Photography Open Salon Arles: An Eye for An Ear

Recently, Les Recontres d’Arles celebrated photographers and photography from around the world with a two week festival in the south of France.  One of the biggest draws was Photography Open Salon’s An Eye For An Ear, curated by Vanja Karas.  Set in the Galerie Huit, this exhibition continues until September 23rd, with an estimated viewership of close to 100,000. Many thanks to Eran Gilat for his assistance with this post.

 An Eye for an Ear, curated by Vanja Karas

Open Salon is designed to showcase cutting-edge contemporary and
emerging photography from around the world and enable talented artists
to exhibit and have exposure during and alongside one of the oldest and
most renowned International photography festivals: Les Rencontres
d’Arles, which has been running for 43 years. 

Photography Open Salon Arles 2012 showcases a selection of 250
images by over 100 photographers from 34 countries. A selection of this
year’s winning images will also be showcased in South-East Asia in early
2013. The work was selected from a wide range of responses and
interpretations  submitted by artists from 83 countries. 

Selected images from An Eye for An Ear
Anne-Marie Atkinson
 Eran Gilat

 Amro Hamzawi

 Young-Hee Kim

 Sara Naim
 Alex and Felix

 Jocelyn Allen

 Aline Smithson

 Tariq Dajani

 Emer Gillespie
 Edward Hopley

 Jane Koh

 Julia Lindemalm

 Ellen Nolan

 Maria Paschalidou
 Barbra Riley
 Laura Stevens

Pina Bausch, Kontakthof, POSTHUMOUS  by Vanja Karas

body of work explores the neo-expressoinist non-verbal narrative of
movement and dance. These images are part of a series taken during the
performance created by the legendary German choreographer Pina Bausch
performed by her theatre group Tanztheater Wuppertal,  after her death,
at the Barbican Theatre in London. Pina’s striking theatricality
included sado-masochism, intentionally bad ballet, lots of evening
gowns, high heels, lipstick-adorned women and barefoot men in suits. The
series, however, is not only about the aesthetics of Pina Bausch’s
neo-expressionist choreography and movement:  it also explores the
comfort and discomfort of solitude and the interplay between the
voluntary and involuntary basis on which we collect, cultivate, recall
and process our memories. Dealing with the historical narrative through
symbolism, allegory and myth, the dramatic physical idiosyncrasy is
created by the performers, all over 65, chosen from the generation that
carries pre-Berlin Wall memories and experiences. Some live and long for
the past, some escape into their fantasies, others don’t want to
Vanja Karas © Pina Bausch 

Vanja Karas © Pina Bausch