Under the direction of Michel Poivert
Contributions Nathalie Boulouch, Audrey Leblanc, Valerie Beads
The inaugural issue of the Journal of Gilles Caron Foundation is emblematic of the willingness expressed by Marianne Caron, President of the Foundation and its director Louis Bachelot: making the photographic work of Gilles Caron space for reflection beyond the study the corpus of the author himself. The color is indeed an almost antagonistic theme with the idea that we have of the news report, tradition celebrating the values of black and white to make it a doxa. Yet, since the creation of the Foundation, the reconstruction work of production brings the photographer each year its batch of images in color. Like his colleagues, Gilles Caron produced color as required by the agencies of the 1960s, but our culture and photographic memory have so far little considered that the color could express specifically in ‘reportage image.
– A study day on June 6 in Venice as part of the Venice Biennale.
– Scholl Exhibition Gallery in Paris from 10 June to 25 July 2015
Gilles Caron (1939-1970) Visual memory of an era, narrated by images chronicle the great contemporary conflicts (Six Day War, Vietnam, Biafra and Northern Ireland, May 68, suppression of Spring Prague …). It will eventually pay this commitment of his life, during a report in Cambodia.
Mobilized as a paratrooper during the war in Algeria, witnessed the brutality inflicted on civilians, he sought, by engaging in photojournalism, to cross to the other side of the fence to understand the situation of people caught in the gear of war. An experience which he did not emerge morally appeased. Party with heroic vision of war photography, Gilles Caron eventually question the purpose of his trade: can we settle for a role as a witness, a spectator? It is one of the first in the industry to present the symptoms of an inner conflict, a moral crisis. One of the first to practice a form of introspection that leads disillusioned reporter gradually return the camera to himself, become the object of the photographic narrative.
Auteur, Critique d'art
Michel Poivert, Florence Calame-Levert
Dérive des baigneuses
Michel Poivert, Sophie Bernard
Les Cahiers de la Fondation Gilles Caron
1418. échos, versos et graphies de batailles
Michel Poivert, Guillaume Nahon
Les enfantillages pittoresques
Michel Poivert, Arthur Kopel, Christine Besson
Michel Poivert, Pascal Le Brun-Cordier, Aude Cordonnier
La région humaine – Des corps dans la ville
Collectif, Michel Poivert
Un mince vernis de réalité
Michel Poivert, Céline Clanet, François Deladerrière, Géraldine Lay, Geoffroy Mathieu