Sarah Moon: “I refused to take off my bra for David Hamilton” | News from Catalonia | EUROtoday

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To say Sarah Moon is to enter by means of the entrance door into the historical past of pictures. A loyal admirer of Diane Arbus—her nice reference—and of Henri Cartier-Bresson, whom she typically mentions in her dialog, Moon (Vernon, France, 82 years outdated), born Marielle Warin, has left extraordinary photographs imprinted on our retina that They are icons of pictures. From a Jewish household that needed to flee to London in the course of the occupation of France, Sarah Moon was a mannequin within the sixties earlier than transferring to the opposite aspect of the catwalk and changing into one of many main names in vogue pictures: amongst her works greatest recognized (Vogue, Chanel, Dior, Comme des Garçons) are these he made for the clothes retailer Biba and particularly for the Cacharel model. In 1972 she was the primary girl in command of making the Calendar—till then very calorie—Pirelli. Later, she entered the world of artwork pictures and movie creation. Moon is in Barcelona on the event of the foremost exhibition of her work at Foto Colectania, which brings collectively greater than 80 pictures and a few movies that replicate her profession and her pursuits and that she herself has grouped along with the title Time Stands Stillprimarily based on a quote from the poet TS Eliot, below whose patronage he has positioned the exhibition.

In parallel to the exhibition, the Film Library of the Generalitat of Catalonia dedicates a session to Sarah Moon on Thursday that she’s going to current herself and by which The Mermaid of Auderville (2007), about The little Mermaid, certainly one of his reinterpretations of basic tales — two different of those creations will be seen at Foto Colectania, Circuss y Little Black Riding Hood—; and the documentary Robert Delpire, the picture exhibitorconcerning the well-known pictures ebook editor and cultural curator who was Moon's husband.

Maria’s Dogs (2000),de Sarah Moon.
Maria’s Dogs (2000),de Sarah Moon.Sarah Moon

Walking by means of the artist's exhibition at Foto Colectania is coming into a world of marvel, thriller and sweetness. Landscapes, characters and animals seem within the photographs, the overwhelming majority in black and white though there are a couple of in shade, akin to some roses or some ladies, at all times with the identical feeling that the writer is capturing an unrealistic world, even whether it is of vogue images (some for Yohji Yamamoto), which right here tackle a unique air. A unadorned girl in massive format, with the air of a modest Venus, Martha, It has a completely pictorial texture and refers back to the work of Bonnard. Many images have a captivating evocative and dreamlike high quality and them is like peering right into a dream: canine working alongside a abandoned seashore (Mary's canine), a solitary man in entrance of an islet within the sea (Christmas in Portugal)a veiled younger girl who exhibits a foreshortened breast, the complete moon over the water… Several present animals (in 2013 she had an exhibition on the Museum of Natural History in Paris) portrayed in a disturbing method: a toucan, a peacock, some rhinoceroses , a museum diorama with leopards attacking a deer, giraffes that vanish leaving a path of spots, a marabou advancing in the midst of solitude.

The world of the circus can also be represented, which Sarah Moon may be very all in favour of: a juggler, a tightrope walker on her wire (which refers to her curiosity in For a tightrope walker by Jean Genet), an artist in a rotating contraption as if ready for knives to be thrown at her (the woman on the bridge by Patrice Leconte?), elephants. Regarding certainly one of them, Moon herself has defined to this newspaper {that a} 12 months after she portrayed him (with a fairly bad-tempered face) she came upon with horror that she had killed her tamer…

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'Bagatela', by Sarah Moon.
'Bagatela', by Sarah Moon. Sarah Moon

The inventive director of Foto Colectania, Irene de Mendoza, has launched Moon, highlighting how she revolutionized the feminine gaze of vogue and the turning level in her profession within the mid-eighties when she started to mix vogue pictures with one other “introspective and evocative” look. . Mendoza has emphasised that the exhibition needs to signify the photographer's complete profession with out being a retrospective or being ordered chronologically. “We have tried to create the effect of a Sarah Moon universe,” she stated, with an “artist installation” that invitations you to enter her world by exhibiting the interconnection and dialogue between the images on show.

Sarah Moon is grateful for being given carte blanche for the exhibition and has mirrored on the concept of ​​time to which the exhibition regularly alludes (headed with Eliot's traces, “Time current and previous/ what might have been and what has been/ are likely to a single finish, at all times current”). “The idea of ​​time is something inherent to photography,” she noted, “the photo is an instant that cannot be repeated, like existence.” He recalled that Cartier-Bresson compared photography to death, “but it is also memory, and in that sense Eliot said it all.” She added that she never exercises control over the photo, “photography is out of control, it implies chance, and a chance that is always stronger than desire.” And he continued: “A landscape, a dog passing by…, I do not choose, the reasons prevail, again quoting Cartier-Bresson: I do not take the photo, it is the photo that takes me, and it does in an ephemeral moment, an instant.”

One of Sarah Moon's photos in the exhibition.
One of Sarah Moon's photos in the exhibition.Sarah Moon

Moon has considered herself “privileged,” because she has never lacked work, and she continues to have it and it keeps her, she noted, “standing, upright.” Being her model allowed her to enter the world of photography in a different way. Today it is not as easy to work freely as when she started, “everything is more subject to marketing and a personal stamp is more difficult.” Regarding her dreams, she has meditated that the ones we remember are usually nightmares, and about the dreamlike quality of some of her photos she has stated: “It could be, they are the reflection of everything that awakens an echo in me.” . Of the black and white that she uses above all, she has stated: “I adore the mystery of black and white, it is more related to the interior, while color is more communicative. “Black and white puts more distance with what is real, which is in color.” And she has uttered one of those phrases that make talking to her feel like reading. About photography, by Susan Sontag: “I understand shadow better than light.”

Asked about the evolution of her idea of ​​the feminine mystery that her almost Pre-Raphaelite photos represented so well for Cacharel, she said that the image of women for her has not changed, “fashion changes, which presents a sublimated image of women and creates characters.” In the sixties and seventies, the now much maligned photographer David Hamilton (who committed suicide in 2016 after receiving accusations of pedophilia and rape) had his heyday: his photos were compared to those of Sarah Moon at the time. She did not fall into the trap of hamiltoniano. “I met him, and worked as a model for him, on a shoot for Printemps in the sixties. We were two models. He asked us to remove our bra. And we refuse. “I'm not too all in favour of that man.”

The way she selects the faces that appear in her photos, Sarah Moon says that they are simply faces or gestures that she finds interesting and shoots. “There are faces that I like, but they don't have to be those of models or actresses, which, on the contrary, are more difficult because they have an idea of ​​themselves.”

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