[Music]
we all dreamed of going on a report
it’s the figure of tintin reporter it’s
the big photographer gerda taro
it’s robert capa it’s also the legend
henri cartier bresson
these are all those photographers who have
inspired to be documentary photographer this
is not a job it’s a way of life
and this way of life for me it started
very early when I was a kid I had the
chance to grow in a gallery
painting is very small I scribbled
already on pieces of roger canvases
are city
at 12 I received my first device
photo and then teenager this was the
discovery of cinema with my father in
the small cinema forum in salzinnes where
we were going to see the taste of papaya
green languit wives and concubines
it was all references that were
enrolled in less after there were the
studies a master’s degree in history a
master’s degree in philosophy and then always
anthropology who was a partner
silent but very present in my
course
after his studies he is human
assistantship the university of namur with a
semester though the kyoto university but to
the end of this journey I must you
to admit it I felt like a year that he
I missed the colors I missed
the features I missed the contrasts
I missed the light and then
especially I missed a certain
form of field work be
documentary photographer it’s not
What to do with the image is above all
to be on the ground is to live with
people sleep like eat like
moved as is adopt so
transient a way of life that is not
mine but who is theirs in my
work I always try to combine
a more intellectual step more
smart with a step a lot
more intuitive more instinctive with
emotion
I am what is called a photographer
of doubt and I doubt everything from
report started to start with me
even my own pictures my work but
this doubt is a motor this void is a
motor it allows me to question this
that I do and especially to try
to illuminate other ways of life
lifestyles that we have to admit
are weakened are tanned attenuate are
sometimes deconstructed or destroyed
by a certain globalization and the
globalization we all share the
same human condition it seems to me
obvious but we do not live in the
same conditions and it’s often there
that appears in front of the objective the
injustices and very serious surrender
question
her name is tanner kawa she is 19 years old
she lives in kyoto she is an apprentice
geisha a maiko the world of geishas this
is not what we believe we are
let’s plan a lot of
fantasies
but these are women artists she
plays music she performs the
tea ceremony she dances she
participate in rituals their daily
it’s an initiatory journey during
a few years they will try to
become an ideal female type this ideal
she draws it from different
traditions shamanism the theater of
kabuki art courteous painting the
Japanese literature and this ideal type
will allow them to represent a
other femininity tanner kawa her everyday
is very difficult
she gets up early she finishes very late
it’s a lot of repetitions it’s a
true will men and women
who frequent the tea houses it is
to say that they attend the world of
geishas do not come to fantasize
they do not come to have fun when
you speak with them they will tell you
we come to see an example even
spirit of independence
because you have only to see very
young
at 16 years old decided to become geisha and
chose a life before the
Japanese company chooses the one
life to the question what is it to be a
woman in the 21st century in japan
every day tanner kawa brings a
different answer an original answer
it’s sort of an act of
resistance compared to others
models of femininity odudu rama is a
wonderful grand mother of nepal she
lives in the northern suburbs of Kathmandu
she raises her grandchildren she has
survived the earthquake of
Gorkha in April 2015
nepal suffered a terrible cynicism there to
9000 dead in 2000 injured
and that sounds very derisory ac were
all there but 50% of the gdp and disappears
from the country is trying to rebuild
try to rebuild houses of
habitat and everything that constitutes a
daily in the drama that of uramin has
lived she lived with a cow she
own a cow and talk to him
regularly how a survivor this
that she often told me this is what
death silence in the cloud of
dust that there was right after the
shake
his daily life is very income
weak many Nepali must
to go to Qatar to hope to have
enough to raise their
children
rebuild their homes what she
speak to me it’s time the conditions of
life access to electricity that is very
problematic
access to water that is even more so and
then finally schooling and me in everything
what like a lot of photographers
as soon as there is a disaster somewhere
we are usually fast enough to go
on the spot make the photo but what is
what are we doing at that moment since what
point of view I come to watch me
clash of the world from what point of view
I just ask my camera
it’s a terrible question for us
photographer and that’s a real question
raksha is a Mongolian breeders she lives
in the valley of the black snake and the 34
years it is a great plain that is
surrounded by hills and the wolves
daily as you see it’s the
deals with his 180 yak is a few
mares and sheep and goats
that he owns in this part of the
mongolia we are in the province of
berkane gaye life obviously is very
Mongolia is one of the most
latest examples in the world of
semi nomadic pastoralism and Mongolia
also suffers the effects of warming
climatic
through what is called the houde
the august these are episodes of very
very cold but with a sound one
intensity that we did not know
until then
when you talk with odorama with
raksha sorry she will tell you that her
biggest concern is not so much the
work in the steppe it’s not the
harshness but it’s schooling it’s
access to schooling for both
children
indeed during the summer months it is
there with her husband Wales badra but
during the winter months she has to go
in town in town she has to spend
a lot of money in town everything is bought
nothing is exchanged in town it puts
his kids at school but in town and
the only one her husband stays with the beasts
during all winter
it’s a separation that cost them
a lot to be like that in two
very different places in Mongolia
eat a lot of yellow that’s a
obviously but on the other hand it is a
cannibalism benevolent who is in
swallowing their way of life
this benevolent cannibalism it appears
in 1990 is simply it’s
the market economy mongolia is going
leave communism will go into the
liberalism in the market economy
with two neighbors a bit heavy in all
the meanings of the term
China Russia
and little by little we realize that the
breeders are pushed in the back by
a kind of blind constraint a hand
invisible to give up their way of life
what she will tell you when you tell her
ask the question of her happiness she
will tell you how difficult is it
we can still continue how
can one still be free to choose or
not this susan way of life is a
refugee zidi she lives in the north of
iraq in a camp that is no
away from the city 2 to 8 years old and the 14 year old
like a lot of refugees says it has
lived hell
and when you interview the survivors
from this camp they will tell you when they are
kidnapped
it’s like we ‘ve been ripped off
heart indeed in July 2015
the dash soldiers will tackle the
sinjar city the city of sinjar is
essentially inhabited by the Yazidis
the city as well as all the villages
are going to be emptied of their inhabitants
men will be systematically
slaughtered babies too women
are going to be captured suzanne saw all that
many women to avoid being
taken by the dash soldiers and the
barbarism will open the veins in front
her course after that is prison
of badouche and then transferred to tal afar
and then transferred to the city of
Mosul in Mosul we all know
that she was released there were the
bombings and the heavily wounded
it benefits precisely from these
bombings to escape and that’s
thanks to social networks
we will be able to meet her with
her family when she finds her
relatives
when she finds hers
in July 2010 is she does not know anymore
speak what can we say after that the
Middle East and its stakes the
Middle East and its stakes and the life of
susan
what do we do with that so it’s true that
us here in europe
we do a lot of things we
let’s do a lot too
but leaving the zawit camp to her
told me but what are you really doing in
europe with the war here is the reason
what does it do what am I doing that
do we do or rather would not we
not to continue to maintain
intact to keep a comfortable
certain way of life
photo does not try to illustrate the real
she tries each to think it
try to understand it
she tries to make you see it from
realize something that for a lot
of us and I’m not different
of you and distant is abstract it’s a
local work
I think the biggest monster of
21st century
it’s not so much globalization and
globalization but it’s rather
ethnocentrism and ethnocentrism
Western does not see it is the
to let do
we are many in the world of
photojournalism to think that there is a
true duty of glance but there is also
a duty of resistance a resistance
facing indifference to the
trickery trickery to absurdity
if globalization and globalization
can make sense and I think we
can find one he needs to be
solidarity it must be shared by all
here over here at home
that’s the meaning I ‘m trying to give to
each of my reports
it’s also my way of life thank you
a lot
[Applause]
[Music]
we all dreamed of going on a report
it’s the figure of tintin reporter it’s
the big photographer gerda taro
it’s robert capa it’s also the legend
henri cartier bresson
these are all those photographers who have
inspired to be documentary photographer this
is not a job it’s a way of life
and this way of life for me it started
very early when I was a kid I had the
chance to grow in a gallery
painting is very small I scribbled
already on pieces of roger canvases
are city
at 12 I received my first device
photo and then teenager this was the
discovery of cinema with my father in
the small cinema forum in salzinnes where
we were going to see the taste of papaya
green languit wives and concubines
it was all references that were
enrolled in less after there were the
studies a master’s degree in history a
master’s degree in philosophy and then always
anthropology who was a partner
silent but very present in my
course
after his studies he is human
assistantship the university of namur with a
semester though the kyoto university but to
the end of this journey I must you
to admit it I felt like a year that he
I missed the colors I missed
the features I missed the contrasts
I missed the light and then
especially I missed a certain
form of field work be
documentary photographer it’s not
What to do with the image is above all
to be on the ground is to live with
people sleep like eat like
moved as is adopt so
transient a way of life that is not
mine but who is theirs in my
work I always try to combine
a more intellectual step more
smart with a step a lot
more intuitive more instinctive with
emotion
I am what is called a photographer
of doubt and I doubt everything from
report started to start with me
even my own pictures my work but
this doubt is a motor this void is a
motor it allows me to question this
that I do and especially to try
to illuminate other ways of life
lifestyles that we have to admit
are weakened are tanned attenuate are
sometimes deconstructed or destroyed
by a certain globalization and the
globalization we all share the
same human condition it seems to me
obvious but we do not live in the
same conditions and it’s often there
that appears in front of the objective the
injustices and very serious surrender
question
her name is tanner kawa she is 19 years old
she lives in kyoto she is an apprentice
geisha a maiko the world of geishas this
is not what we believe we are
let’s plan a lot of
fantasies
but these are women artists she
plays music she performs the
tea ceremony she dances she
participate in rituals their daily
it’s an initiatory journey during
a few years they will try to
become an ideal female type this ideal
she draws it from different
traditions shamanism the theater of
kabuki art courteous painting the
Japanese literature and this ideal type
will allow them to represent a
other femininity tanner kawa her everyday
is very difficult
she gets up early she finishes very late
it’s a lot of repetitions it’s a
true will men and women
who frequent the tea houses it is
to say that they attend the world of
geishas do not come to fantasize
they do not come to have fun when
you speak with them they will tell you
we come to see an example even
spirit of independence
because you have only to see very
young
at 16 years old decided to become geisha and
chose a life before the
Japanese company chooses the one
life to the question what is it to be a
woman in the 21st century in japan
every day tanner kawa brings a
different answer an original answer
it’s sort of an act of
resistance compared to others
models of femininity odudu rama is a
wonderful grand mother of nepal she
lives in the northern suburbs of Kathmandu
she raises her grandchildren she has
survived the earthquake of
Gorkha in April 2015
nepal suffered a terrible cynicism there to
9000 dead in 2000 injured
and that sounds very derisory ac were
all there but 50% of the gdp and disappears
from the country is trying to rebuild
try to rebuild houses of
habitat and everything that constitutes a
daily in the drama that of uramin has
lived she lived with a cow she
own a cow and talk to him
regularly how a survivor this
that she often told me this is what
death silence in the cloud of
dust that there was right after the
shake
his daily life is very income
weak many Nepali must
to go to Qatar to hope to have
enough to raise their
children
rebuild their homes what she
speak to me it’s time the conditions of
life access to electricity that is very
problematic
access to water that is even more so and
then finally schooling and me in everything
what like a lot of photographers
as soon as there is a disaster somewhere
we are usually fast enough to go
on the spot make the photo but what is
what are we doing at that moment since what
point of view I come to watch me
clash of the world from what point of view
I just ask my camera
it’s a terrible question for us
photographer and that’s a real question
raksha is a Mongolian breeders she lives
in the valley of the black snake and the 34
years it is a great plain that is
surrounded by hills and the wolves
daily as you see it’s the
deals with his 180 yak is a few
mares and sheep and goats
that he owns in this part of the
mongolia we are in the province of
berkane gaye life obviously is very
Mongolia is one of the most
latest examples in the world of
semi nomadic pastoralism and Mongolia
also suffers the effects of warming
climatic
through what is called the houde
the august these are episodes of very
very cold but with a sound one
intensity that we did not know
until then
when you talk with odorama with
raksha sorry she will tell you that her
biggest concern is not so much the
work in the steppe it’s not the
harshness but it’s schooling it’s
access to schooling for both
children
indeed during the summer months it is
there with her husband Wales badra but
during the winter months she has to go
in town in town she has to spend
a lot of money in town everything is bought
nothing is exchanged in town it puts
his kids at school but in town and
the only one her husband stays with the beasts
during all winter
it’s a separation that cost them
a lot to be like that in two
very different places in Mongolia
eat a lot of yellow that’s a
obviously but on the other hand it is a
cannibalism benevolent who is in
swallowing their way of life
this benevolent cannibalism it appears
in 1990 is simply it’s
the market economy mongolia is going
leave communism will go into the
liberalism in the market economy
with two neighbors a bit heavy in all
the meanings of the term
China Russia
and little by little we realize that the
breeders are pushed in the back by
a kind of blind constraint a hand
invisible to give up their way of life
what she will tell you when you tell her
ask the question of her happiness she
will tell you how difficult is it
we can still continue how
can one still be free to choose or
not this susan way of life is a
refugee zidi she lives in the north of
iraq in a camp that is no
away from the city 2 to 8 years old and the 14 year old
like a lot of refugees says it has
lived hell
and when you interview the survivors
from this camp they will tell you when they are
kidnapped
it’s like we ‘ve been ripped off
heart indeed in July 2015
the dash soldiers will tackle the
sinjar city the city of sinjar is
essentially inhabited by the Yazidis
the city as well as all the villages
are going to be emptied of their inhabitants
men will be systematically
slaughtered babies too women
are going to be captured suzanne saw all that
many women to avoid being
taken by the dash soldiers and the
barbarism will open the veins in front
her course after that is prison
of badouche and then transferred to tal afar
and then transferred to the city of
Mosul in Mosul we all know
that she was released there were the
bombings and the heavily wounded
it benefits precisely from these
bombings to escape and that’s
thanks to social networks
we will be able to meet her with
her family when she finds her
relatives
when she finds hers
in July 2010 is she does not know anymore
speak what can we say after that the
Middle East and its stakes the
Middle East and its stakes and the life of
susan
what do we do with that so it’s true that
us here in europe
we do a lot of things we
let’s do a lot too
but leaving the zawit camp to her
told me but what are you really doing in
europe with the war here is the reason
what does it do what am I doing that
do we do or rather would not we
not to continue to maintain
intact to keep a comfortable
certain way of life
photo does not try to illustrate the real
she tries each to think it
try to understand it
she tries to make you see it from
realize something that for a lot
of us and I’m not different
of you and distant is abstract it’s a
local work
I think the biggest monster of
21st century
it’s not so much globalization and
globalization but it’s rather
ethnocentrism and ethnocentrism
Western does not see it is the
to let do
we are many in the world of
photojournalism to think that there is a
true duty of glance but there is also
a duty of resistance a resistance
facing indifference to the
trickery trickery to absurdity
if globalization and globalization
can make sense and I think we
can find one he needs to be
solidarity it must be shared by all
here over here at home
that’s the meaning I ‘m trying to give to
each of my reports
it’s also my way of life thank you
a lot
[Applause]
[Music]
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