We live in an age of disruption. This extraordinary, brutal year, marked by an unprecedented global health crisis, has sown the seeds of radical change in the way we understand the modern world and in our consumer habits. Our economy will now be subject to new constraints, and new hopes too. Taking care of our planet, looking for new clean sources of energy, buying locally produced goods, placing our trust in the collective, moving forwards together, and better understanding the benefits that the digital and technological revolution brings in a world that is emerging from lockdown to establish a new future: change is imperative if we want to bring joy back into our lives.
Many economic stakeholders and representatives of civil society refuse to give up and continue to defy obstacles one after the other to anticipate our future needs: innovation is both their watchword and their source of inspiration. Florence Joubert is a photographer based in Brest in western France. She trained at the École Nationale Supérieure des Arts Décoratifs in Paris and enjoys exploring different professional worlds through her photography. She is equally at ease with the art of portraiture as she is with landscapes, creating a soft intimacy with the subjects she captures. In recent months, she has taken to the roads of the Morbihan region of France to meet these innovators, these women and men concerned about a sustainable society. These pioneers include a nursery with an educational project focused on the natural world, a former medical representative now working to support local production, and an agri-food company promoting quality and direct sales. All testify to the excellence on offer in Morbihan and all are perfect ambassadors of a region that is looking to the world of tomorrow.
Aglaé Bory is part of a new generation of photographers who place people at the heart of their photographic work. She has shaken off the codes of humanist photography and developed an aesthetic and fictional narrative that draw on a documentary approach. The story she tells us no longer belongs to the people in her images. She appropriates and adapts it through her compositions and the narratives superimposed on her photographs.
In this work, produced during a creative residency in La Gacilly, Aglaé Bory questions the intimate and poetic space of the horizon. Elusive and yet omnipresent in our landscapes, the horizon is a shifting line, a focal point for our eyes and our thoughts, but also a dividing line between the visible and the invisible.
This series was designed as an installation and addresses the verticality of the horizon, of the beholder and of the subject. This photographic approach questions the way we live in a world that is shared yet plural.
“We need shared horizons more than ever. We make images to create meaning, to reinvent the ties that hold a society together, to re-establish some common ground, a changing identity and, hence, to make history.” By residing in the very heart of these landscapes and meeting those who inhabit them, work with them and dream of them, Aglaé Bory invites us to view and imagine the infinite possibilities of our rurality.
80 Miles to Atlantis is the second part of Imane Djamil’s work on the historic coastline of Tarfaya, a Saharan city that lies across the sea from the Canary Islands. In fact, the closeness of the Spanish archipelago, where the mythical city of Atlantis is thought to be located, inspired the name of this series. In 360 BC, the dialogues of Greek philosopher Plato, Timaeus and Critias, described the mythical state of Atlantis as an almost Utopian civilisation, found on a lush and resource-rich archipelago. Plato claimed that these islands existed 9,000 years before his time and that their history had been passed on orally by his grandfather. While Atlantis was submerged by the ocean after falling out of favour with the Gods in Plato’s story, Tarfaya’s coastline is being engulfed by sand, not for offending a higher entity, but because of natural phenomena combined with the State’s apathy towards preserving its cultural heritage. The abandonment of this city and its heritage is further highlighted by the desertification of the Sahara, which is prompting populations to flee to urban areas because they can no longer produce yields or access an adequate water supply. Imane Djamil offers a fresh perspective and stands out for her use of a ‘docu-drama’ style to better express the reality she sees through her lens.
JARDIN DE LA PASSERELLE
In this series produced in 2020, Florence Goupil documents the impact of the COVID-19 crisis on the peoples of the Amazon. The indigenous Shipibo-Konibo people have long protected the biodiversity that surrounds them, making use of it in traditional medicine. Today, this close relationship with plants is on the brink of extinction. Confronted with the neglect of the Peruvian government and the lack of access to healthcare, with just one overstretched hospital in the Amazon, the Shipibo-Konibo have come together to protect their community. In May 2020, they founded Comando Matico, a group of traditional healers available to care for people living along the banks of the Ucayali River. However, the presence of Catholic and Evangelical churches has rocked the traditional, cultural system of these communities. Many Shipibo-Konibo patients have completely rejected the presence of this Comando and its traditional methods, sometimes opting for low-quality self-medication instead. In January 2021, Peru’s Directorate of Indigenous People reported more than 224,442 confirmed cases of COVID-19 since the health crisis began and 3,831 deaths, including many indigenous elders and leaders, who have taken their knowledge of the plants and biodiversity of the Peruvian Amazon with them.
JARDIN DE LA PASSERELLE
Brieuc Weulersse is a French photographer based in Brussels. Having discovered collapsology (the study of the risks of collapse of our industrial civilisation), he began to question his own conception of ecology. What was once only a vague aspect of his daily life, manifest in the sorting of waste or his choice of political party, took on another dimension encompassing growth and decline, food production, the limits of ecosystems, ecological debt, and so on. He then read the reference work on this theory: How Everything Can Collapse by Pablo Servigne and Raphaël Stevens. The scientific explanations given and possible scenarios for our future came as a real shock. Prompted by this ecological emergency and his questions about the future of humanity, Brieuc turned to science and the people who seek solutions and alternatives for tomorrow. He worked alongside researchers in experimental research facilities and universities, photographing the experiments they conduct.
JARDIN DE LA PASSERELLE