The Eye of Photography opens a new column on collective photography, with the words of Benjamin Rullier. Far from the image of the solitary artist, photographers choose to gather in collectives. Collaborative projects, bridges between practices, economic realities: each month, a founding or active member presents their collective, its specificities, and its challenges. Join the group!
In July, Karoll Petit traces the origins of Le Bal des Rejetons: 31 photographers united by a rejection letter from the major BNF photographic commission. Together, they transformed their frustration into a vibrant series of projects.
How did this group of unknown photographers come together?
It all began with a Facebook post by photographer Anthony Micallef, who expressed his anger and disappointment at not being selected for the BNF commission. It wasn’t just jealousy; it was something more complex and constructive. Hundreds of photographers responded, finally finding someone who had voiced what they were feeling.
How did you personally feel about the rejection letter?
As a photographer, you submit 5 to 10 applications a year and often face rejection. That’s not the issue. The real problem is realizing you won’t be among the 200 photographers recorded in France’s history. It makes you question whether you are truly a photographer. Normally, I don’t comment on social media, but Anthony Micallef’s message was so well-written that I felt compelled to respond, and that was the start of everything.
How did you transition from discussion to creation?
Anthony quickly created a private Facebook group with the responding photographers. What stood out was their frustration at not having the funds to complete projects they had been contemplating for months. We started thinking about uniting and doing something together. We decided to work within the same timeframe as the BNF commission for our projects and formed an association with those interested.
Had you ever met each other before this?
We met for the first time a few months later, in Brittany, in the fall of 2022. Twenty of the thirty members attended, and none of us knew each other. We shared our respective works and realized our projects were all very humanistic. It was incredibly moving. We returned home and continued working on our projects, aiming to finish by mid-January 2023. Out of 31, there were 30 completed projects. The one person who couldn’t complete hers worked just as hard behind the scenes on the Bal project.
How did this collection of projects become Le Bal des Rejetons?
Once we finished our projects, we asked ourselves, “What next?” After more virtual meetings and a weekend together, we realized it was impossible to market a collective exhibition due to our large number. We decided on creating soundslides: photos accompanied by music, testimonies, or ambient sounds. We began presenting these works at festivals like the Off Festival in Arles, Les Azimutés in Uzès, Les Nuits Photographiques de Pierrevert, and La Quinzaine Photographique Nantaise. We held about fifteen exhibitions.
Did you also want to create a photo book?
We debated whether to make a catalog but ultimately decided to go for a real book. We took a bold step, bolstered by our collective strength. Alone, you would not dare. Our crowdfunding campaign was more successful than expected, and Editions de Juillet supported us. We printed 1000 books and almost sold out. We’ve been incredibly fortunate throughout this project.
Is the project reflective of your collective?
Absolutely. An example is our book cover. A workgroup struggled for days with the fear that no one would understand or connect with Le Bal des Rejetons, suggesting a more generic title. But I insisted on keeping our distinct name. We didn’t care about bookstores; we primarily presented the book at festivals. We wanted an impactful, aesthetic cover, and now we’re proud to see our striking pink cover even on the BNF’s shelves!
What has emerged from this project?
We are proud to have avoided creating animosity. Overcoming the frustration of not being selected for the BNF commission and possibly not completing our projects could have led to resentment. Instead, our collective strength transformed that anger into creativity. The positive feedback from other photographers is particularly touching. People appreciate our boldness.
What has Le Bal des Rejetons brought you individually?
As Anthony Micallef says, our coming together wasn’t random. We share similar vulnerabilities regarding rejection and refusal. We’re all a bit sensitive and managed to progress together. We learned a lot, especially about communication, thanks to Lucy Vigoureux, who was incredibly strong and supportive. Personally, I’ve gained confidence and the ability to lead a group. Collectives teach you to find your place.
What’s next?
Internally, we haven’t let go because we found this experience magical. However, rekindling that dynamic after such an intense period is challenging. The initial projects had set themes and timings, but a new project would mean starting from scratch. Our recognition stems from what we’ve achieved with our subjects—exhibitions and the book in a short time. We need to continue surprising people with our presentations. But we don’t want to force ourselves. No one is waiting for us, but we have the desire to create a season 2 eventually.
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