ARLES, France — At the heart of this year’s Rencontres d’Arles photography festival lies an extensive examination of the archive, one that challenges and reshapes traditional narratives. This year’s theme, “Disobedient Images,” invites a deeper exploration of the ways in which photographs can disrupt established meanings and historical interpretations.
With more than 40 exhibitions featured in the 56th edition of the Rencontres, which translates to “encounters,” this festival also serves as a precursor for the larger cultural event France is preparing for: the Bicentennial of Photography, scheduled for 2026-27. This commemorates the groundbreaking moment when Joseph Nicéphore Niépce captured the first permanent image using light, his iconic “View from the Window at Le Gras.” While some may perceive this celebration as a nationalist endeavor or a romanticized reclamation of fading images, it truly represents a vibrant invitation to reconsider photography as a dynamic and evolving medium.
This notion hinges on the premise that photographs significantly influence the process of historical revisionism, intertwining the festival’s mission with cultural movements that emerged in post-World War II Europe. The establishment of cultural festivals such as the Cannes Film Festival, Avignon Theatre Festival, and Antibes Jazz Festival between 1946 and 1960 parallels the evolution of photography, which found its footing among historic sites like churches and cloisters, forging a revolutionary message in the context of history.
This year’s Rencontres d’Arles continues to challenge artists and curators to engage with spaces rich in historical narratives, such as the Cloister of St. Trophime. The atmosphere within these historic walls fosters profound connections. Prominent artist and activist Nan Goldin’s work “Stendhal Syndrome” (2024) resonates within the ancient Church of St. Blaise, boldly asserting themes of seduction and autobiography against a backdrop of contemporary darkness. On July 8, Goldin presented the digital slideshow “Memory Lost” (2019-20) in the Roman Theatre, accompanied by author Édouard Louis, whose impassioned declaration reverberated through the ancient space: “We think that photography shows destruction in this world and that things will change, but we are mistaken; what worked in the past is no longer effective today.”
The festival also showcases Indigenous Australian artists and Brazilian photographic legacies, further examining the complex relationships between images and identity. The exhibition On Country: Photography from Australia, hosted in the Church of St. Anne, undertakes a collective exploration of the concept of “country” that transcends geographic boundaries, merging the physicality of photography with evocative soundscapes and sculptural installations. The church’s Gothic architecture serves as a canvas for impactful works such as Sonja Carmichael’s large hanging cyanotypes, capturing traces of local community life, as well as Brenda Croft’s tintypes that celebrate the Barangaroo First Nation women, incorporating ancestral techniques into contemporary narratives.
Thyago Nogueira’s endeavor, Ancestral Futures: Brazilian Contemporary Scene, is similarly ambitious in its aim to illuminate buried narratives and traditional crafts, employing various methods ranging from photomontage to performance art. This eclectic exhibition, occupying the chapel of Trinitaires, embraces a decolonizing spirit and offers engaging dialogues about the repatriation of Indigenous histories.
The festival further incites intrigue and contemplation, showcasing how the photographic archive evolves when its contents resist categorization. The collection of Marion and Philippe Jacquier in In Praise of Anonymous Photography features “disobedient” images that defy familiarity, conjuring captivating and, at times, unsettling narratives. The exhibition’s display embraces mystery, presenting anonymous autochromes from the early 20th century. A personal photo album within the collection narratively juxtaposes love and urban geography, capturing sites of affection within the surreal landscape of Paris.
In a thought-provoking initiative, Carine Krecké, the winner of the Luxembourg Photography Award, invites the audience to examine the digital landscape in Losing North. Her project, screened on digital displays within the chapel of Charité, sheds light on the violence inflicted by the Assad regime in Syria, combining blurred images of Arbin’s devastation with personal narratives. This investigative piece navigates a digital network of visibility and obfuscation, prompting critical reflection on why and how we witness today’s war through screens.
The impact of Krecké’s work resonates with a poignant urgency, addressing the existential dilemmas faced by a global audience inundated by digital imagery, where the realities of conflict frequently blur into abstract concepts. Referring to the insights of philosopher Georges Didi-Huberman, Krecké asks, “How to view war today?” quoting him: “If it is too far, you lose sight; if it is too close, you lose vision.”
The festival encapsulates the essential challenge these artistic explorations present: how to decode and redefine the myriad images that now feel ambiguous, unclear, and often insignificant. Niépce’s fading masterpiece from 1826 serves as a profound touchstone for questioning how we engage with visual history.
Les Rencontres d’Arles: Disobedient Images continues at various venues in Arles, France, through October 5. The festival is directed by Christoph Wiesner and Aurélie de Lanlay.
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