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Galerie Les filles du Calvaire

Lise
Sarfati

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Lise Sarfati, IB phg04_2019, Paris

Lise Sarfati, IB phg04_2019, Paris

Lise Sarfati, IB phg04_2019, ParisLise Sarfati, oh man, phg7_07, 2013Lise Sarfati, oh man, phg9_08, 2013Lise Sarfati, oh man, phg20_06, 2012Lise Sarfati, oh man, phg19_07, 2013Lise Sarfati, oh man, phg16_12, 2012Lise Sarfati, oh man, phg14_08, 2013Lise Sarfati, oh man, phg1_07, 2012 Lise Sarfati, Kelly, 4306 Beverly Blvd, 2010, from the series On HollywoodLise Sarfati, Kelly, West Sunset Blvd, 2010, from the series On Hollywood Lise Sarfati, Kelly, South Alvarado Street, 2010, from the series On HollywoodLise Sarfati, Heather #03, Lemon Grove Ave, 2009, from the series On HollywoodLise Sarfati, Elisabeth, Sunset Blvd & North Poinsettia, 2010, from the series On HollywoodLise Sarfati, Danna, 6323 Hollywood Blvd, 2010, from the series On Hollywood

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Lise Sarfati

Lives and works in Paris, France

Merging portraiture, snapshot and arranged tableau, Lise Sarfati’s work exists at the edge of reality and fiction. Drawing on cinema and literature, her images conjure richly layered worlds often centered on specific “charac-ters”, which avoid any fixed narratives and allow viewers to inhabit a space of multiple interpretations.

French, born in Oran, Algeria (French), Sarfati graduated with an MA. in Russian Studies from the Sorbonne in 1979. From 1989 to 1998, she lived in Russia, capturing the atmosphere of a country in transition. Her images of urban ruins and characters in their interior spaces resulted in her first major body of work, Acta Est (2000) published by Phaidon. The series’ poetic approach set itself apart from the categories of travelogue and photo-journalistic essay and laid the groundwork for Sarfati’s later interest on the lives of young people.

In 2003, she travelled across the United States, guided by the rich emotive capacities of young characters and land-scapes she encountered. Her resulting series The New Life (2005) published by Twin Palms affirmed her approach to open narratives, setting forth suggestions rather than propositions in her images. Her subsequent American projects Austin, Texas (2008), On Hollywood (2010) and She (2012) further explored her interests on psycho-geography, feminine identity, and the everyday.

With Oh Man (2017), a series of richly detailed tableaux depicting lonesome men walking in downtown Los Angeles, Sarfati departs from her accustomed 35mm format, opting for a 4×5 view camera. This slower image-making process enlarges the space for contemplation, inviting the viewer to explore what is hidden in these deceptively simple images. The series also provides a meditation on the photographic act as an attempt to close the gap between the “self” and the “other” and create a space for empathy.

Sarfati’s work has met international critical acclaim and is held in major public and private collections, includ-ing the Centre Pompidou, Paris; LACMA, Los Angeles; SF MoMA, CA; Brooklyn Museum, New York; Philadelphia Museum of Art, PA; De Young Museum, San Francisco; Pier 24, San Francisco; Santa Barbara Museum of Art, CA; Harry Ramson Center, University of Texas at Austin, TX; Nelson-Atkins Museum of Art, Kansas; Maison Européen de la Photographie, Paris; Bibliothèque Nationale de France, Paris; Fonds National d’Art Contemporain, Paris; Domus Artium, Salamanca; Fundación Enrique Ordonez Folcon; and the Wilson Center of Photography, London. Select solo exhibitions includes Paris Photo (2017), Centro Italiano per la Fotografia, Turin (2016), LACMA, (2014), Brancolini Grimaldi, London (2012) Rome (2009), FOAM, Amsterdam (2007), UC Riverside California Museum of Photography (2006), Yossi Milo Gallery, New York (2012, 2008, 2005), Rose Gallery, Santa Monica (2012, 2011, 2006), MEP, Paris (2002), Fotografins hus, Stockholm (2009), Nicolaj Center of Contemporary Art, Copenhagen (2006) and The Photographer’s Gallery (2005). Her participation in international group shows includes the Crocker Art Museum (2019), Centre Pompidou (2018), Galleria dell’Accademia, Firenze (2014), Triennale di Milano (2010), SF MoMA (2009), ICP, New York (2009), Huis Marseille, Amsterdam (2001), Ullens Center for Contemporary Art UCCA, Beijing (2009) and MoMA PS1 (2006).

Major awards include Prix Niepce (1996), ICP Infinity Award (1996). Between 1997 and 2011, Sarfati was a member of Magnum Photos.

Oh Man

Oh Man

Lise Sarfati

Steidl

2018

ISBN 978-3-95829-112-6

Lise Sarfati takes us back to the oddly deserted heart of the city of Los Angeles. Almost deserted… as lonesome men walk dispassionately through the streets, as if on a mission but without any obvious destination. The sun in Oh Man is high, the unifying emptiness of the street basked in the Californian light. The nameless men’s random silhouettes stand out distinctively in front of the city’s characteristic urban backdrop, their central positioning lending them an extraordinary prominence in Sarfati’s photographs. These images add up to a long, aloof traveling, devoid of any narrative and anecdotes, drifting by the evocative sharp lines and angles of the warehouses, the lettering and colors of a Hopperian puritanism opening up the roads to the protagonists.

These photographs were taken in 2012 and 2013. After carefully choosing her locations of interest, Sarfati spent days waiting in full panoply for the right moment to manifest itself.

Steidl books

She

She

Lise Sarfati

Twin Palms publishers

2012

ISBN : 978-1-936611-00-3

“Un album de famille ne conserve que des photographies soigneusement choisies, il ne conserve que des moments triés sur le volet, privilégiant les occasions spéciales, les plus heureuses, oubliant le reste : des visages heureux, des moments détendus, des lieux de loisirs plutôt que de travail. Il tend à souligner les liens sociaux et affectifs d’un groupe, à mettre en évidence une identité, un esprit communautaire, une vie et un destin partagés.

Le portrait du couple ou du groupe, avec toutes ses conventions, en est l’une des figures incontournables. L’album de famille tente d’enregistrer l’évolution d’une communauté humaine particulière, d’écrire son histoire et de scruter le passage du temps à chaque page suivante. Rien de tout cela dans She : au lieu d’une chronologie, le temps s’arrête, il semble bégayer et mordre sa propre queue. Il n’y a pas de photo de groupe ou de volonté de mettre en scène un destin collectif, mais seulement des modèles isolés et des individus qui ne semblent pas communiquer entre eux, ou à peine ; pas de moments heureux ou de lieux pittoresques, seulement des moments indifférents dans les lieux ordinaires ; pas de geste fort, pas de pose conventionnelle, pas de complicité avec le photographe. Les modèles posent, mais avec réserve, le plus souvent sans regarder dans la caméra. Et même quand nous voyons leurs visages, nous ne semblons pas vraiment les voir. Ils sont là, mais ils sont aussi toujours là-bas, ailleurs. Quand on referme le livre et qu’on y réfléchit un peu, on ne peut que voir She comme l’album anti-famille par excellence.” – Quentin Bajac

Twin palms publishers

Fashion Magazine - Austin, Texas

Fashion Magazine - Austin, Texas

Lise Sarfati

Magnum Photos

2008

ISBN : 2-9524102-2-4

Calqué sur un magazine de style, Fashion Magazine alterne des séries de mode et des publicités détournées, le tout orchestré par la photographe, tandis que sont retranscrits au fil des pages les rencontres entre Lise Sarfati et Quentin Bajac, ou Rick Owens et Azzedine Alaïa, créateurs de mode… Chacun exprimant son point de vue sur le travail de la photographe. Après le succès des trois premiers Fashion Magazine, réalisés successivement par Martin Parr, Bruce Gilden et Alec Soth, Magnum Photos offre ici une nouvelle confrontation entre mode et photo.

The New Life

The New Life

Lise Sarfati

Twin Palms publishers

2005

ISBN‏ : ‎ 978-1931885454

Text by Olga Medvedkova

“Sarfati’s work is defined through an opposition to the editorial urge to fix narratives to her subjects. Her images create a loose, layered and intensely rich visual project triggering emotions and thoughts that move well beyond her ostensible subjects. Sarfati’s importance in today’s debates about the role and visual languages of socially engaged photography also rests in her resistance to fully objectify the subjects that compel her to make imagery. The American Series represents one of those rare experiences for photographers where the photographs almost—just—happened. Sarfati did not overly choreograph her subjects; she also created the psychological space for them, in turn, to act upon her and to act up—or down—for the camera. This perhaps accounts for Sarfati’s success in re-presenting American young people as, simply, individually and universally the carriers of states of minds.” — Clare Grafik, Photographers Gallery, London

Twin palms publishers