Signataires de la lettre à Sam Stourdzé, directeur des Rencontres d’Arles.

Libération du 4 septembre 2018

Les Rencontres d’Arles needs to represent with equality
the whole multi-cultural spectrum of photography
including all human tonalities, all genders, and all orientations
if it indeed wants to maintain its primacy
on the international stage.

Arno Rafael Minkkinen

Libération : 3 septembre 2018

Le texte de la lettre est en anglais et espagnol.

Si vous voulez signer c’est ici.
If you want to sign, click here.

SIGNATURES
Last update / mise à jour : 19:11- 19 septembre 2018

Prénom NOM Profession
Cyril Abad  Photographe
Camille Aboudaram Photographe
Gaëlle Abravanel Photographe
Mac Adams Photographe
Juliette Agnel Photographe
Romy Alizée  Photographe
Emilie Allais Photographe
Marjorie Allthorpe Guyton Présidente AICA International
Nathalie Amae Curator, author, co-founder of Alta Volta Agency
Jean-Michel André Photographe
Hanicka Andres Photographe
Béatrice Andrieux Directrice artistique & commissaire indépendante
Ken Aptekar Photographe
Emilie Arfeuil Photographe
Israel Ariño Photographe et éditeur
Sergio Aritmendiz Photographe
Matthew Aslett Photographe
Association FemmesPHOTOgraphes Collectif de photographes
Florence At Photographe
Gerry Badger Photographe
Maïté Baldi Photographe
Emmanuelle Barbaras Photographe
Lisa Barnard Reader in Photography MA, Faculty of Creative Industries, University of South Wales
Harsha Bathija Photographe
Brigitte Bauer Photographe
Shiraz Bazin-Moussi Photographe
Teo Becher Photographe
Julien Benard Photographe
Caroline Benichou Galeriste
Carolle Benitah Photographe
Teresia Bergström Artiste
Nina Berman Photographe
Raphaële Bertho Maîtresse de conférences en Arts, Directrice du laboratoire INTRU, Université de Tours
Guia Sara Besana Photographe
Sabrina Biancuzzi Photographe
Didier Bizet Photographe
Emmanuelle Blanc Photographe
Delphine Blast Photographe
Emma Blau Photographic artist and curator.
Iwona Blazwick Director of Whitechapel Gallery, London, UK
Rut Blees Luxemburg Reader in Urban Aesthetics, Royal College of Art, London, UK
Daniel C. Blight Online Editor, The Photographers’ Gallery, London, UK
Ana Bloom Photographe
Guillaume Blot Photographe
Chiara Boeri Photographe
Eddie Bonesire Photographe
Céline Bonnarde Photographe
Sian Bonnel Photographe
Maguy Borras Photographe
Aglaé Bory Photographe
Elise Boularan Photographe
Cyril Bourdois Historien de l’art
Julie Bourges Photographe
Olivier Bourgoin Directeur de l’agence révélateur
Christophe Bourguedieu Photographe
Sophie Boursat Photographe
Eric  Boutier Photographe & directeur artistique
Laure Boyer Photographe
Polly Braden Photographe
Julia Bradshaw Photographe
Thom Bridge Photographe
Jonny Briggs Photographe
Susan Bright Commissaire d’expos et historienne de l’art
Nolwenn Brod Photographe
Adam Broomberg Photographe
Elina Brotherus Photographe
Alicia Bruce Photographe
Lise Bruyneel Iconographe
Vanessa Buhrig Photographe
Ben Burbridge Co-Director, Centre for Photography and Visual Culture, University of Sussex
Victor Burgin Artist. Professor Emeritus of History of Consciousness, University of California, Santa Cruz; Emeritus Millard Chair of Fine Art at Goldsmiths College, University of London.
Philippe Calandre Photographe
Gérard Cambon Photographe
Catherine Cameron Photographe
María Cano Photographe
Ofelia Cardo Photographe
Ofelia Cardo Photographe
Gregory Cardon Photographe
Olenka Carrasco Ecrivaine et photographe
Martina Caruso Photography Historian, Rome, Italy
Michel Castermans Photographe
An Cath Photographe
Myriam Cawston Photographe
Gabriela Cendoya Bergareche Collectionneuse
Renée Chabot Photographe
Melanie Challe Photographe
Iain Chambers Professor of Cultural and Postcolonial Studies at the Oriental University, Naples,It
François Chanussot Photographe, fondateur de l’Image Latente
Benjamin Chesterton Fondateur de Duckrabbit
François Cheval Fondateur The Red Eye, Fondateur et co-directeur Lianzhou Museum of Photography. Chine
Florence Chevallier Photographe
Clara Chichin Photographe
Elodie Chrisment Photographe
Lara Ciarabellino Photographe
Pierre Ciot Photographe, président de la SAIF
Celine Clanet Photographe
Tim Clark Editor in Chief: 1000 Words, London, UK
Claude, Closky artiste
Patrick  Cockpit Photographe
Jörg Colberg Photographer, educator. Founder of Conscientious Photography Magazine
Susan Collins Director, Slade School of Fine Art London, UK
Julien Coquentin Photographe
Julie Cornec Photographe
Bernard COSTE Photographe
Scarlett Coten Photographe
Agnès Courrault Photographe
Elizabeth Cowie Professor Emeritus, Film Studies, School of Arts Derek Jarman Building

University of Kent, Canterbury

Julie Crenn Critique d’art et commissaire d’expositions indépendante
Karin Crona Photographe
Momi Crouzet Photographe
Olivier Culmann Photographe
Lidia Curti Honorary Professor, the Oriental University, Naples, It
Jacques Damez Galeriste
Floortje Damming Photographe
Sara Davidmann Artist/photographer and Reader in Photography at London College of Communication, University of the Arts London
Bruno Dayan Photographe
Anaïd de Dieuleveult Photographe
Anne De Gelas Photographe
Ioana de Mello Photographe
Edouard de Pazzis Photographe
Baptiste de Ville d’Avray Photographe
Margaret Dearing Photographe
Laurent  Deglicourt Photographe
Camille Photo Delbos Photographe
Bernard Demenge Photographe
Christophe Dentin Photographe
Nathalie Déposé Photographe
Catherine Dérioz Galeriste
Bénédicte Desrus Photographe
Isabelle Desvignes Photographe
Chloé Devis Photographe
Leslie Dick Faculty Art Program, Visiting Critic –  Yale School of Art, USA
Alicja Dobrucka Photographe
Marie Docher Photographe
Philippe Dollo Photographe
François Dorian Photographe et éditeur, Les éditions du silence
Melanie Dornier Photographe
Katharina Dubno Photographe
France Dubois Photographe
Bruno Dubreuil Enseignant et critique d’art, Viens Voir.
Julien Dumas Photographe
Fabienne Dumont Historienne de l’art et professeure en école d’art
Michaël Duperrin Photographe
Gabrielle Duplantier Photographe
François Régis Durand Photographe
Augusta Edwards Augusta Edwards Fine Art, London, UK
Stefan Eichhorn Artiste
Nabila El Hadad Photographe
Pía Elizondo Photographe
Fannie Escoulen Commissaire d’exposition indépendante
Wilfried Estève Directeur Collectif Hans Lucas
Valérie Evrard Photographe
Jessa Fairbrother Photographe
Tiffany Fairey Research Fellow, Photography and the Archive Centre, University of the Arts London / Co-Founder, PhotoVoice
Mathieu Farcy Photographe
Sandra Fastré Photographe
David Fathi Photographe
Estelle Fenech Photographe et réalisatrice
Clementine Feuillet Commissaire d’exposition
Gertrud Fischbacher Photographe
Jung Fitzpatrick Photographe
Flore Photographe
David Fourré Editeur, Lamaindonne
Anna Fox Professor of Photography,University for the Creative Arts at Farnham, UK
Eric Franck Galeriste, Eric Franck Fine Art  LONDON, UK
Aurélia Frey Photographe
Nicolas Friess Photographe
Berangère Fromont Photographe
Annie Gabrielli Galerie Annie Gabrielli
Céline Gaille Photographe
Ana Galan  Photographe
Pierre Hugues Galien photographe et directeur de la photographie
Florence Gallez Photographe
Alethia García Photographe
Juliette Garms Programs and Outreach Coordinator , World Press Photo Foundation
Christian Gattinoni Critique d’art, Lacritique.org
Rita Gayford Photographe
Grace Gelder Photographe
Karolina Gembara Photographe
Erika Gentry Photographe
Théo Giacometti Photographe
Odile Gine Photographe
Gaëtane Girard Photographe
Maya Goded Photographe
Hannah Goldstein Artist, Berlin
Olga Gonzales Photographe
Olmo Gonzales Monrania Photographe
Thibault Grabherr Photographe
Joy Gregory Photographe
Isabelle Gressier Photographe
Brian Griffin Photographe
Brian Griffin Photographe
Silvia Griglio Photographe
Anna Grzelewska Photographe
Sabine Guédamour Photographe
Sylvie Guillaume Photographe
Anne Guillaume Photographe
Simon Guillemin Photographe
André Gunthert historien des cultures visuelles, EHESS
Sunil Gupta Photographer – Visiting prof. Royal College of Art,Visiting Professor of Photography,  University of the Creative Arts, UK
Israel Gutierrez Photographe
Ulysse Guttmann-Faure Photographe
Charlotte Guy Éditions Charlotte sometimes.
Furic Gwenola Restauratrice de photographies
Doug Hall Photographe
Emilie Hallard Editrice
Emeline Hamon Photographe
Sharon Harper Photographe, professeure à Harvard University, USA
Alicia Hart Photo Editor, Artist and Art Buyer
Julie Hascoët Photographe
Hamid Hazmoun Photographe
Yining He photography researcher and curator based in China
Pippa Healy Photographe
Paul Hill MBE, FRPS, DFine Art,DArts. Visiting Professor, University of Derby & De Montfort University, Leicester, UK
David Himbert Photographe
Magda Hueckel Photographe
Claire Hyman Collectionneurs / the Hyman collection
James Hyman Collectionneurs / the Hyman collection
Loeiza Jacq Photographe
Hélène Jayet Photographe
Lucie Jean  Photographe
Isabelle Jégo Graphiste et enseignante
Magali Joannon Photographe
Amanda Jobson Photographe
Christina Jonsson Photographe
Valérie Jouve Photographe
Suzanne Junker Photographe
Dragana Jurišić, Artist
Maria Kapajeva Artiste
Verena Kaspar-Eisert commissaire
Hester Keijser Curator, author
Angela Kelly Photographer and professor College of Art and Design Rochester NY – USA
Natalie Keyssar Photographe
Françoise Khoury formatrice en écriture créative et photographie
Melanie King Founder and Co-Director of the London Alternative Photography Collective
Sharon Kivland Photographe
Sophie Knittel Photographe
Karen Knorr Photographe, Professor of Photography, University for the Creative Arts, Farnham Surrey, UK
Paul Knox Photographe
Maren Köpp Maîtresse de conférence, Département arts plastiques, Université Paris 8, France
Andréas Krueger Photographe
Bénédicte Kurzen Photographe Noor
Laura Lafon Photographe
Mikaël Lafontan Photographe
Alvaro Laiz Photographe
Magali Lambert Photographe
William Lambert Photographe
Simon Lambert Photographe
Hélène Langlois Photographe
Marine Lanier  Photographe
Margaret   Lansink Photographe
Benedicte Lasalle Photographe
Claire Laude  Photographe
Michel Le Belhomme Photographe professeur en photographie, École Supérieure d’art de Bretagne
Sidney Léa Le Bour Photographe
Glwadys Le Moulnier Photographe
Camille Léage Photographe
Audrey Leblanc Historienne des cultures visuelles
Laurence Lebon Documentaliste & icono, photographe
Alexandra Lebon Photographe
Rose Lecat Photographe
Ange Leccia Artiste
Marine Lecuyer Photographe
Iris Legendre  Plasticienne
Marc Lenot Critique blog Lunettes Rouges
Sonia Lenzi Photographe
Valérie Léonard Photographe
Angeline Leroux Photographe
Carol Letanneur Photographe
Céline Levain Photographe
Jenny Lewis Photographe
Alexandre Liebert   Réalisateur
Susan Lipper Photographe
Anne Locquen Photographe
Jo Longhurst Photographe
Mireille Loup Photographe
Maren Lübbke-Tidow Author, curator
Michal Luczak Photographe
Anthony Luvera Artiste
Monika Macdonald Photographe
Marie-Pierre Macia Film Producer
Kirsty Mackay Photographe
Ruth Maclennan PhD Royal College of Art, Research Associate, Scott Polar Research Institute, Cambridge University , UK
John MacPherson Photographe
Julien Magre Photographe
Charlotte Mano Photographe
Isa Marcelli Photographe
Alix Marie photographe
Manuela Marques Photographe
Matthieu Marre Photographe
Rosy Martin Photographe
Judith Martin-Razi Photographe
Lesia Maruschak Photographe
John Edwin Mason Professor, History of Photography
Karine Maussière Photographe
Claire Maxfield Photographe
Nathalie Mayevski, Éditions Imogene
Nadège Mazars Photographe
Bruno Mazodier Photographe
Janice McLaren Head of Education & Projects, The Photographers’ Gallery
Wendy McMurdo Photographe
Karen McQuaid Senior Curator, The Photographers’ Gallery
Cécile  Menendez Photographe
Carles Mercader Fulquet Photographe
Corinne Mercadier Photographe
Catherine Merdy Photographe
Virginie Merle Photographe
Anne-Laure Mesnage Photographe et iconographe
Denis Meyer Photographe
Marcia Michael Photographe
Elisa Leonie Migda Photographe
Laura .E Migliorino Photographe
Ingrid Milhaud Photographe
Nicolas Mingasson Photographe
Arno Rafael Minkinnen Photographe
Nicole Miquel Photographe
Yuki Miyake Gallery director, White Conduit Projects
Christiane Monarchi Founding editor, Photomonitor
Marie Mons Photographe
David Moore Photographe
Erwan Morere Photographe
Nicola Morley Photographe
Maria Moschou Photographe
Amélie Mourgue d’Algue Photographe, PhD School of Fine Art – Royal College of Art
Anne-Marie Msili Jézéquel Imprimeure d’art pigmentaire
Andreina Mujica Photographe, Vénezuela
Marie Muracciole Directrice du Beirut Art Center.
Anne Mutez Photographe
Carole Naggar Historienne de la photographie
Louise Narbo Photographe
Esther Navalon Wamba Photographe et professeur, Escola Superior de Disseny i Art Llotja, Espagne
Guillaume Nédellec Photographe
Cheryl Newman Photographe
Kim lan Nguyên Thi Photographe
Laura Noble Galeriste – London – UK
Frédéric D. Oberland Photographe
Naoko Ohta Owner KLEE INC – Commissaire d’exposition
Julie Okmun Photographe
Brigitte Olivier Photographe
Christine Ollier Commissaire d’exposition, historienne
Marella Oppenheim Photographe
ORLAN Artiste
Paulina Otylie Surys Photographe
Jukka Pääkkönen Producer and photographer
Chantal Pacteau Dir de recherche émérite au CNRS, Rédactrice en Chef, Vie de la Recherche
Francette Pacteau Research Tutor, Royal College of Art, London – UK
Annu Palakunnathu Matthew Photographer, Professor of Art, University of Rhode Island, USA
Teresa Palomo Photographe
Colin Pantall Photographe
Michel Paradinas Photographe
Juliette Parisot Photographe
Martin Parr Photographe
Lucie Pastureau Photographe
Brigitte Patient Productrice France Inter, Regardez voir, France Inter
Franciella Paturot-Eustache BnF – Site Richelieu Département de la Reproduction
Clara Pauthier Photographe
Charles-Henri Paysan Photographe
Arielle Pelenc Photographe
Arielle Pelenc Photographe
Virginie Perocheau Photographe
Caroline  Perreau Editrice Hartpon
Anders Petersen Photographe
Karoll Petit Photographe
Maria Letizia Piantoni  Photographe
Sarah Pickering Senior Teaching Fellow – The Slade School of Fine Art
Karine Pierre Photographe
Valérie Pinard Photographe
Lilie Pinot Photographe
Stéphanie Pioda Historienne de l’art et journaliste
Thérèse Pitte Photographe
Anita Pouchard Serra Photographe
Carmen Prado Photographe
Laure Pubert Photographe
Karolina Puchala-Rojek Archeology of Photography Foundation / chairwoman
Sarah Pucill Photographe
Diamantino Quintas Tireur photo argentique
Laurence Rasti Photographe
Agnieszka Rayss Photographe
Yasmina Reggad Commissaire d’expo
Rikki Reich Photographe
Alisa Resnik Photographe
Olivier Richon Professor of Photography,Royal College of Art,London – UK
Manon Riff-Sbrugnera Photographe
Patrick Rimond Photographe
Simon Roberts Photographe
Julie Rochereau Photographe
D. N. Rodowick Glen A. Lloyd Distinguished Service Professor in the College and Division of Humanities, Departments of Cinema and Media Studies, and visual arts. The University of Chicago – USA
Matthieu Rosier Photographe
Martha Rosler Artiste
Théo Rouby Photographe
Gilles Roudière Photographe
Míriam Ruisseau Photographe
Lynn S.K. Photographe
Clément Saccomani Directeur Agence Noor
Nadja Saîdi Makhlouf Photographe et documentariste
François Saint Pierre  Commissaire d’expositions, fondateur de L’été photographique de Lectoure 
Laure Samama Photographe
Monicas Santos, Commissaire d’exposition.
María Santoyo Commissaire d’expositions, Directrice du Master International de Photographie EFTI (Espagne)
Pauline Sauveur Photographe, architecte
Tina Schelhorn Curator/founder: Galerie Lichtblick, Cologne, Germany
Charlotte Schmit Artiste
Betsy Schneider Photographe
Elisabeth Schneider Photographe
Janette Scott Photographe
Zineb Sedira Photographe
Elsa Seignol Photographe
Clémentine Semeria Tendance Floue
Nathalie Seroux Photographe
Alexandra Serrano Photographe
Shaltmira Photographe
Iris Sikking Independent curator
Corinne Silva Photographe
Matthew Smith Photographe
Ruth Smith Photographe
Margriet Smulders Photographe
Abigail Solomon-Godeau Critique, commissaire d’expo et historienne de l’art.
Trine Søndergaard Photographe
Pascal Sonnet Photographe
Marie Sordat Photographe
Vanda Spengler Photographe
Laura Stevens Photographe
Christopher Stewart Director of Photography Program, London College of Communication, University of the Arts London
Clare Strand Photographe
Éléonora Strano  Photographe
Veronique Sutra Directrice de Eyes In Progress
Katharina Sykora Emerita of Hochschule für Bildende Künste Braunschweig, Allemagne
Mitra Tabrizian Photographe
Dafna Talmor Artist and lecturer – London – UK
Anastasia Taylor-Lind Photographe
Pieter Ten Hoopen Photographe
Tendance Floue Collectif de photographes
Sara Terry Photographe
Alys Thomas Photographe
Laurence Thomas Photographe
Marie Tihon Photographe
Rebecca Topakian Photographe
Benedite Topuz Photographe
Tien Tran Photographe
Magali Tribalet Photographe
Flore Tricotelle Photographe
Béatrice Tupin Directrice Les femmes s’exposent
Laetitia Tura Photographe
Susannah Ureland Photographe
Aurore Valade Photographe
Ana Valiño Photographe
Yannick Vallet Photographe
Jessica Valoise Photographe
Benedicte Van der Maar Photographe
Bénédicte Vanderreydt Photographe
Valérie Vernhet Galeriste
Paolo Verzone Photographe
Jeff Vickers MBE-HonFRPS-Fenton Medal . Ambassador for The Royal Photographic Society, UK
Gabrielle Vigier Photographe
Yannick Vigouroux Photographe, critique, commissaire d’expo
Pascal Villaret Poète
Katherine Virgils Camp Photographe
Beatrix Von Cota Photographe
Jean Wainwright Professor of Photography and Contemporary Art at UCA
Roger Watson Lacock Abbey, Fox Talbot Museum and Village, UK
Ericka Weidmann Directrice de publication 9 Lives
Rémy Weite Photographe
Anne Williams Fine Art Photography Specialist
Val Williams UAL Professor of the History and Culture of Photography. Director of Photography & the Archive Research Centre and Moose on the Loose Biennale of Research. Co Editor Journal of Photography & Culture
Hermione Wiltshire Senior Tutor, Photography, Royal College of Art, London, UK
Ania Winkler Photographe
Miriam Winsor Photographe
Seda Yildiz Photographe
Sophie Zénon Photographe
Suzi Zglinicki Photographe
Guillaume Zuili Photographe

 

Sam Stourdzé, 

Created in 1970, the Rencontres de la Photographie d’Arles festival clearly shows its vocation to promote photographic heritage to the wider world and to serve as a melting pot for contemporary creation and curation. As the Director of the Rencontres de la Photographie d’Arles for the last four years we appeal to your better judgement. 

In 49 years, 47 editions have been entrusted to male artistic directors all of whom have selected a large majority of male exhibitors. In Arles, the glass ceiling is very low for women: it rarely exceeds 20%. 

This year, your choice for the major solo exhibitions included twelve men and three women, one of whom exclusively photographed the work of another artist, a man. 

What is your curation and heritage presented saying to the large audiences the festival serves ? This vision of and androrocentric art poses several problems that you have the power to solve. Throughout the world Female artists who have been trained in the best  art schools constitute more than 60% of the graduates.  Yet, they receive less support pay and rewards, and  represent barely 20% of the artists exhibited in France. 

The reasons for this evaporation are numerous. A major contributor to this issue, is the lack of awareness and commitment from curators institutions and festival managers, whom continue to  leave women in the margins. 

This is an obstacle that can easily be removed ;  there is no need for an observatory or special prizes for women: these actions do not contribute to a real concrete progress. It is time for real action. And that action is to simply to exhibit women artists. Women do not want exceptions – they want a fair, equal share to level the playing field, including at international festivals like the Rencontres d’Arles.

It should be remembered that this event receives public funding. This organisation must have the courage to recognise that the festival benefits from the use of taxpayers’ money. In 2018 festivals like, Avignon and others where men are favoured and presented disproportionally overall must realise that this is no longer acceptable !

In your role as Director of Rencontres d’Arles you  have told us that representation of works by women will be done gradually. But honestly, women artists have no more time to waste! Just like their male counterparts, they need means, visibility and recognition, and they need them now! Change is now, not tomorrow, its time to support real change in the recognition of female artists who are a proven talented creative force.

The success of the Rencontres d’Arles will not suffer. As an example you can refer to two huge successes : elles@centrepompidou in 2009* and Qui a peur des femmes photographes at the Musée d’Orsay and the Musée de l’Orangerie in 2015**. The public who visit art exhibitions in France appreciate novelty and quality. A more gender balanced festival will fulfill these expectations. At the end of the day, more varied visions and practices, nourished by a greater diversity of experiences and sensibilities is of paramount importance to the expansion of audiences of both sexes. 

Art questions our human condition. This condition cannot be reflected when a disproportionate proportion of the population reserves the right to expose and discuss it. As we can see, the issues at stake are not limited to the artistic community as a whole across different artistic genres and practices. It has a more global and, let us say, political scope.

To return to Arles ; the New Discovery Award proposed by international galleries, whose role you recognise as « head researchers », is a joint one. It arouses public interest, who vote for the award, and regularly reward women. This year, the photo book prize proposed by publishers was once again awarded to a woman. Why is it that  once the ground has been cleared, we do not find these same proportions in the featured exhibitions at the festival which you oversee? 

The artistic direction of such an event carries with it a responsibility towards artists, the public, art history and the market. To continue to keep women in the margins is to anchor in the minds that a successful photographer, in 2018, continues to be a Western man is a false idea, which you can help challenge with a bit more research and thought.

Women artists with high quality work exist in abundance. The audience is ready and the market will follow.  All you have to do is to decide and say it publicly: « The Rencontres d’Arles will become an equal opportunity event in 2019, the year of their fiftieth edition. The major exhibition venues, the means used, in terms of financing, production and communication, will be fairly distributed between the selected artists, women and men, of all ages and origins. »

You, and only you, can play this triggering role for the Rencontres. In 2019, for the 50th edition of Arles – and the editions that follow – work a little harder to raise the percentage of exhibited female artists to 50%. Just do it!
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Sam Stourdzé, 

desde hace 4 años, usted es el director de los Rencontres de la Photographie d’Arles. Creado en 1970, este festival muestra claramente su vocación de dar a conocer el patrimonio fotográfico mundial y de ser el crisol de la creación contemporánea.

En 49 años, 47 ediciones han contado con directores artísticos masculinos seleccionados por una gran mayoría de hombres. En Arles, el llamado techo de cristal es muy bajo para las mujeres: raramente supera el 20%. 

Este año, su elección para las grandes exposiciones monográficas fue de 12 hombres y 3 mujeres, una de las cuales fotografió exclusivamente el trabajo de otro artista masculino, un diseñador de moda. 

Entonces, ¿de qué creación, de qué herencia se trata? Esta visión del arte androcéntrico plantea varios problemas que usted tiene el poder de resolver. Las mujeres artistas son muy numerosas y formadas en las mejores escuelas de arte donde constituyen más del 60% del total de graduaciones.  Menos apoyadas, peor pagadas, menos recompensadas, representan apenas el 20% del elenco artístico representado en Francia. 

Las razones de esta evaporación son numerosas , pero una de ellas, muy importante, es la falta de concienciación y compromiso de las instituciones y de las personas responsables de los festivales, que dejan a las mujeres al margen. 

Para eliminar este obstáculo no hay necesidad de un observatorio, ni de premios especiales para las mujeres: los numerosos informes e iniciativas en este sentido que se han multiplicado a lo largo de los años han dado lugar a pocos o ningún progreso concreto. Es hora de actuar. Y actuar es simplemente exponerlas. Las mujeres no quieren excepciones, sino sólo su parte y su parte justa, incluso en los Rencontres d’Arles.

Cabe recordar que este evento recibe financiación pública. Debemos tener el valor de reconocer que el dinero de los y las contribuyentes beneficia aquí, como en Aviñón y en demasiados festivales, sobre todo a los hombres. Pero en 2018 esto ya no es sostenible.

Usted nos dice que las cosas se harán gradualmente. Las mujeres artistas no tienen más tiempo que perder que sus colegas varones. Como ellos, necesitan medios, visibilidad y reconocimiento, y los necesitan ya. Ahora es el momento de darles el lugar que les corresponde y hacerles conocer.

El éxito de los Rencontres d’Arles, puede estar seguro, estará asegurado. Recordemos esos dos grandes éxitos que fueron elles@centrepompidou en 2009* y Qui a peur des femmes photographes en el museo de Orsay y en el museo de la Orangerie en 2015**. El público de las exposiciones de arte en Francia aprecia la novedad y la calidad. Un festival paritario cumpliría esas expectativas: al fin y al cabo, se trataría de visiones y prácticas más variadas, alimentadas por una mayor diversidad de experiencias y sensibilidades. Una obra cuestiona nuestra condición. ¿Cuál es la condición cuando una proporción definida de la población se reserva el derecho de exponerla y hablar de ella? Como podemos ver, lo que está en juego no se limita a la esfera artística y a la carrera de sus actores y actrices. Tiene un alcance más global y, digamos, político.

Pero volvamos a Arles. El Premio Descubrimientos propuesto por galerías internacionales, en su papel de investigadores, es un premio paritario. Despierta el interés del público, que vota y recompensa regularmente a las mujeres. Este año, el premio al fotolibro propuesto por las editoriales se ha vuelto a conceder a una mujer. ¿Por qué, una vez que se ha despejado el terreno, no encontramos estas proporciones en el festival?

Las mujeres artistas, al igual que sus colegas varones, necesitan medios, visibilidad y reconocimiento a lo largo de su vida. Estas condiciones también son necesarias para abrir el campo de posibilidades a jóvenes licenciadas y fotógrafas emergentes.

La dirección artística de un evento de este tipo representa una responsabilidad con artistas de ambos géneros, con el público, la historia del arte y el mercado. 

Seguir manteniendo a las mujeres al margen es anclar en las mentes que un fotógrafo plástico, en 2018, es un hombre occidental. Pero ésta es una idea falsa, que usted puede ayudar a erradicar.

Las mujeres artistas con trabajo de calidad están ahí, el público está listo, el mercado las seguirá.  

Basta con decidirse y decirlo públicamente: los Rencontres d’Arles se convertirán en una cita paritaria en 2019, año de su quincuagésima edición. Los grandes espacios expositivos, los medios de financiación, producción y comunicación, se deberían repartir equitativamente entre la selección de artistas, mujeres y hombres, de todas las edades y procedencias. 

Usted, y sólo usted, puede jugar este papel desencadenante. Para los 50 años de Arles (y los siguientes) exponga un 50% de obras de mujeres. ¡Atrévase!

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