After the Circulation (s) festival, the Photo Saint-Germain festival in 2018 and the Usimage Biennale in 2019, Les Filles de la Photo responded to the invitation of Laura Serani, artistic director of the Planche (s) Contact festival, and organized in Deauville last October 25, a fourth round of debates on current topics closely related to the career of photographers. By combining exchanges, reflection and practical advice, two conferences have reinforced the new mediation program set up alongside the exhibitions.
Initiated in 2018 under the format “Girls in the picture tell … a photographer trades”, the round tables of the Girls of Photography allow the public to better understand the professions of photography and discover the sometimes unexpected aspects of this ecosystem.
Echoing the particularities of the festival deauvillais centered on public commissions, The Girls of Photography first chose to address the issue of prices and professional residences through the lens of time.
Laura Serani, François Hébel, director of the Henri Cartier-Bresson Foundation, Chantal Nedjib and Sophie Bernard, authors of the book “Prix Photo, instructions for use” (published by Editions Filigrane), accompanied by photographers Lorenzo Castore and Klavdij Sluban. answered without language of the questions of the journalist and artistic director Karin Hémar.
In a context where prices – which moreover multiply – constitute an alternative – and artificial? – at the orders and press releases rarer, the guests made several observations. As the one for photographers to take the time to apply for the right price rather than all the prices, to study in detail the regulations and even more the composition of the jury. Whatever the outcome, which is inherently random, a well-constituted file can have a positive impact in the medium or long term and allow a talent to be spotted by the profession. Beyond the endowment and recognition, the laureate benefits from a parenthesis of serenity to produce. On the sponsoring side, the focus was on the need for them to develop ambitious, distinctive and meaningful awards, with respect for all stakeholders. Because it is only in the long term that a prize finds its legitimacy, by the yardstick of the list of its laureates and members of its jury. Charge to the patron to adapt – or not – the content and organization of the competition to societal changes (mix of applications, modes of support and remuneration etc.)
The speakers concluded with one voice that the prizes allowed to draw a true panorama of the current and future photographic scene.
Hosted by Séverine Morel, art buyer at Havas Paris and curator of Havas Gallery, the second roundtable allowed to observe the behaviors of contemporary photography through the social web by focusing more particularly on the Instagram network.
Alexia Guggémos, founder of the Social Media Observatory – Smiling People, author of the “Digital Survival Guide: social networks for the use of creators” has thus proposed a masterful course of analysis of the social web and initiation to these new practices that turn photographic narration into storytelling.
Guest photographer Letizia Le Fur was able to show, through the use she made of her Instagram account, how these new uses invent a new mode of “exhibition” of the author by himself, especially through a gallery of a new kind, a continual gallery.
What is the new condition of photography at the heart of this data obesity that characterizes our digital era? what is the difference between an influencer, an instagramer and a photographer? Instagram repackage the photographic aesthetic? how can algorithms affect the reputation of photographers? how does the artist become a media? what are the new visual narratives? so many questions that lead us to observe the ongoing transformation of this practice between art, medium and media, and to question the “post-photography”.
Who are “Les filles de la photo”?
“Les filles de la photo” is the first professional women’s network that acts for photography.
Founded by three passionate photographers working in complementary worlds, Marion Hislen – now Delegate to photography at the Ministry of Culture -, Chantal Nedjib, founder of the agency image by image, and Florence Moll, agent of photographers , the association quickly federated around its values and its projects. It currently has 150 members from all walks of life: art buyers, gallery owners, photographers agents, exhibition curators, iconographers, festival directors, creative directors, curators, press officers, journalists, communication directors, critics of art, editors, scenographers, production managers, etc.
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