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PRESS BOOK
(In)OrganiqueULLA REIMER & CAROLINE CARLES
When two generations of photographers
work together matter.
www.ullareimer.com
Atelier Les Claparèdes 84480 BONNIEUX
00 33 (0)6 83 59 50 77 [email protected] [email protected]
www.carolinecarles.com
(In)OrganiqueULLA REIMER & CAROLINE CARLES
When two generations of photographers
work together matter.
SOMMAIRE
Overview 3
descriptive (In)Organique 4
journalistic interviews 5
Presentation of artists 8
(In)OrganiqueExposition
ULLA REIMER & CAROLINE CARLES
Born from the combination of experience and youth, through the association of the long-standing international artist Ulla Reimer with the emerging photographer Caroline Carles, the series» (in) Organique» offers a sensual
journey into the heart of the matter.
Ulla Reimer has been a photographer for years. She worked fi rst as a photojournalist and as a portrait photographer specializing in the cinema before becoming a full-fl edged artist. Ulla has always been concerned with the notion and experience of emotion.
While her desire to arouse emotions has remained intact to this day, her style has become more refi ned and her interest has turned to abstraction. Thus, object structures and architectures now represent a major source of inspiration.
Caroline Carles is a young photographer whose interest is centered on the human body and who takes pleasure in showing our corporal shapes and textures as she sees them or as she would like them to be.
In June 2009, Ulla and Caroline took up the challenge of mounting a joint exhibition. Without betraying their own styles or their own interests, they worked together and the fruitful combination of Ulla’s experience and Caroline’s energy fi nally gave birth to this series of diptychs in which the juxtaposition of the inorganic (Ulla Reimer) and the organic (Caroline Carles) ultimately makes matter triumphant.
An extract of the series was shown in Gordes (Provence, France) in August 2010 and in a privat gallery Paris 16è in 2011, the exhibition was a great success. Close-ups confuse the eye and allow the viewer to let his imagination roam while the tones produced by the high-key or low-key add softness and sensuality to this journey into the heart of the matter.
p.3
Atelier Les Claparèdes 84480 BONNIEUX
00 33 (0)6 83 59 50 77 [email protected] [email protected]
p.4
The series consists of diptychs asso-ciating each fragment of the human body signed Caroline Carles, to archi-tectural signed Ulla Reimer.
The dimensions:60 x 120cm or 90 x 120cm, silver la-minated paper on Garobond 3mm.
D E S C R I P T I V E
T E C H N I Q U E
p.5
(In)OrganiqueUlla Reimer & Caroline Carles
A feminine ideal of sweetness
It is a strange journey wandering in the anatomy of things, a walk through the mysterious nature of duality.
Ulla carries with it a long international experience artist when, Caroline, she responds with the fervours that
creates a unique world, in being built.
(In) organic is the result of an unusual chemistry between two artists with different outlooks the light enters
the mirror of undecided where the materiality of things would wash up on the living and the living would go
to be confused with the inert.
In the style of the hieroglyphics of the Egyptian sacred writing, the series (in) organic reads from right to
left, left right. In a fi rst moment, sensuality is put aside in order to allow the living to discover in more imme-
diate, in fact more material. Yet, strangely paradoxical way, we are absorbed by the symbiosis that we deliver
the immateriality of things and the movement of emotions intended to travel the way these works.
Between the inanimate and the body, the look seems surprise, taken as vertigo. No doubt, there is the strong
desire among the artists not to address the spiritual dimension of things. Maybe it is to show how the materia-
lity of beings inert merges with the living in what he has more particles.
However, in a second moment, not seeing how, in these works a tribute to the life, life in it has more fl uid,
adjacent and more unexpected.
The binomial Ulla / Caroline appears to meet the couple inert / living. Everything here exudes sensitivity
Heraclitean: if being is, it is in a constant oscillation between the inert and the living it becomes available. In
addition, seem to add Ulla and Caroline, if being is, it is on the side of life he looks. Being is, life is short and
the inert fi gure would be a fugitive of the living. We can now understand why these works come to express a
feminine ideal of gentleness, harmony and fl uidity. An ideal of life ...
Patrick Levieux
p.6
Conversation between bodies and structures
Bodies and structures that seem to respond. Why dialogue?
Caroline: First, because we will propose a series made in pairs and we were anxious not to betray our res-
pective styles. I, as a rule, I am interested in the body, while Ulla fi nds its inspiration in the structures of
objects. Then because we wanted to collect the inert and the living, to be confused so that it remains only
the matter, as we show elsewhere in more detail. Finally, object or human, all that the molecules are the
same; it is just changing their organization.
Does that mean that there would be no specifi city of the body as an object? That reminds me, a photogra-
phic image of Ulla, an erotic form of what appeared to be a woman in the back of a shower, when it was
ultimately that of a leek ... In short it is a very materialistic vision which seems to be your approach. There
is no mystery of the body?
Ulla: The mystery is in the eyes of everyone. Interest is to confuse the subject and the human in order to
bring the viewer to question.
Caroline: If we stick to the defi nition of materialism, it is interesting just here to represent the body as an
object and to separate it from the mind. However, in my opinion, the body retains its mystery by the sensual
curves that are shown and the softness of the colours used. The question that emerges may be in this series
might be is the body an object like any other? Of course, in my opinion, the answer is no because it gives off
a unique sensuality. Finally, even if this is the same molecules, one cannot help but keep in mind that one
side there is an element and more life.
Interview with Ulla Reimer and Caroline Carles
p.7
A hyper-materialist approach, can we also talk about a dehumanization of the body? For example,
what is striking is the absence of the face; the gentle sweetness becomes a line of fl ight. Can we say
that there is a critical dimension of the human condition in the sense that fi nally the place of human
beings would not be more central than the objects that inhabit our environment? In short, there would
not be a privileged place of human beings.
Ulla: Divert the body object or the object in the body, helps to realize that the body can be an issue.
A simple package. For example, a chest that is usually sensual, soft object could become fossilized.
While a simple corrugated iron home to the weather and is usually represented as a sharp appearance,
cold and dirty, becomes soft. This game of opposite interests me, and even wears an interpretation of
the material.
Caroline: Yes, the body appears as dehumanized as they are only pieces that shown. However, I do not
think that the sweetness is only lines of fl ight. I think the softness of the body , photographed as part
of a drop in kidney, breast, the hollow of the neck ... As for the place of humans in relation to objects;
it seems to me that the body is the contrary in this series an ideal place. If we associate the fragments
of food or animals to these structures of objects, the diptychs would not have had the same power. The
presence of humans and life gives meaning to the entire series. The a priori approach «hyper mate-
rialist» acts contrary giving a special dimension to the living, because even if you want to get the body
to a mere object, no mistake about it, one hand there are longer life. Perhaps this very aspect infects
living things and brings the sweetness.
There is more to an artistic productions that deliver a speech. Can we say that your approach helps in
this way to glimpse the art?
Ulla: In my opinion, the speech is not helpful. Each individual enters the subject, feel an emotion of its
own. Give to read a text; give an explanation, a clear approach is important for who desires it. Howe-
ver, it is important to give freedom to those who want to plunge our world just by feeling the emotions
that we wanted to communicate.
Caroline: I agree with Ulla. The explanation of the artist’s approach does more to those who wish to
understand the mechanisms that led to fi nal production and that the image is a trigger for refl ection.
For others, it seems that only the emotion generated suffi cient. They stick to what he feels and do not
necessarily want to know why or how the artist got there. I think both are equal, after all they are two
different but complementary needs. What is certain is that our way of working requires a lot of thin-
king before and during the production of works but we do not create in order that the viewer sees the
same thing as us.
What is the role of spectator in your approach? What are he asked through this work?
Ulla: The viewer is invited to share our universe, to discover a glance, to imagine them transported
into a dream, a matter that is the body and structure. At the same time, the viewer is invited to dive
into a world far from reality, to be carried away by his emotions.
Caroline: The audience is fi rst asked to examine concretely what he sees; his look is deliberately pus-
hed to that kind of reality. Then the viewer is invited to consider the meaning of proposed associations,
which should bring him to see the world differently. In the words of Ulla, the viewer is not particu-
larly encouraged to understand, he was invited to experience. We presented an excerpt from the series
in Gordes and it was wonderful for us to observe the reactions of people, some had the chills, other
exclaimed with wonder, others sought to understand ... We would like to deal with these images each
comes face to himself...
p.8
For 40 years,
Ulla Reimer is an artist
in the visual arts world.
Reporter in its infancy, Ulla later
became a portraitiste in the world of
entertainment, before devoting himself to his
true passion,fi ne art photography.
So now a partner at the
young photographer and visual artist
Caroline Carles, they
continue to share their passion
The lecture course in re-creative,
Ulla has always been to convey his
interest in the image and experience.
More details onw w w . u l l a r e i m e r . c o mw w w . c a r o l i n e c a r l e s . c o m
© Intellectual property: the reproduction and distribution of images is prohibited without the express permission of the artists.
Ulla et Caroline P A R C O U R S
p.8 p.9
2011 PARIS, Galerie Arsyne «Duality» avec Caroline Carles
PARIS, Artfi nder
LYON, Espace Paul Ricard «Etre ou ne pas paraitre» PARIS, Galerie Arsyne «Duality» avec Caroline Carles
PARIS, CNIT «A contre-pied» PARIS, Galerie Arsyne «Duality» avec Caroline Carles
2010 LYON, Espace Kozac pour le mois de la photo, BODY OR NOBODY avec Caroline Carles
GORDES, La chapelle, Exposition comune avec Caroline Carles
TOKYO, Brasserie Institut Franco japonais <WINGS OF FANTASY>
PARIS, Galerie Oberkampf «in)Organique Ulla Reimer et Caroline Carles
2009 AIX EN PROVENCE <FOOD for SOUL> Exposition «festival du fi lm sur l’environnement»
JINAN-QUFU (Chine) Contemporary International Photography Biennale
<WINGS OF FANTASY> et <ETRE OU NE PAS RARAITRE> Prix de l’Académie Supérieur
2008
2007
AIX EN PROVENCE REGARDS CROISES <ETRE OU NE PAS RARAITRE> rétrospective Musée de Tapisserie
ARLES, Maison des Associations Création Vidéo dans le cadre des Rencontre de la Photographie
PORT DE BOUC Création Vidéo et Photo, invitée d’honneur
2004
2002
APT, MJC Résidence d’Artiste (Oct.2003 à Juin2004) < Les 40 ans de la MJC> Installation, Exposition, Projection
GORDES, Château <JALEO>
2001 TOKYO, Pentax Gallery <WINGS OF FANTASY>
AIX EN PROVENCE Espace Sextus <ETRE OU NE PAS RARAITRE>
2000
1999
ARLES, Espace MPT <ECLAIRS>, dans le cadre des Rencontre de la Photographie
ALLAUCH, Invitée d’honneur, PHOCAL le vieux bassin <ECLAIRS-Ailes>
1998 TOKYO, Pentax Gallery <ECLAIRS-Nocturne> <JALEO OU LE REEL TRANSFIGURE>
GORDES, Aumônerie St.Jacques <ECLAIRS>, <ETRE OU NE PAS RARAITRE>
LYON, Palais de Bondy, Journée de la photographie <ECLAIRS>
1996 Festival d’AVIGNON, Théâtre de l’Escalier <ECLAIRS - TOKYO-TO>
NEMOURS, Mois de la Photo Invitée d’honneur <ECLAIRS - SYMBIOSE >
LYON, Journée de l’Image Photographique <FRAGMENTS>
LOURMARIN, Espace Karas <ECLAIRS>
MARSEILLE, Espace Ecureuil <ECLAIRS >1995
1994 YOKOHAMA, Festival du Film Français <ON-OFF>
OSAKA, Galerie AF, Festival de Film International <ON-OFF>
FRANCFORT, Atelier Nr.695 rétrospective
YOKOHAMA, Galerie Institut Franco-Japonais <PARIS - SEPIA>
1993 TOKYO, Pentax Forum <VIT-LE-REVE>
OSAKA, Pentax Forum <VIT-LE-REVE>
MARSEILLE, Espace Ecureuil <VIT-LE-REVE>
MARSEILLE, Atrium CG13 <ETRE OU NE PAS PARAITRE>
OSAKA, Galerie Espace <ETRE OU NE PAS PARAITRE>
FUKUOKA, Galerie Amikasu <SERIE NOIRE>
NARA, Galerie AF <ETRE OU NE PAS PARAITRE>
1992 AIX-EN-PROVENCE, Espace Sextus <ETRE OU NE PAS PARAITRE>
TOKYO, Galerie Institut Franco-Japonais <SERIE NOIRE>
YOKOHAMA, Galerie Institut Franco-Japonais <SERIE NOIRE>
ISTRES, MPT invitée d’honneur <ETRE OU NE PAS PARAITRE>
1991 ARLES, Espace MPT <ETRE OU NE PAS PARAITRE> dans le cadre des Rencontre de la Photographie
OSAKA, Pentax Gallery <ETRE OU NE PAS PARAITRE> <OMBRE ET LUMIERE>
AIX-EN-PROVENCE, Espace Méjane <ON-OFF>
OSAKA, Pentax Gallery <ETRE OU NE PAS PARAITRE> <OMBRE ET LUMIERE>
1990 PARIS, ESEC <SERIE NOIRE> dans le cadre du mois de la photo
MONTROUGE, 35.Salon d’Art Contemporain <ETRE OU NE PAS PARAITRE>
NEMOURS, invitée d’Honneur, Festival de Photo <SERIE NOIRE>
1989
1988
PARIS, Lucernaire - Centre d’Art et d’Essai <SERIE NOIRE>AIX-EN-PROVENCE, Galerie Fontaine Obscure <OMBRE ET LUMIERE>BONNIEUX, Galerie St. Dieu <SERIE NOIRE>AIX-EN-PROVENCE, Offi ce Départementale de la Culture <SERIE NOIRE>FRANCFORT, Musée de Cinéma <ON-OFF> 10 ans de portaits dans le monde du cinéma
EXPOSITION - EXHIBITION - EXPOSITION - EXHIBITION - EXPOSITION - ULLA REIMER
p.10