{"id":26353,"date":"2012-05-21T14:19:09","date_gmt":"2012-05-21T12:19:09","guid":{"rendered":"https:\/\/lesaint.abvent.com\/exposition-a-louer\/je-mappelle-filda-adoch-2012\/"},"modified":"2021-05-11T17:54:31","modified_gmt":"2021-05-11T15:54:31","slug":"je-mappelle-filda-adoch-2012","status":"publish","type":"exposition-a-louer","link":"https:\/\/agencevu.com\/en\/exhibition-for-rent\/je-mappelle-filda-adoch-2012\/","title":{"rendered":"Je m’appelle Filda Adoch, 2012"},"content":{"rendered":"
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Exhibitions for rent<\/a><\/p>\n

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Je m’appelle Filda Adoch, 2012<\/strong><\/p>\n<\/div><\/section>
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Martina Bacigalupo<\/a><\/h5>\n<\/div><\/section>
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\u00ab … These questions may not be the most important, certainly not the ones that first motivated Martina Bacigalupo’s approach, but they are the ones that underpin its meaning. The chronicle of the daily life of a woman who lost her leg, grandson and two husbands in the extreme violence of the situation in Uganda goes far beyond the tenderness, complicity and necessity that allowed these images to exist in a rare exchange between two beings that nothing, a priori, was intended to meet. We obviously let ourselves be carried away by a softness of the relationship that knows how to forget the pathos in order to refer first of all to life, to the will to live and to say. Then to say together. These images are not negotiated, they are shared as we share an ideal of peace. And they are at the end of a serenity that makes the violence, which we will never see, even more unbearable and which has presided, in history, over their advent.  This requires time, a common project, mutual understanding and, on the part of a photographer who calmly and simply frames, a beautiful modesty. The one that allows us to reconnect with the tradition of photographic essays to remind us that corpses and explosions, exactions and mutilations, if we have to denounce them, become, at a time when we are surrounded by so many images and when reality and fiction end up erasing their borders, anecdotes whose visual impact dangerously flirts with the propensities of voyeurism. Photography cannot tell any fundamental truth, due to its uninformative nature. But there are photographs, like these, that don’t cheat, that tell the truth.”<\/p>\n

Christian Caujolle.<\/p>\n<\/div><\/section><\/p><\/div>

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DETAILS<\/p>\n

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2 sets of prints:<\/p>\n

35 prints under mats 60x60cm with captions
\n35 prints under mats 50x60cm with captions<\/p>\n

1 portrait of Filda.<\/p>\n<\/div><\/section><\/p><\/div><\/div>\n<\/p>\n<\/div><\/div><\/div><\/div><\/div>

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Contact<\/p>\n

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<\/span><\/span><\/div>
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Patricia MORVAN<\/h5>\n

Responsable de projets culturels
\net des expositions<\/p>\n<\/div><\/section>
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morvan@abvent.fr<\/a>
\n+33 1 53 01 85 89<\/p>\n<\/div><\/section><\/p><\/div>

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