’agence LightMotiv à Lille.
Ludo Leleu was born in Amiens in 1969. As a show business photographer, he covers all cultural disciplines such as music, circus and theatre. He is represented by the Light Motiv agency in Lille.
www.ludovicleleu.com


RHONA BITNER
Rhona Bitner vit et travaille entre New York et Paris.
Rhona Bitner lives and works between New York and Paris.
www.rhonabitner.com


DOMINIQUE DUDOUBLE
Dominique Dudouble est né en 1951 à Rouen. Finaliste
du prix Niepce 1980, il a travaillé comme journaliste puis photographe à l’international pendant 15 ans à l’agence Reuter (en poste à Londres, à Paris, à Moscou et à Kaboul). De retour en France au début des années 90, il a monté une société d’ingénierie éditoriale. Il enseigne par ailleurs la photographie à l’ISD-Flaubert de Rouen.
Dominique Dudouble was born in 1951 in Rouen. Niepce Award finalist in 1980, he worked as a journalist and photographer internationally for 15 years with Reuters (based in London, Paris, Moscow and Kabul). Back in France in the early ’90s, he started an editorial engineering company. He also teaches photography at ISD Flaubert in Rouen.


LAËTITIA DONVAL
Laëtitia Donval est née en 1981 à Lannion. Diplômée de l’École nationale supérieure de la photographie d’Arles en 2007, elle vit en Bretagne où elle anime des ateliers et workshops photographiques en parallèle de ses exposi- tions en France et à l’étranger.
Laetitia Donval was born in 1981 in Lannion. Having graduated from the National School of Photography in Arles in 2007,
she lives in Brittany, where she runs photographic courses and workshops in parallel with her exhibitions in France and abroad.
www.ddab.org/donval


JAMES MOLLISON
James Mollison est né au Kenya en 1973. Il a grandi en Angleterre et vit en Italie. Ses photos sont publiées par Colors Magazine,The New York Times Magazine, Guardian magazine, Paris Review,GQ, New York Magazine et Le Monde.
James Mollison was born in Kenya in 1973. He was brought up in England and lives in Italy. His photographs have appeared
in Colors Magazine, The New York Times Magazine, Guardian Magazine, Paris Review, GQ, New York Magazine and Le Monde.
www.jamesmollison.com


SAMUEL KIRSZENBAUM
Samuel Kirszenbaum est né en 1977 à Paris où il vit et travaille, principalement pour la presse nationale et internationale. Il est professeur d’anglais et enseigne la photographie et l’histoire du médium à L’Institut supérieur des arts appliqués à Paris. Il est représenté par l’Agence Modds.
Samuel Kirszenbaum was born in 1977 in Paris where he lives and works, mainly for the national and international press. He is an English teacher and teaches photography and the history of the medium at the Higher Institute for Applied Arts in Paris. He is represented by the Modds agency.
www.samuelk.net


SUSANNE BÜRNER
Susanne Bürner est née en 1970 en Allemagne. Elle a étu- dié à l’École des Beaux-arts de Karlsruhe et à l’Université de Californie à Los Angeles. Elle vit et travaille à Berlin, s’exprimant via la photo, la vidéo et le livre d’artiste.
Susanne Bürner was born in Germany in 1970. She studied at the School of Fine Arts in Karlsruhe and the University of California in Los Angeles. She lives and works in Berlin, expressing herself through photography, video and book works.
http://artnews.org/susannebuerner


SUE RYNSKI
Née à Detroit en 1954, Sue Rynski vit et travaille à Paris. Ses photographies sont exposées à travers le monde, notamment aux Rencontres d’Arles 2010 dans l’exposition « I Am A Cliché ». Elle a donné des conférences sur la philosophie de la photographie à La Sorbonne-CELSA et à l’IESA à Paris.
Born in Detroit in 1954, Sue Rynski lives and works in Paris. Her photographs have been exhibited worldwide, notably at the Rencontres d’Arles 2010 in the exhibition “I Am A Cliché”. She has given conferences on the philosophy of photography at the Sorbonne-CELSA and at IESA in Paris.
www.suerynski.com


PASCAL MIRANDE
Pascal Mirande est né en 1968 à Sainte-Adresse en Seine-Maritime. Diplômé des Beaux-arts de Rennes en 1996, il vit à Rennes, et travaille au Carré Amelot à La Rochelle. Il est représenté par la Galerie Vrais Rêves de Lyon.
Pascal Mirande was born in 1968 in Sainte-Adresse in Upper Normandy. Having graduated in Fine Arts in 1996, he lives in Rennes, and works at Carré Amelot in La Rochelle. He is represented by the Vrais Rêves gallery in Lyon.
pascal.mirande.free.fr


CHRISTOPHE DESFORGES
Né en 1958, Christophe Desforges vit et travaille à Lorient. Plasticien, il enseigne le dessin et les pratiques picturales à l’École européenne supérieure d’art de Bretagne.
Born in 1958, Christophe Desforges lives and works in Lorient. He is an artist who teaches drawing and pictorial practices at the École Européenne Supérieure d’art in Brittany.


ROBERT KLUBA
Robert Kluba est né à Berlin en 1978. Depuis 2003, il collabore régulièrement avec la presse en Allemagne
et en France comme photographe indépendant. Il est membre de Signatures, maison de photographes, depuis sa création.
Robert Kluba was born in Berlin in 1978. Since 2003, he has been a regular contributor to the press in Germany and France as freelance photographer. He has been a member of Signatures, Maison de Photographes, since its inception.


 

 

 

 

 

 



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This is England
This knife of Sheffield steel This is England
This is how we feel


This is England was the last Clash single brought out to promote the album Cut the Crap in 1985. Joe Strummer, their singer, described it as the band’s last great song. The political and social commitment of the Clash found its echo in the lyrics describing Margaret Thatcher’s Britain suffering from urban unrest in inner-city areas, unemployment, consumerism and the Falklands War. “This is England / This knife of Sheffield steel / This is England / This is how we feel” sings Strummer.
England was the second home of rock’n’roll, after the America of Elvis, Eddie Cochran, Little Richard, Chuck Berry and so many black or white icons of this music. It was England in the sixties – in Liverpool and London – that brought forth the Beatles, the Rolling Stones, the Who, those legendary bands. But the utopian times of the sixties was to quickly give way to the doubt of the seventies, culminating in around 1976-1977 in that downpour of electricity, revolt and rage that was the punk adventure. Strummer declared: “it’s time to give up the daydreams and wake up to social reality”. The songs were to come out of the streets, the city, this territory that had already naturally been that of photographers since the 1920s and the invention of the Leica. 

June Street, Salford, 1973 Daniel Meadows & Martin Parr


This is England
What we’re supposed to die for This is England
And we’re never gonna cry no more




JOCELYN BAIN HOGG & PAUL DAVIS
Tired of London, Tired of life

The project Tired Of London, Tired Of Life (to paraphrase Samuel Johnson) grew out of frequent chance meetings between Bain Hogg and Davis in certain “establishments” in London (mostly Soho) over many years where ideas were swapped, imbibition was the order of the day and much looking at the photographs, drawings and stories both men had expressed.
London is huge and everyone has heard of it. It is pointless trying to sound-bite it and neither Bain Hogg nor Davis attempt to do that. One photographed and the other drew. They waited patiently, or were taken by complete surprise by an occurrence or a situation, their eyes and ears constantly alert, and never getting bored.
London never fails to disgust, cheer, depress, invigorate or be utterly confusing and beautiful. Everything it does, it does quietly – unlike, say, Sao Paulo or New York.


 
PETER DENCH
England Calling



My own musical epiphany came squelching across the green fields of England around the mid 1980s ; the synthetic strings and stabs of Acid House pulled me taut. The sub-genre of House Music, developed by DJs from Chicago, Illinois, ended a mid-teen passion for casual clashes on the football terraces and had me, along with thousands of former opposing high energy ‘hooligan crews’, nodding united in a love-in on the nation’s dance floors. England was ecstatic, it’s youth gurned and grinned, loved and listened ; the colours were bright and the atmosphere euphoric.


 
It’s that instilled exhilaration I still crave and that level of 80s dance floor devotion I replicate when photographing on the streets and in the clubs of England. Hooked on
the ceaseless beat of England calling, I fine tune the eye, follow the beat, work up a rhythm, press the shutter and BOOM - ENERGY FLASH - the moment is captured, a silent frame among the chaos.”


DANIEL MEADOWS
The Free Photographic Omnibus, 1973-74



Daniel Meadows was one of a group of photographers who spearheaded the UK’s independent photography movement in the early 1970s, breaking with tradition
and infusing the medium with new energies and ways of seeing. His practice is complex, passionate and sometimes deeply autobiographical.



Imagine a young, long-haired hippy with a penchant for Bob Dylan, a sense of adventure and a passion for photography, giving away photographs from his double- decker bus converted into a home, studio and gallery. Over a fourteen-month period (September 1973 to November 1974), Daniel Meadows carried out a staggering survey of British society while crisscrossing the country (more than 10,000 miles) aboard his bus, known as the «Free Photographic Omnibus.» Throughout his journey, he offered free photo sessions in 22 towns.



He photographed 958 people, alone or in groups, and conducted numerous interviews. With this series entitled «National Portraits», he emerged as a committed documentary photographer and an incisive commentator on his times.



DANIEL MEADOWS & MARTIN PARR




“We are social documentary photographers and our names are Martin Parr and Daniel Meadows. Before redevelopment changes the face of Salford we want to record for future generations the friendly atmosphere which is characteristic of your city.”


 
It was in these terms that in the Spring of 1973, during their last year of studies, Daniel Meadows and Martin Parr wrote to the inhabitants of June Street in Salford.
Neatly dressed couples, sprawling young families, lone mothers with small children, sitting in their living rooms... In their photographs, highly formal, they were to pay as much attention to the details of the setting – wallpaper, ornaments – as they did to the residents themselves.



They also recorded some of the June Street residents talking about their lives, and this, again, fed into Meadows’ growing fascination with documenting Britain in photographs and words.

CHRIS STEELE PERKINS
The Teds



In early 1954, on a late train from Southend, someone pulled the communication cord. The train ground to a halt. Light bulbs were smashed. Police arrested a gang dressed in so-called Edwardian suits, a reference to the reign of Edward VII (1901-1910): long jackets with velvet collars and buttoned drainpipe trousers, gaudy socks, narrow ties, together with long, greased-back hair. In April two gangs, also dressed Edwardian-style, met after a dance.



They were ready for action: bricks and sand-filled socks were used. Fifty-five youths were taken in for questioning. The following August Bank Holiday the first ‘Best Dressed Ted Contest’ was held. The winner was a twenty-year-old greengrocer’s assistant. The Teddy Boy myth was born.



“Fashions fade but the music and the look had a revival in the seventies, and this is what I and the writer, Richard Smith, were sent to cover for New Society. We both came away with the same thought - Hey man, this is weird! In the phrasing of Eddie Cochran, Somethin’ Else!!! and we agreed that we would continue working on The Teds, and make a book. A few years later we did, and the rest is history.”

ANNA FOX
Pictures of Linda Lunus



“I have been photographing Linda Lunus, singer of the punk group Fashionable Living Death, since 1983 – photographs for promotion of the band, for modelling folios or just for recording Linda’s clothes and style.



Linda was an antidote to the grim conservatism that surrounded us in small town life in the 1980’s.
Pictures of Linda Lunus is the result of a collaboration. Linda wants to be photographed as a record of herself, her life and her style. I want to photograph her because she is astounding, and her refusal to conform blatantly pokes fun at the controls our society exercises over women’s lives. The collaborative aspect is important to the project. I am interested to turn on its head the conventional power relation between photographer and subject. I wanted to see what it felt like to lose a vital part of the control that so often determines what we see on the printed page and exhibition wall.



Pictures of Linda Lunus is a continuous project, a research process. In working with Linda, I am developing a new perspective on my relationship to looking at the world through the camera lens and to taking photographs.”
This work was originally part of the Exhibition Cockroach Diary and Other Stories commissioned by Impressions Gallery, Bradford, UK. Curated by Anne McNeill.




 

 

 

 

 

 




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In the history of rock’n’roll the image probably has as important a place as the music. The body of the rock star was invented by photography (and cinema) and fed to the fans. In this mythology, there is no doubt that Elvis is in the Pantheon of icons symbolised by Andy Warhol’s famous Double Elvis taken from the western movie Flaming Star. No other body in the twentieth century has been photographed and filmed as much as that of Elvis. As demonstrated by the collection of Jean-Marie Pouzenc (president of the association and fan-club Elvis My Happiness), the King’s body is invented and transformed
through numerous media: film posters, magazines, movies, photo stories, record sleeves. There is the choreographed, eroticised body of the angel-faced rocker, the dancing body accompanied by the slender figure of Ann-Margret in Viva Las Vegas, or the tenderly paternal one in family photographs with wife and daughter, Priscilla and Lisa Marie.


Elvis & Ann-Margret dans Viva Las Vegas (L'amour en quatrième vitesse)


It is not this feline and eroticised imagination that is at work in the photographs of Kevin Cummins. They are inseparable from the drizzly light of Manchester and the melancholic face of Ian Curtis. Photography thus follows in the footsteps of sound (that of Manchester), and of music. It becomes faint, muffled, and snowy, distilling a melancholy that can be found in the portraits of Alain Bashung by Richard Dumas, in the deep blacks of the bromide prints with their light-dark contrasts that are so close to the singer’s voice. The icon is no longer crossed by the myth and the lights of Hollywood. In the 80s and then 90s, it is suspended on the singular truth of the natural lighting of a moment, a place, or a face, as in the portraits by Renaud Montfourny that also characterise the doubts of a generation. This deconstruction of the icon is also at work in Exercises in Admiration by Nicolas Comment, dedicated to ‘la chanson française’ in its rock form. Rather than the public image of the rocker, the photographer prefers to share with us aspects of the intimacy of creation combining the singer’s body with their landscapes and objects. In this way, photography becomes a musical construction, a voice, that invisible aspect that the image cannot convey: the voice of Elvis, of Bashung, of Patti Smith, of Ian Curtis...

KEVIN CUMMINS
The harsh truth of the camera eye



Described as “one of the top rock photographers in the world”, Kevin Cummins is among the most cherished portraitists of rock. His images have often been elevated to the rank of icons. His portraits also bear witness to a social and urban reality, namely that of Manchester, his home town.



“When I started photographing bands, I was interested in putting them into landscapes. If I’d have just taken Joy Division into a studio, it wouldn’t mean anything. What interested me was showing the environment they were living in.
(...) I was probably more conscious than the bands that I was part of their myth-making process.



For example, I’d never release pictures of (Joy Division singer) Ian Curtis smiling. That’s not how I wanted him to look, and it’s not what he wanted to show. It’s like the shot of Ian sat against the black wall; I put the overcoat on the hook, as a visual pun. Because the music press used to call it all ‘grey overcoat music’. So we put that in for our own amusement.”

Extract from an article in The Quietus, 30/09/2009

RENAUD MONFOURNY
Insular Photographer



“Renaud Monfourny is ‘insular’. Nowhere else can there be found such a prolific witness of his time. In his vast archives, there are unknown people who have become known and vice versa, but always photographed with a sincere vision that is far removed from contrived posing and digital retouching.


In 1986, a group of enthusiasts to which he belonged created the magazine Les Inrockuptibles with a view to meeting their heroes and drawing attention to a British and American scene that was then unknown in France. This rock publication, which started out as a bimonthly, ‘educated’ several generations of readers who, before the advent of the Internet god, were starved of information and opinions and here, at last, found what they needed.



The photos and interviews by Renaud Monfourny, who wrote under his own name and under the pseudonyms of Bates or Lise Deleuze, fed the imagination of many fans who continue to treasure the memory of a time when they used to eagerly await the day when their periodical came out.”
Lou Tapia de Monfourny

JEAN-MARIE POUZENC
Elvis My Happiness


“The first time I heard him was at a surprise party, and
I was taken aback by his voice. A few days later, in December 1957, I saw the film Loving You, and that was a shock that I’ve never really recovered from” (remembers Jean-Marie Pouzenc). He bought his first single together with friends: “I didn’t have enough money to buy it alone, so we passed it back and forth”. All the others followed. Back and forth.
(Libération, 9 August 1997 Michel Chemin) In 1992, he founded the association Elvis My Happiness, now the second biggest fan club for The King in the world, with nearly 6,000 members.



Among their activities: publication of a quarterly journal and numerous books, organised trips to Memphis, and a shop in Paris. For this rock’n’roll edition of Photaumnales, Jean-Marie Pouzenc presents photographs of Robert Bronner, Charles G. Clarke, William C. Mellor and Joseph Biroc, posters and album covers, immersing us in the America of the sixties.



In parallel, through 4 Elvis Presley films, Jailhouse Rock, Flaming Star, Wild in the Country and Viva Las Vegas, he revisits the iconography that created the mythology of The King.

COLIN JONES
The Who, 1966



This exhibition celebrates the 50th anniversary of the band’s formation in London in 1964. These rare images show the four musicians – singer Roger Daltrey, guitarist Pete Townshend, bass player John Entwistle and drummer Keith Moon – shopping, shaving, sleeping, hanging out.



A unique and intimate document of The Who at the very beginning of their careers.
“Colin Jones is good company and gave me good
advice” recalls Pete Townshend. “During a separation with my girlfriend, he urged me to grovel a little to get her back. I did so and later married her.”
“There is a continuity between what I am doing today and what I was doing in those pictures. Seeing them makes me feel more like the artisan, potter or painter I have always longed to be, rather than a mere pop performer.”



“When I see these pictures of the Who in 1966, I think I am coming home again, back on course, approaching that old ideal. I can still see a constancy of purpose, even if it is rather vain.”
Pete Townshend, extracts from the article “Mods Almighty”, Sunday Times Magazine, 29 April, 2007.

NICOLAS COMMENT
Variété



Variety (Exercises in Admiration)
In the form of a ‘journal’, consisting of photographs and texts from his personal archives, Nicolas Comment modestly brings together the figures of some leading creators of ‘la chanson française’ (in its rock form), whom the photographer – also a songwriter – has in turns met and rubbed shoulders with through ‘elective affinities’...



In this way we come across the silhouettes of such French artists as Rodolphe Burger, Jacques Higelin, Yves Simon, Gérard Manset and Christophe, in going through landscapes (places of writing) and still lifes (instruments, studios, etc.), which contribute to an ‘inner’ vision of rock, focused on encounters and the intimacy of creation rather than on the ‘show’ itself.
* Variety: Subdivision of the species, delimited by the variation of certain individual characters.

RICHARD DUMAS
Imprudence, 2002



When asked by a reporter how a shooting session had gone with some celebrity, Richard Dumas replied placidly: ‘He was not alone, there were two of us.’ This laconic attitude corresponds to a self-evident fact that comes across clearly in his work: he alone can await the moment to create this impression of discovering in the model this feeling that he is, at that instant, somewhat alien to himself, capturing on the face a sense of strangeness, such as is inherent in existence.
(...) Dumas takes the face for what it is, bringing us back to the etymology of the word visage, which has its origin in ‘visus’, which defines the action, the ability to see,
but also, by extension, the aspect that a thing presents, especially a personality.” Gilou le Gruiec, 2012



For this edition of Photaumnales, Richard Dumas presents 10 portraits of Alain Bashung, the departed friend with whom he shares some rather disturbing similarities in physical features.
«Here, Bashung is looking at me, and I chose the place, his clothes... It’s almost as if I was modelling a part of myself, a projection.»
Richard Dumas, 2002

RHONA BITNER
LISTEN



“My work is a simple inventory of places and spaces. The idea is to allow viewers the freedom to bring back their own memories...”
Since 2006, Rhona Bitner has been travelling throughout the United States in search of the places that helped shape the mythology of rock’n’roll: recording studios, radio and television studios, concert halls, clubs, bars, stadiums, sports complexes, theatres, churches, hotels, jail cells, old plantations, and more. She goes wherever popular music was composed, performed, recorded or shared.
Rhona Bitner asserts an approach of neutrality, even total detachment, transforming the stage apparatus of a concert hall, recording equipment, or the ruins of an Italian-style theatre into veritable still life works. The resulting images do not stir the imagination any less for this: in these empty and silent spaces there still remains a distant echo of the events that animated them and made them famous.



The impersonal nature of these monuments to the glory of the popular music that has become part of our collective memory thwarts any inclination to nostalgia and gives rise to a strange feeling of familiarity.
Stephane Malfettes

LUDO LELEU
Instant T



Ludo Leleu, our man from Picardie in the 2014 programme, presents us with a series of portraits of representative musicians and bands from the rock scene. We meet Loïc Lantoine, Izia, Micky Green, The Kills, Bertrand Belin, Heavy Trash and The Jim Jones Revue. Portraits as so many instances of Time T, snapped on the spot.



«There is no rule on the subject”, says Ludo Leleu. “I have very little time and it is the musicians who set the pace. The photo is taken just before they go on stage, during the sound check, or after the concert, as they wish. We have a chat, we agree on the place, and then I take whatever I’m given... A feeling is created, a gesture, an expression, and then I shoot. These are furtive encounters, but very intense. Every time, I get into a state of extreme tension to capture the moment.»
Without directing the models, the photographer lets be... and the alchemy comes together. A totally rock’n’roll attitude!




The fan builds his image through identification with a rock’n’roll singer, group, or even tribe. Photography brings to the surface what from the outset is seen as a visual construction of the subject in body and skin.





The rock icon is played on again in the mode of mimicry or parody, as shown in the work of James Mollison, who sets up his studio outside the exits of concerts. Fans of the Stones, Cure or Sex Pistols all try to resemble their idols as much as possible through clothing, hairstyle or look.
The disciples belong to tribes, urban hordes like the legendary mods riding around on their scooters in the streets of Brighton. Dominique Dudouble has recorded this story in a work of reportage, with overtones of Quadrophenia, from which emanates a certain nostalgia for the sixties. As for the photos by Laëtitia Donval, snapped at festivals between 2005 and 2013, and comprising the series Audience, they immerse us in
the fabric of current day feelings made up of physical relationships between bodies: brushing, bumping, and solitude. It is also solitude that permeates Songs by Christophe Desforges: photographs and drawings that are scratched and scraped, and on which appear some words from those songs listened to through an old player while on the road. “We can be heroes, just for one day” sang David Bowie. Pascal Mirande, fan of the singer, invited some of his closest circle to pose for him in order to recreate icons of glam rock, contemporary doubles of Ziggy Stardust. These silent fans who, through the technique of 3D photography, strike us as more than real are quite unlike those of Susanne Bürner and her 50,000,000 Can’t Be Wrong. These fans, through their faces and their gesticulations, are transfigured by desire, passion and despair – that of the fan forever separated from their idol.

DOMINIQUE DUDOUBLE
Mods for ever



“Mods made it onto the covers of magazines in the mid-60s, on the occasion of their Homeric clashes with Rockers, while for a spell over a few weekends the peaceful beaches of Southern England were transformed into battlegrounds.
They made a comeback in the early 80s, when The Who, the legendary group of the English music scene, decided to make a film about Mods, inspired by their album Quadrophenia. (...)



The Mods probably came into being on a Sunday. They are the children of boredom. That deep boredom that oozes out of a true English Sunday in a remote suburb. (...) The Mods may have been born out of the desire to get together, to keep warm in heart and body, the desire to share the same taste for R&B. (...) They also came about from the magic of that Italian invention which they elevated to the status of a work of art: the scooter, or more precisely the Vespa (or Lambretta – here again, two clans clash...).


For English youth, the scooter was a fabulous instrument of escape. With it, they could escape parents and neighbourhood alike. Somewhere else was possible.»

LAËTITIA DONVAL
Audience



Audience is a photographic immersion in festivals bringing together rockabilly, metal, hardcore punk, folk and blues communities in France and Belgium between 2005 and 2013. “I got into rock music through Nirvana, wearing the plaid shirt and ripped jeans that were de rigueur, and then I discovered a multiplicity of sounds and communities where I was soon lost. I never managed to find myself or fit into the codes of a rock community, so I’ve kept that attraction... to extremes.



I have often felt the need to see experiences through to the end in places that are familiar or not, the purpose being not to photograph the world to represent it, but to keep track, to preserve some memory of these experiences. (...) Today, I am continuing my research into areas that come into my own story with that same desire to be in the precariousness of the moment, proceeding through immersion and detachment.»

JAMES MOLLISON
The Disciples



“A few years ago, on a trip to Los Angeles, I noticed how many girls looked like Britney Spears. I wondered if it was a conscious decision on their part. I would have gone to a Britney concert to investigate, but she wasn’t touring. I took my camera to a Marilyn Manson concert instead. The fans were amazing, but I was slightly disappointed with the individual portraits I’d taken. When I looked at the portraits as a group, however, I thought something much more interesting emerged.



At the beginning of the project, I always tried to get permission to be inside a concert. But often a venue wouldn’t give permission, because I was photographing the fans not the band, or because the band wouldn’t
be able to control the images, or because the pictures wouldn’t make money for the band... For the most part, I simply set my studio up in the street outside the venue, wherever I could find a spot. I had help. Not long after the start of the project, I met Amber (now my wife), who was with me throughout. Before each concert, Amber and I would look at pictures of the band to familiarise ourselves with their look. Once at the venue, we would scan the crowd for that same look. Usually that’s what we would go for in the photographs – though sometimes something else would surface which took us in a different direction.”

SAMUEL KIRSZENBAUM
Public


“Working for many magazines and newspapers, I am often required to cover festivals. I came to realise that the audience was as representative of an era as were the artists on stage. For me, being confronted with a face, the essential thing is not to hide. But for photos of musicians who are playing, unless you are on stage, this is impossible. My interest in this series is to document the changes of habits and style of festival goers, without overlooking unchanged behaviour. One example: from 2002-2003 there were digital cameras, and then from 2004-2005 came mobile phones, emerging as a means of capturing memories.


Another example: the joy of a good concert, an excited crowd, and the people responsible for security pushed into a corner when a performer decides to go down in contact with the audience, the pogo, the sweat... At a time when music is consumed less as an object, the live performance becomes all-important and this is reflected in the kinds
of audience.»

SUSANNE BÜRNER
50,000,000 Can’t Be Wrong



50,000,000 Can’t Be Wrong shows groups of people expressing longing and despair through their mimics and gestures. However, the object of their desire, their idol, is missing.
He/she is off-frame, withheld from the viewer. All traces referring to him/her are erased from the footage. What’s left is the reflection in the faces of the fans.
The only indication of the absent protagonist is through the work’s title. In 1959 Elvis Presley had published a compilation of his songs entitled 50.000.000 Elvis Fans Can’t Be Wrong.
Hereby, he was one of the first rock musicians to incorporate his fans actively in the justification of his existence as an artist. The object of desire strikes back. Video of 6 minutes 24 seconds.

SUE RYNSKI
My Scene : anytime, anywhere in my rock’n’roll playground



“Born in 1954, year of the birth of rock and roll, I grew
up immersed in the high energy music of my hometown Detroit. This loud, physical, emotional music took hold and became a part of me. I lived through the punk era among friends in the Detroit art and rock underground at the end of the 70s, an incubator of creation and freedom where I honed my photographic vision: active, intimate, graphic, exhilarating, merging with the force of the music and capturing my pals within this dirty, trash setting.



The essence of rock and roll continues to be my inspiration. There still exists rock and roll that is unbounded by the constraints of commercial gain and fashionable trend. In little clubs, in their lifestyle, rockers find a freedom that has become rare these days... This
is my life too. My ongoing project called My Scene is the personal theatre in which I am evolving. Taking photographs is very physical for me. I need to feel the music, the passion, the movement. I “get” my photos at chosen instants, framed with precision. There is often
a kind of psychic automatism. I seek to get beyond the conventional “rock photography” genre and to create “rock” work that is rich in colours, a concentrate of emotion and energy”.
 
PASCAL MIRANDE
Changes - Turn an face the strange



“We can be heroes, just for one day” David Bowie Resemblances, differences, colours, similarities, makeup, look, perception, androgyny, anaglyph, Glam Rock!
With this exhibition, Pascal Mirande offers a stereoscopic photographic work featuring six girls and six boys disguised as David Bowie in the 70s. Each model is photographed in the spirit of «glam-rock».



Without 3D glasses, the viewer discovers colourful images, highlighted by the shift and overlay of blue and red. Wearing 3D glasses brings out the third dimension and another reading of the image is discovered.
This is a play on similarities and differences, and perception is heightened by the anaglyph technique (process of photography in relief).

CHRISTOPHE DESFORGES Songs

I loved road movies at the cinema, Faye Dunaway - Bonnie Parker2, Bill Murray and his Ethiopian Broken Flowers3. I have some of the soundtracks; once in the CD player, with the key barely turned in the ignition, my Toyota is fantastic.



I have also taken trains across
the plain... Songs that help along the attempted trip, sometimes short and brief, sometimes long. An unlikely voice-over that comes to trouble the taut drawn lines between vision and oblivion. Inevitably the soundtrack influences the way the images go. All seems like fragments without any set script. And yet... Nick Cave haunted by Robert Jonhson, his pact with the devil, a really strange track, Higgs Boson Blues, the elementary particles of Peter Higgs? In the car or the train, my suitcase in my hand, in front of me a wide vista, a moving screen where the signs scroll by and cross the view a moment. Ballad of a Thin Man is another one that pursues me, unalterable. Holding on to what escapes, and forgetting in order to hold on; one image disappears when another appears ; a word, a voice.



We were going to see the world, Patti : the world, you show it to us in black and white ; I listen to Amerigo and I think of Just Kids... The images roll by. Drawings like photographs result reciprocally from unceasing movement in development and lead to a precarious, fragmentary and changing form. Let’s get lost. The drawing is related to time, duration – Time draws4. The camera is a slow vehicle that participates, taking note of our routes, our roaming and roving. Jack: “It’s pretty amazing to see a guy, while steering at the wheel, suddenly raise his little 300 dollar German camera with one hand and snap something that’s on the move in front of him, and through an unwashed windshield at that.”5
In its nomadic side, the photograph is the fix – fixing the scratches of time.



Scraped, scratched, and scarred, the ballad of Tom Waits, voice of the night infused in me again, a reliable companion. These songs accompany me through a kind of mess that accumulates over time, without hierarchy, always finding just the right place, and at the right time, accessible on bad days (which are countless), and on good days too.”

ROBERT KLUBA
The Fury of the Past



Sixty years after the first titles were broadcast over the radio waves, the fans of rock’n’roll are younger than the songs of the time. Actively involved in associations, they get together in music clubs for weekends complete with car races. They often work in jobs related to their passion : musicians, hairdressers, tattoo artists, designers, etc.
They revive the lifestyle of the time and constitute a community that has spread throughout Europe and the world. Their fascination for American music of the 50s is also reflected in their taste for vintage fashion, decor and cars. These are more than just ordinary fans because their daily life is rooted in the fifties.



‘The Fury of the Past’ takes us back to a time when imposing 8-cylinder limousines, furniture for cathode ray tube television sets and vinyl 45s were sold extensively. The exhibition offers a contemporary trip between Paris and Berlin and provides an intimate look into the universe of the rockers of today who live in a retro world. It gives rise to a troubling feeling of the past and present being abolished by one another.
Frédérique Founès

 






 

 

 

 

 

 

 

 

 

 

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