Commentary box sports: Three young photographers win Stipendium Schiedams Water

Schiedam – Three talented young photographers have won the Stipendium Schiedams Water Prize 2022; An annual award that enables three photographers to capture the social transformation of Schiedam.

After the previous editions, in which Sigdem Yuksel, Sander van Wittum and Sani Donders, among others, explored the city of Schiedam through their photographic works, this time it is the turn of Julia Gatt, Florian Brackmann and Bram Petraeus. The award has existed since 2020 and is an initiative of the Schiedam Cultural Forum. What is new is that this year the laureates are exhibiting their work at the Stedelijk Museum in Schiedam. The exhibition can be viewed from January 14 to March 6 in the museum’s new City Gallery.

Schiedam is on the move

Schiedam is in full swing. For many centuries, many economic and social transformations have followed one another in quick succession. Be it industries emerging and disappearing, constant migration flows, trade by sea or with the hinterland or great urban expansions on the northern edge of the city. No major social upheaval has passed in Jennifer’s former city. Schiedam, for example, has recently seen a huge influx of newcomers, namely former residents of the big cities in the Randstad finding a home there. Stipendium Schiedams Water aims to capture these social shifts through the lens of its talented photographers. Regardless of the subject matter, the condescension is devoid of form. The three photographers are allowed to create a photographic story about the changes they have observed in the city at their own discretion. Despite the variety in the developments it depicts, there is a common denominator each year. This year, the work of the three photographers is about diversity, connection, rooting, photography, pride, awareness, and strength. It is sometimes viewed from a personal perspective on change, in order to open the door to a broader societal transition.

Professional jury and Stedelijk Museum Schiedam

This year’s Stipendium Schiedams Water jury consisted of: Anne de Haij, director of the Stedelijk Schiedam Museum, Reyn van der Lugt, art collector and former director of the Groninger Museum, and Rebecca Simons, teacher of photography at the Willem de Kooning Academy and curator. They selected three promising photographers from a long list of thirty. An exhibition of the winners’ works has been shown at various locations in Schiedam in recent years. This time the exhibition is in the City Gallery in the Stedelijk Museum Schiedam. Director Anne de Haij: I defined the Stipendium as a prize that invests in talented young artists and connects them to Schiedam through their work. This fits the museum. We also ask the artists to think about the city. That is why I am glad that the fair is being held here this year. Our visitors also get to know the Schiedam (better) through the work of these photographers.” Last year, the museum purchased the work of Cigdem Yűksel’s Schiedamse Families for its collection.

About paparazzi

Julia Gat (Israel, 1997) lives and works in Rotterdam and Marseille. She studied Arts and Humanities at the Open University in the United Kingdom. She then followed art courses at the Willen de Kooning Academy in Rotterdam and the School of Visual Arts in New York. She also takes pictures and makes videos. Her work ranges from documentaries to vertical video art, in search of interaction between people. She has received several awards for her work, such as Steenbergen Stipendium Audience Award 2021, ISEM Young Photographer in 2020 and French Prix Polyptyque in 2022.

Florian Brackmann (Netherlands, 1988) studied photonics at Eide and then photography at the Royal Academy of Arts in The Hague. After his education he settled in Rotterdam Delphshavn, in the Bospolder Tossendigken district. Out of a fascination with the multicultural society of West Rotterdam, he decided to photograph fellow residents for his project Delfshaven’s Finest (2013–present). For his series Broer (2017-present) depicting street culture and for the slide installation In Between Homes (2017-present) Brackmann travels with locals back to their homeland.

Bram Petraeus (Netherlands, 1987) studied photonics at Eddy. He lives in Amsterdam and works for NRC Handelsblad, Trouw newspaper, UWV and more. He is represented by Hollands Hugt and ANP. Petraeus has won various awards, such as De Zilveren Camera in 2022 (1st prize in the Art, Culture and Entertainment category) and 2017 (3rd prize in the National News category). He was also a finalist in the Brussels Street Photography Competition (2017).

City fair

The exhibition containing the works of the Stipendium winners can be seen in the City Gallery at the Stedelijk Museum Schiedam. This is a special room in the museum where exhibitions created with the Schiedammers can always be viewed. Stipendium Schiedams Water is an initiative of the Schiedammers and is about the social transformation of the city. Cultural Forum Schiedam knocked on the museum’s door a year ago to collaborate, and that has now led to the Stipendium Schiedams Water 2022 exhibition with works by Gat, Braakman and Petraeus.

Estelle allen

Schiedam 24: Drie jonge fotografen winnen Stipendium Schiedams Water

SCHIEDAM - Drie jonge talentvolle fotografen hebben het Stipendium Schiedams Water 2022 gewonnen; een jaarlijkse prijs die drie fotografen in staat stelt om de sociale transitie van Schiedam te verbeelden.

Na eerdere edities, waarbij onder anderen Cigdem Yűksel, Sander van Wettum en Sanne Donders de stad Schiedam via hun fotografisch werk verkenden, is het ditmaal de beurt aan Julia Gat, Florian Braakman en Bram Petraeus. De prijs bestaat sinds 2020 en is een initiatief van Cultureel Forum Schiedam. Nieuw is dat de winnaars dit jaar hun werk tonen in het Stedelijk Museum Schiedam. Van 14 januari tot en met 6 maart is de tentoonstelling te zien in de nieuwe Stadsgalerij van het museum.

Schiedam is in beweging 

​Schiedam is volop in beweging. Al eeuwenlang volgen vele economische en sociale transities elkaar in rap tempo op. Of het nu gaat om opkomende en verdwijnende industrieën, voortdurende migratiestromen, handel over zee of met het achterland of de grote stadsuitbreidingen aan de noordrand van de stad. Geen grote maatschappelijke omwenteling gaat aan de voormalige jeneverstad voorbij. Recent ziet Schiedam bijvoorbeeld een grote instroom van nieuwkomers, namelijk voormalige inwoners van grote steden in de Randstad die er een woning vinden. Het Stipendium Schiedams Water wil deze sociale transities vastleggen via de lens van talentvolle fotografen. De opdracht is - behalve het onderwerp - verder vrij van vorm. De drie fotografen mogen naar eigen inzicht een fotografisch verhaal maken over veranderingen die zij waarnemen in de stad. Ondanks de verscheidenheid in ontwikkelingen die zij verbeelden, is er elk jaar weer een gemene deler. Dit jaar gaat het werk bij alle drie de fotografen over diversiteit, verbinden, wortelen, beeldvorming, trots, bewustwording en kracht. Soms gezien vanuit een persoonlijk perspectief op verandering, om zo een deur te openen naar bredere maatschappelijke transitie.  

Vakjury en Stedelijk Museum Schiedam 

​De jury voor het Stipendium Schiedams Water bestond dit jaar uit: Anne de Haij, directeur Stedelijk Museum Schiedam, Reyn van der Lugt, kunstverzamelaar en oud-directeur Groninger Museum en Rebecca Simons, docent fotografie Willem de Kooning Academie en curator. Uit een longlist van dertig fotografen hebben zij drie veelbelovende fotografen geselecteerd. De tentoonstelling met het werk van de winnaars is de afgelopen jaren op verschillende locaties in Schiedam te zien geweest. Dit keer is de tentoonstelling in de Stadsgalerij van Stedelijk Museum Schiedam. Directeur Anne de Haij: ‘Ik heb het Stipendium leren kennen als een prijs die investeert in jonge, talentvolle kunstenaars en hen via hun werk verbindt aan Schiedam. Dat past bij het museum. Ook wij vragen kunstenaars te reflecteren op de stad. Daarom ben ik blij dat de tentoonstelling dit jaar hier plaatsvindt. Onze bezoekers leren bovendien via het werk van deze fotografen Schiedam (beter) kennen.” Vorig jaar kocht het museum het werk Schiedamse families van Cigdem Yűksel aan voor de collectie. 

​Over de fotografen

Julia Gat (Israël, 1997) woont en werkt in Rotterdam en Marseille. Ze studeerde kunst en geesteswetenschappen aan de Open Universiteit in het Verenigd Koninkrijk. Daarna volgde zij kunstopleidingen aan de Willen de Kooning Academie in Rotterdam en The School of Visual Arts in New York. Ze fotografeert en maakt ook video’s. Haar werk varieert van documentaires tot portretvideokunst, waarbij ze op zoek gaat naar interactie tussen mensen. Ze heeft diverse prijzen voor haar werk gekregen, zoals de Steenbergen Stipendium Publieksprijs 2021, de ISEM Young Photographer in 2020 en de Franse Prix Polyptyque in 2022.

​Florian Braakman (Nederland, 1988) volgde een opleiding Fotonica in Ede en daarna de opleiding Fotografie aan de Koninklijke Academie voor Beeldende Kunsten in Den Haag. Na zijn opleiding vestigde hij zich in Rotterdam Delfshaven, in de wijk Bospolder Tussendijken. Uit fascinatie voor de multiculturele samenleving van Rotterdam West besluit hij voor zijn project Delfshaven’s Finest (2013- heden) zijn medebuurtbewoners te fotograferen. Met de serie Broer (2017- heden) brengt hij de straatcultuur in beeld en voor de dia-installatie In Between Homes (2017- heden) reist Braakman met buurtbewoners naar hun vaderland. 

​Bram Petraeus (Nederland, 1987) studeerde Fotonica in Ede. Hij woont in Amsterdam en werkt onder meer voor NRC Handelsblad, dagblad Trouw en het UWV. Hij wordt vertegenwoordigd door Hollandse Hoogte en ANP. Petraeus won diverse prijzen, zoals De Zilveren Camera in 2022 (1e prijs in de categorie Kunst, cultuur en entertainment) en 2017 (3e prijs in de categorie Nationaal Nieuws). Ook was hij finalist voor de Brussels Street Photography Contest (2017).

​Stadsgalerij

​De tentoonstelling met werk van de winnaars van het Stipendium is te zien in de Stadsgalerij van het Stedelijk Museum Schiedam. Dit is een speciale ruimte in het museum waar altijd tentoonstellingen te zien zijn die samen met Schiedammers tot stand zijn gekomen. Het Stipendium Schiedams Water is een initiatief van Schiedammers en gaat over de sociale transitie van de stad. Cultureel Forum Schiedam klopte een jaar geleden aan bij het museum voor een samenwerking, en dit leidt nu tot de tentoonstelling Stipendium Schiedams Water 2022 met werk van Gat, Braakman en Petraeus.

L'oeil de la photographie: 40 ans de Photo Poche à Paris Photo

Photo Pochela plus vieille et prestigieuse édition de poche consacrée à la photographie, fête ses 40 ans en grande pompe, avec un ensemble de signatures sur son stand pendant Paris Photo. Rendez-vous sur le stand E8 du mercredi 09 au dimanche 13 novembre, 2022.

 Jeudi 10 novembre de 17h à 18h
Jean-Luc Bertini, Américaines solitudes

Jeudi 10 novembre de 18h à 20h
Olivier Christinat, Pas un jour sans une nuit (Prix Alfred Latour)
Sabine Hertig, L’Espace des fragments (Prix Alfred Latour de l’éveil)

Vendredi 11 novembre de 13h à 15h
Harry Gruyaert, Photo Poche n°108
Stéphan Gladieu (photographies) et Wilfried N’Sondé (texte), Homo Détritus

Vendredi 11 novembre  de 15h à 16h30
Sabine Hertig, L’Espace des fragments (Prix Alfred Latour de l’éveil)

Vendredi 11 novembre de 16h30 à 17h30
Sophie Calle, Photo Poche n°101

Vendredi 11 novembre de 17h à 18h30
Joan Foncuberta, Manifeste pour une post-photographie

Vendredi 11 novembre de 17h30 à 19h
Julia Gat, khamsa, khamsa, khamsa

Samedi 12 novembre de 13h à 14h30
Florencia Grisanti et Tito Gonzalez Garcia, Forêts géométriques

Samedi 12 novembre de 14h30 à 16h
Nathalie Koenig (photographies) et Blaise Hofmann (textes), Courir après la pluie

Samedi 12 novembre de 16h à 18h
Klavdij Sluban, Photo Poche n°169

Samedi 12 novembre de 18h à 20h
Stefania Rousselle, Amour 

La repubblica : Un'altra scuola è possibile

"Pensare che l’apprendimento possa accadere solo nel chiuso delle quattro mura è miope". Alla vigilia del ritorno in classe, Rachele Furfaro, un’insegnante illuminata, racconta il suo diverso modello educativo messo in pratica a Napoli nei Quartieri Spagnoli

C’è una scuola in cui il primo giorno i bambini vengono accolti sedendosi in cerchio per terra e cantando insieme in una lingua sconosciuta. Canti africani, norvegesi o degli indiani d’America. Poi un insegnante racconta loro una storia. E dopo li invita a disegnare quello che hanno imparato. Una scuola dove i bambini intessono fitte corrispondenze con Dante e Calvino, ricevono poesie da Baudelaire, Neruda, Hikmet e disegni da Kandinskij, Mondrian, Rauschenberg.

La repubblica : Julia Gat: "Vi racconto cos'è l'unschooling"

"Ogni bambino è diverso e impara ciò che ama", così la fotografa sintetizza questa filosofia popolare in Israele che non si basa su un curriculum scolastico predefinito, ma sull’interesse del bambino. Fino ai 7 anni lei e i suoi fratelli sono stati lasciati liberi di giocare come volevano poi hanno seguito questo metodo che lei ci spiega anche attraverso le sue foto

Julia Gat, 25 anni, fotografa, autrice delle immagini pubblicate in queste pagine, è nata in Israele ma vive in Francia. Lei e i suoi quattro fratelli hanno avuto un’educazione davvero inusuale. I genitori, un’artista e un coreografo, hanno seguito l’unschooling, una filosofia popolare in Israele che non si basa su un curriculum scolastico predefinito, ma sull’interesse del bambino. Fino ai 7 anni lei e i suoi fratelli sono stati lasciati liberi di giocare come volevano, poi hanno seguito un programma di attività deciso di anno in anno e di settimana in settimana e intorno ai 14 anni hanno iniziato a specializzarsi.

Da quando aveva 13 anni Julia ha mostrato un desiderio intenso di fotografare e Khamsa, Khamsa, Khamsa, il nome di questo progetto, racconta l’atmosfera fiabesca di questa famiglia. Khamsa in arabo è il 5 – come il numero dei fratelli Gat – ma anche la mano di Fatima, l’amuleto comune nel Medio Oriente. Ripetuta tre volte forma un cerchio magico che tiene lontano il malocchio. Ora i suoi lavori sono in mostra alla Galerie Huit Arles e Les Rencontres D’Arles, fino al 25 settembre.

Che cosa si fa durante il giorno in una unschool?
«Disegno, pittura, ceramica, circo, danza, cavallo, sport e tante altre cose che in una scuola normale si fanno dopo la scuola. Io ero la più grande e mi prendevo cura dei miei fratelli. Ovviamente abbiamo anche imparato a leggere e scrivere, ma ognuno di noi a un’età diversa. Io verso i 3-4 anni, uno dei miei fratelli verso gli 8-9. C’erano anche momenti vuoti, di noia e allora dovevamo decidere che cosa fare. Si accendeva così la scintilla. Questo ci ha responsabilizzato. È stato un percorso di iniziazione che ha richiesto molta fiducia nei ritmi di ciascun bambino: se desidera imparare qualcosa, vuol dire che ne ha davvero bisogno». 

Come è diventata fotografa?
«Con due genitori artisti era difficile non seguire le loro orme. C’erano sempre macchine fotografiche in giro per casa e ho iniziato prestissimo a scattare i miei fratelli. Quando a 13 anni ho detto a mia madre che avrei fatto quello, lei mi ha spronato ad aprire un blog che è diventato un archivio di quello che facevo. Ho preso la cosa sul serio e col tempo ho partecipato a workshop, internship, ho lavorato in gallerie».

Com’è stato il passaggio all’università?
«Onestamente non difficile. Ho fatto Arts and Humanities alla Open University e poi, a 21 anni, ho studiato arte all’Academy di Rotterdam per tre anni».
Le è mancata la scuola tradizionale?
«L’ho frequentata per un anno, ma mi sono resa conto che non faceva per me. È come se si chiedesse a un elefante, una scimmia e un pesce di arrampicarsi su un albero e poi li si giudicasse su quello. Non siamo uguali, non funzioniamo alla stessa maniera, ma tutti possiamo contribuire in modo diverso alla nostra società».

Dopo essersi trasferita in Francia da Israele con i suoi 4 fratelli, Julia Gat ha studiato in casa parlando ebraico, inglese e francese. 10 anni fa, ne aveva solo 15, ha iniziato Khamsa Khamsa Khamsa, il progetto fotografico da cui sono tratte le foto presenti in questo articolo.

blind magazine : A New Season in Photography at Polyptyque Marseille

It felt good to be in Marseille, on a sunny day in late August. The city had just put on its back-to-school outfit; and this also means the return of the Art-O-Rama, Paréidolie, and Polyptyque art fairs, dedicated, respectively, to contemporary art, drawing, and photography. We walk through the Polyptyque, with a detour via the Thomas Mailaender exhibition at the Centre Photographique Marseille.

The three fairs, Art-O-Rama, Paréidolie, and Polyptyque, make Marseille an unmissable late summer destination, as many collectors end their vacation in the region or take a special trip. All three events are on a human scale, facilitating contacts between visitors, galleries, and artists. Polyptyque, the most recent addition, was created four years ago by Erick Gudimard, director of the Centre Photographique Marseille (CPM). Small size goes here hand in hand with high quality. The show is divided between six galleries (including one joint project), each showcasing an artist, plus an exhibition bringing together eleven photographers longlisted among 54 submissions for the Polyptyque Award. Three winners were designated by a prestigious jury* on August 26. 

What is special about this award? It is aimed at photographers living in Région Sud (Provence-Alpes-Côte d’Azur), who do not have a gallery. The idea is to support local artists who have limited contact with the art market in order to boost their visibility, explained Erick Gudimard. “This is the third time that I participate in the jury, and I have noted the fair is getting stronger every year. The submissions are top-notch and represent a wide variety of practices. This makes it possible to make some wonderful discoveries,” says Caroline Stein, philanthropy manager at Neuflize OBC, which celebrates this year the twenty-fifth anniversary of its support for artists and institutions in the field of visual arts. 

The three winners of the 2022 Polyptyque Award are Julia Gat, Andrea Graziosi, and Jeanne et Moreau. Among them, special mention goes to the duo Jeanne and Moreau (Lara Tabet and Randa Mirza) whose installation brings together photographic prints, a print on fabric, a print on broken glass installed on the floor, and an old photo album containing their own images which the visitor is invited to consult. The whole tells the story of the couple’s life following the destruction of their apartment in the Beirut harbor explosion in August 2020. In his series Animas, the Italian photographer Andrea Graziosi in turn presents an astonishing gallery of portraits of dark and disturbing, half-human/half-animal masked creatures that hark back to the ancestral traditions of the Barbagia region in central Sardinia. Graziosi adopts a documentary stance even as he gives free rein to his imagination.

The larger exhibition brings together six French galleries and one German. As Erick Gudimard tells us, “participation is free in return for a small percentage of sales. It is an exchange of good practices: the galleries bring us their skills and their advice by supporting us in promoting the award-winning artists.” Among the exhibitors, special mention goes to Céline Croze featured by the Sit Down Gallery (Paris). In her work on Caracas, Crozier transcribed her nocturnal wanderings around the Venezuelan capital using a cinematographic style in shades of sepia. This series will be presented this fall at the Festival du Regard, with the overarching theme of the night (from October 14 to November 27, 2022 in Cergy-Pontoise).

Another discovery to keep an eye on is Guénaëlle de Carbonnières, showcased by the Binome (Paris) and Françoise Besson (Lyon) galleries. Through works from four recent series, the artist explores the themes of heritage and archaeology using different processes that combine digital and analog photography, engraving, drawing, etc. Whether the final result is prints—as in the series Submergées [Submerged], Cités englouties [Sunken Cities], or Creuser l’image [Deeper into the Image]—or objects where the negatives are sealed in resin—as in the series Fossil—de Carbonnières questions our relationship to history and memory, and turns the notion and status of the document on its head.

One should not leave Marseille without seeing Thomas Mailaender’s exhibition at the Centre Photographique. Here, too, we encounter the unusual and the unexpected, two signature concepts of the Centre. The place has been made unrecognizable by the installations, notably a giant greenhouse, cyanotypes made directly on the walls using tanning lamps bought on Leboncoin along with the magazines from which the images are taken. A free spirit, Thomas Mailaender has fun with serious things, experimenting with recycled materials, calling on fine arts students to assist in this production in the Centre’s spirit of participation … The tour ends at a sort of an artist’s studio where, on a large table, are a jumble of works-in-progress fashioned from cult books on the history of the medium. A visit full of twists and turns!

4th edition of Polyptyque, August 27 to September 10, 2022. 3, rue Henri Fiocca, 13001 Marseille, France.

Thomas Mailaender, Lumière passion. May 27 to September 24, 2022, Centre Photographique Marseille (CPM). 74 rue de la Joliette, 13002 Marseille, France.

* Jury: Pascal Beausse, head of the photography collection at the CNAP; Françoise Bornstein, director of the Sit Down Gallery (Paris); Florence Bourgeois, director of Paris Photo; Pascal Neveux, director of the FRAC Picardie Hauts-de-France, president of the CIPAC; Alexander Sairally and Esther Schulte, directors of the Drawing Room Gallery (Hamburg); Caroline Stein, philanthropy manager and curator at the Neuflize OBC Bank collection. 

idboox : Khamsa Khamsa Khamsa – 5, 5, 5 les photos qui protègent

L’exposition Khamsa Khamsa Khamsa est actuellement présentée à la Galerie Huit à l’occasion des Rencontres de la photographie d’Arles.

Khamsa Khamsa Khamsa (Actes Sud) c’est aussi un livre discret et poignant où Julia Gat raconte son enfance et celle de ses sœurs et frères. En quelques photographies, elle qui décida à 10 ans de ne jamais oublier le regard de l’enfant, elle pose ses photos comme une protection.

Khamsa veut dire 5 en arabe. Répété trois fois c’est un mantra qui invoque la protection de celles et ceux qu’on aime. Les juifs aussi reprennent cette incantation qu’on signifie par les mots ou le geste en posant 3 fois la main sur la tête des êtres chéris.

Julia a grandi dans une « bulle » ses parents étant adeptes de « l’instruction en famille » elle n’a jamais été à l’école mais n’a pas pour autant rien appris. Aujourd’hui elle est photographe.

Au travers de son objectif elle dégage une puissance folle nous permettant de rencontrer sa famille au fil du temps mais aussi de nous interroger sur nos propres vies.

Concept ovni me direz-vous, peut-être, mais le grand angle de vie proposé par Julia Gat ne doit pas être balayé du revers de la main. Au contraire, on l’accueille avec bienveillance, on respecte son rôle protecteur et pacifique. 5,5,5 sur ceux qu’on aime !
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l'oeil de la photographie : Polyptyque : Julia Gat : khamsa khamsa khamsa

Khamsa khamsa khamsa—“five” in Arabic, repeated three times like a protective incantation—is an autobiographical visual narrative in the form of a family archive. At first glance, Gat tells the story of her childhood and adolescence growing up with alternative educational methods, with portraits of her siblings, friends and domestic scenes. However, underneath these family album-like images, a photographer’s writing emerges. Gat tells her story by gradually defining her way of capturing the faces and growing bodies of those around her, often in peaceful Mediterranean landscapes. “When I was ten, I promised myself never to forget how children see the world,” she says. “Everything is new. Imagination blends with reality and the unknown is exciting.” Documenting her everyday life is the running thread of the artist’s work, allowing her to connect the adult photographer to her child sensibility.

Vanity Fair : Fotografia: i festival da visitare quest'estate

Les Rencontres de la Photographie d'Arles
Quaranta mostre in tutta la città di Arles, nel Sud della Francia, e tante esposizioni satellite in musei associati in Provenza. Quest’anno Les Rencontres celebra soprattutto le donne, in particolare con A Femminist Avant-Garde, duecento opere che rappresentano il movimento femminista nell’arte. Non mancano i talenti emergenti, fra cui Julia Gat con il progetto Khamsa khamsa khamsa, cinque in arabo, che «come un incantesimo protettivo, ripara dal malocchio», racconta l’autrice, israeliana, classe ’97: un lavoro autobiografico, un album di famiglia.

revue desordres : Julia Gat questionnaire

Quels sont les films qui ont marqué... 

1. Votre enfance ?

Mivtza Savta (2000) réalisé par Dror Shaul

2. Votre adolescence ?

La Visite de la fanfare (2007) réalisé par Eran Kolirin

3. Votre vie d’adulte ?

The French Dispatch (2021) réalisé par Wes Anderson

Racontez-nous un souvenir de cinéma, ou une rencontre avec un film ou un cinéaste, ou quelques heures passées dans un film dont vous vous souviendrez toujours, ou une histoire plus ou moins intime liée à une projection ?

Après avoir vu Parasite (2019) par Bong Joon-ho à Berlin à sa sortie, j’ai pleuré la soirée entière dans les bras de mon compagnon, époustouflé par la manière tellement forte du scénario à introduire l’agressivité de la réalité dans toute sa beauté.

Que regardez-vous dans les films ?

D’une grande partie la cinématographie, l'ambiance visuelle, les compositions et la palette de couleur. En parallèle, la manière dont les informations s'organisent et s'introduisent au spectateur au fur et à mesure du scénario qui se développe, et surtout l’arrière goût avec lequel le film te laisse. 

Quels sont les films qui vous habitent ?

Clairement Mivtza Savta (2000) réalisé par Dror Shaul et La Visite de la fanfare (2007) réalisé par Eran Kolirin, qui représentent vraiment ma mentalité d'enfant et d'adolescente, et dont les visuels me reviennent souvent à l'esprit.

Dans quels films aimeriez-vous habiter ?

View from a Blue Moon (2015), un documentaire magnifique réalisé par Blake Vincent Kueny sur le surfeur hawaïen John John Florence.

Le cinéma laisse-t-il son empreinte sur votre travail ? Si oui, à quel endroit pourrait-on en trouver la trace ?

Toutes mes photographies – surtout dans le projet Khamsa khamsa khamsa, sont extrêmement cinématographiques. Chaque image est tirée d'une situation qui pourrait raconter une histoire entière, des personnages, du contexte, unique à chaque image.

Si vous ne deviez retenir qu’une image de cinéma, laquelle choisiriez-vous ?

Les sauts à l’eau des adolescents à Marseille en été, dans Corniche Kennedy (2016) réalisé par Dominique Cabrera.

Qu’est ce qui vous émeut au cinéma ?

Un sentiment d'espoir.

Quels films auriez-vous aimé réaliser ?

She’s Gotta Have It (1986) de Spike Lee.

Si vous deviez adapter une de vos images en film, laquelle choisiriez-vous ?

Une image que j’ai pris de mes parents en 2012, lorsque j’avais 15 ans, à la plage dans leur ville natale en Israël. Le film serait un genre de coming of age à la croisée du documentaire et de la fiction, l’histoire d’un couple raconté du point de vue de leur enfant en pleine adolescence.

Est-ce que le cinéma aide à mettre de l’ordre dans votre vie ?

À vrai dire, le cinéma m’emporte tellement que souvent, les films m'empêchent d'être dans le monde plus qu'autre chose ; cela me sort complètement de ma vie réelle. C'est un trésor sans fin que je mesure encore avec soin, afin de ne pas tomber pleinement dedans.

i24news : Julia Gat, new face of Israeli photography

One of her latest exhibitions on port cities is on view until the end of December in Tel Aviv

Capturing moments of life through the lens – a passion that Julia Gat discovered at a very young age and which allows her to live today. 

Aged 25, she grew up between Israel and France in a family where art and culture have a prominent place. 

i24NEWS met the talented and endearing personality, a specialist in portraits and documentary photography.

"Photography is a way of connecting with people, it helps me to get closer to people in a different way than without the camera. It protects and at the same time it allows us to feel closer to the other," Gat said.

A true vocation born in childhood

Julia was raised in the coastal Israeli city of Tel Aviv and the Kiryat Gat region until the age of 10, then with her parents and siblings she moved to Marseille in the south of France for her father's work, a choreographer who has a dance troupe. 

Since then, they have never left France. But it was in Israel that Julia became aware of her love and vocation for photography.

"When I was a child, at home in Israel, there were always cameras and cameras, I photographed nonstop. I also had a passion for the archive, I kept all the photos and videos that I was doing and, at 13, I decided that I wanted to become a photographer," she said.

Encouraged by her mother, director of a contemporary art gallery, she then created a blog to post her photos in order to build her own collection. 

But her passion did not stop there. Julia was able to concentrate on her main center of interest because her parents opted for an alternative education at home, based essentially on the personal development of the child and her passions.

She thus very quickly acquired real skills in her chosen field, then everything accelerated. From the age of 15, she did various internships and photo workshops in Marseille, Paris, and at the prestigious Festival de Rencontres de la photographie in Arles, which has taken place every summer since 1970. 

This year, Julia also took part in the Festival d'Arles by offering a retrospective of her work since her debut.

"It was very moving to come back with a project that was built from photos that I took during 10 years was the dream," she said.

Noticed at a very young age by photographers, she became an assistant in her mother's gallery. 

"In order to perfect my knowledge, I then went to Rotterdam to do my degree in photography at the Willem de Kooning Academy, which I finished last year. My end-of-studies project was exhibited at the Museum of Photography of the city and won the Steenbergen Stipendium public prize," explained Julia.

She has chosen, in her art, to emphasize "human interaction in its pure form, either between humans and their environment or between the human and the photographer."

The photographer now works independently where she works on, among other things, many projects with musicians, dancers, and stylists.

Toward an international career?

Thanks to her talent, young Julia is in demand all over the world and has already made a good start on her international career. 

In Israel, she notably undertook a project where she photographs each of the members of her extended family. Julia wants to put include in photos her relationship with her country of origin and the rest of her family who lives there. 

One of her latest exhibitions on port cities is on view until the end of December in Tel Aviv at the Assemblage Gallery.

The young woman was also one of the 11 nominees for the Marseille polyptych prize and ended up among the three winners with her autobiographical project titled "khamsa khamsa khamsa" in which she evoked her childhood and adolescence. She won an exhibition in the Sit Down gallery, which will take place in the third arrondissement of Paris in January, and a second exhibition in Hamburg, Germany.

As a true globetrotter, Julia is flying off next week to the Netherlands' port city of Rotterdam where she will work on a project for the Stedelijk Museum, which will consist of making a photo documentary on the daily lives of children and families in the small town of Schiedam. 

She will then head to Paris for the premiere of a fashion short film titled "Chaillot Parade" which she designed for her father's contemporary dance troupe, at the Chaillot theater.

Julia is also working on the Paris Photo fair which will be held from November 10 to 13. 

It is in New York and Brussels that Julia will end the year with a documentary and a new exhibition. Her determination and professionalism allowed her to obtain fame and to continue this momentum straight toward success.

Photo Magazine : La famille de Julia Gat

Bienvenu dans la fabuleuse famille de Julia Gat. Son récit photographique autobiographique plonge qui le regarde dans une émotion à fleur de peau. Entre portraits et scènes de vie de sa fratrie, la jeune photographe livre un regard intime, poétique et furieusement libre sur l'enfance à domicile et l'éducation alternative.

Chasseur d'images : Khamsa khamsa khamsa

Deuxième référence de "48 Vues", collection promouvant les écritures contemporaines, Khamsa khamsa khamsa nous présente les frères et sœurs Gat à travers les yeux de leur aînée, Julia, qui les photographie avec bienveillance depuis 2010. La petite fratrie, nous apprend le texte de présentation, a la particularité d'avoir grandi hors du carcan scolaire. L'information tend à conditionner la lecture et à envisager chaque image comme une bulle de liberté, là où, objectivement, on a juste affaire à l'album de famille d'une photographe en territoire conquis. BG

Libération : Spleen

Spleen. Correspondant de Libération aux Etats-Unis, le journaliste Julien Gester est aussi photographe. Ses associations d’images en diptyque, baignées d’une lumière dorée mélancolique, livrent une déambulation sans attache sur le seuil d’un monde au bord de l’apocalypse. Ce voyage visuel a aussi le mérite de lancer un dé bat : pour ou contre le gros scotch de couleur pour accrocher les photos? On vote pour! Son livre et celui de Julia Gat sont édités chez Actes Sud, qui lance une collection de petits ouvrages photo souples et joliment reliés. Collection «48Vues», Julia Gat etJulien Gester, association du Méjean jusqu'au 25 septembre.

Fisheye Magazine : Khamsa khamsa khamsa

Les éditions Actes Sud poursuivent leur collection intitulée « 48 vues » avec un très joli album signé par Julia Gat, 25 ans, l’ainée d’une fratrie de cinq frères et sœurs. Cinq, c’est justement la traduction du mot arabe Khamsa qui, répété trois fois, se transforme en incantation protectrice. « Quand j’avais 10 ans, je me suis promis de ne jamais oublier le regard d’enfant : tout est nouveau, imagination et réalité se confondent, détaille la photographe, l’inconnu est fascinant. » Ses images le sont tout autant. Éd. Actes Sud, 22 €, 48 pages