In July 1981, screenings chief Marc Florès was hurriedly preparing the edit for Robert Mapplethorpe’s audiovisual programme, for the evening show at the Théâtre Antique. At the time, the projectors were still prototypes. “The booth was actually soundproofed with ordinary glass wool, which – together with eye-flash – sent me blind for a week,” recalls Florès. “Fortunately, in those days the assistants and guest photographers were full of energy and empathy. They handled the rest of the Théâtre Antique screenings, and took over all of my duties.”
This article is reserved for subscribed members only. If you are already a member, you can log in here below.
Subscribe for full access to The Eye of Photography archives!
That’s thousands of images and articles, documenting the history of the medium of photography and its evolution during the last decade, through a unique daily journal. Explore how photography, as an art and as a social phenomenon, continue to define our experience of the world. Two offers are available.
Subscribe either monthly for 8 euros (€) or annually for 79 euros (€) (2 months offered).
