Rencontre arles 2014

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The festival has had change forced upon it by the local council, which gave the go-ahead for the construction of a Frank Gehry-designed conceptual art gallery bankrolled by the Luma Foundation. It will be built on the eight-hectare acre site on the edge of town where, until now, a sizeable proportion of the photography exhibition was situated. A few sheds remain this year but the rest is rubble. One hopes this is not a metaphor for the future of the Rencontres.
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RENCONTRES ARLES 2014

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Les Rencontres d'Arles - L'Œil de la Photographie Magazine

This was the first time I went to this show, I read a lot about it in the press so I decided to take advantage of my time in France, I went there with my family for a day. When we arrived at the town, there were no spaces to park in the centre, where an important part of the show is taking place, we finally parked outside the city centre, about a ten minute walk. Today, a couple of the engine sheds are now used by the show, yet the first show we went to was not officially part of the Rencontres. From what I read, the management is changing.
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In , the festival welcomed 93, visitors. The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
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By continuing to navigate you declare to accept and consent to the use of cookies. To learn more Close. Every year, for fifteen years, it becomes a citywide stage, putting photographers in the spotlight and at the microphone or even the megaphone! With Olivier Etcheverry's scenography and Nicholas Champion's teams assisted, in particular, by Patrice Falcot , we create settings for their works on marvellous sites invented for the occasion. Their sole aim: when the curtain goes up, despite our carnivalesque exhibition conditions, the artist, the curator, or the collector must be completely satisfied.
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