{"id":53,"date":"2020-04-06T15:06:28","date_gmt":"2020-04-06T13:06:28","guid":{"rendered":"http:\/\/aurorebagarry.com\/?page_id=53"},"modified":"2025-12-10T20:19:11","modified_gmt":"2025-12-10T19:19:11","slug":"glaciers-2","status":"publish","type":"page","link":"https:\/\/aurorebagarry.com\/index.php\/glaciers-2\/","title":{"rendered":"Glaciers"},"content":{"rendered":"\n
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Glaciers<\/em>, 2012-2018<\/p>\n\n\n\n

Avant d\u2019\u00eatre admir\u00e9e au XIXe\nsi\u00e8cle, puis domestiqu\u00e9e et consomm\u00e9e au XXe si\u00e8cle, la montagne\nest source d\u2019appr\u00e9hension. Ainsi jusqu\u2019au XVIIIe si\u00e8cle, les\n“glaci\u00e8res” de la “Montagne Maudite”, l\u2019actuel\nMont-Blanc, ne sont gu\u00e8re visit\u00e9es.<\/p>\n\n\n\n

C\u2019est \u00e0 un inventaire photographique\nde ces fameux glaciers que proc\u00e8de Aurore Bagarry et c\u2019est par une\ncarte de ces flots gel\u00e9s que s\u2019ouvre son voyage. Le recours \u00e0 la\nchambre photographique accompagne son exploration contemporaine.\nL\u2019infinie qualit\u00e9 de d\u00e9tails et la totale maitrise technique des\nrendus de lumi\u00e8re et de couleur renvoie aux approches documentaires\nles plus exigeantes. Le style en est adopt\u00e9 mais les choix de points\nde vue, de lumi\u00e8re et de cadrage troublent l\u2019impression de “d\u00e9j\u00e0\nvu”.<\/p>\n\n\n\n

Ces glaciers ne ressemblent ni \u00e0 ceux,\nactuels, issus de la conqu\u00eate sportive ni \u00e0 ceux enregistr\u00e9s par\nles glaciologues contemporains ni encore aux images \u201d noir et blanc\n\u201d des glaciers d\u2019albumine, de collodion ou de g\u00e9latine qui ont\npali avec le temps. La vision est revitalis\u00e9e ici, via la couleur,\ndans la rencontre extr\u00eame et sensible entre une jeune femme\nphotographe et des sites qui, s\u2019ils ne sont plus consid\u00e9r\u00e9s comme\nmaudits, n\u2019en restent pas moins fascinants.<\/p>\n\n\n\n

Luce LEBART
Historienne de la photographie<\/p>\n\n\n\n

The German \u2010speaking Swiss writer, Ludwig Hohl (1904\u20101980), in his work Ascension1, warns us: \u00ab Les bons alpinistes sont presque toujours des \u00eatres laconiques. \u00bb (Good mountaineers are nearly always people of few words.) Everything in his story relates back to the necessarily minimalist relationship that man must maintain with mountains. The two heroes of the story, in setting off to conquer a glacier, heroically confront the harsh terrain, with tragic consequences. They perfectly exemplify this quasi\u2010 Nietszchean proverb:  \u00ab Celui qui gravit les plus hautes montagnes, celui\u2010l\u00e0 se rit de toutes les trag\u00e9dies qu’elles soient r\u00e9elles ou jou\u00e9es. \u00bb 2 (He who climbs the highest mountains laughs at all tragedies, whether real or imagined.)<\/p>\n\n\n\n

Aurore Bagarry\u2019s work is completely at one with this line of thought, which makes representation of the mountain a kind of withdrawal, or what the Greek philosophers called epoch\u00e9<\/em>, the suspension of beliefs and assumptions. It can also be a suspension of the senses, a setting aside of human reason, which can never compare with the mighty grandeur of Nature. Having set out to catalogue all the glaciers of the Mont Blanc valley in France, Italy and Switzerland, photographing them between June and September, after the snow has melted, Aurore Bagarry records the glacier with clinical objectivism as a presence, but also as a trace, something left behind. This naturally brings to mind some of the great romantic painters, but above all the work of photographers such as L\u00e9on Gimpel, Walker Evans or Bernd and Hilla Becher for their documentary objectivity. It is difficult for today\u2019s artists to work within the imaginary world of romanticism and its search for the sublime: the metaphysics of the highest peaks has given way to scientific rationality, with its batteries of instruments.<\/p>\n\n\n\n

Aurore Bagarry\u2019s photographs are precisely within this movement to remove the sacred aura surrounding mountains. The concept of trace, the thing which survives the inexorable snow melt, puts a question mark over her decision to use photography as her medium. Is it possible for the photographer to capture the many variations in the shape of the glaciers? How does this compare with the definitive record of individual features encoded in the impressive network of data produced by scientific apparatus? It is this tension which fuels this project from Aurore Bagarry, here questioning what a certain melancholy meditation on the modern world can really mean.<\/p>\n\n\n\n

Vincent Chanson, Ph D in Philosophy.
Translation: Sue Baines BA<\/p>\n\n\n\n

1 Ludwig Hohl, Ascension<\/em>, trad.fr. Luc de Goustine, Paris, Attila, 2007.
2 Friedrich Nietzsche, Ainsi Parlait Zarathoustra,<\/em> trad.fr. G.A. Goldschmidt, Paris, Le Livre de Poche, 1972, p.56.<\/p>\n\n\n\n

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PARTNERS AND SUPPORTERS : Centre National des Arts Plastiques<\/strong> (CNAP), Contemporary documentary<\/em> photography <\/em>in 2013, and City of Saint-Gervais-les-Bains <\/strong>(Heritage and Culture).<\/p>\n\n\n\n

SHOWS : Sit Down Gallery<\/strong>, Paris ; Mus\u00e9e de l\u2019Elys\u00e9e<\/a><\/strong>, Lausanne ; H\u00f4tel Fontfreyde<\/strong>, Centre Photographique, Clermont-Ferrand ; La Filature<\/a><\/strong>, Mulhouse, Artoth\u00e8que<\/a><\/strong>, Annecy…<\/p>\n\n\n\n

PRESS : Lib\u00e9ration<\/a>, T\u00e9l\u00e9rama<\/a>, Nouvelle Quinzainne Litt\u00e9raire, France Culture<\/a>, Le Monde<\/a>, Beaux-Arts Magazine, Le Figaro<\/a>, l’Intervalle<\/a>, l’Alpe, Radio Canada<\/a>, RTS<\/a>, Monocle…<\/p>\n\n\n\n

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Glaciers, \u00e9dition int\u00e9grale<\/a><\/em>
Avec Luce Lebart, Historienne de la photographie ; Luc Moreau, Glaciologue, Docteur en g\u00e9ographie alpine ; Michel Poivert, Historien de la photographie ; Vincent Chanson, Docteur en philosophie et Sophie Justice, Coordinatrice du G\u00e9oparc mondial UNESCO du Chablais, Docteur en g\u00e9ologie
Conception graphique : Patrice Renard
Fran\u00e7ais, 208 pages, 24 x 30 cm, imprim\u00e9 sur couch\u00e9 mat GPrint 170 gr et Nettuno Acquamarina (Fredrigoni). Couverture int\u00e9gra toil\u00e9e (Toile du Marais)
Editions h\u2019artpon, mars 2022<\/a><\/figcaption><\/figure>\n\n\n
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Glaciers<\/em>, volume 1 et 2, \u00e9ditions h’artpon<\/strong> 2017
Textes<\/strong> : Vincent Chanson, Daniel Girardin, Luce Lebart, Am\u00e9lie Lucas-Gary et Luc Moreau.
Graphisme<\/strong> : Christine Delaquaize et Patrice Renard. Illustration<\/strong> : Iris Hatzfeld<\/figcaption><\/figure>\n<\/div>\n\n\n

De la mer \u00e0 la glace<\/em><\/p>\n\n\n\n

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Invit\u00e9e en r\u00e9sidence par la Maison des Arts du L\u00e9man<\/a> et le G\u00e9oparc mondial UNESCO du Chablais <\/a>en ao\u00fbt 2021, Aurore Bagarry s\u2019est int\u00e9ress\u00e9e aux vestiges g\u00e9ologiques aquatiques du massif du Chablais. D\u2019origine maritime, sculpt\u00e9s par des glaciers aujourd\u2019hui disparus, ces sites t\u00e9moignent des m\u00e9tamorphoses du paysage alpin.<\/p>\n\n\n\n

Cette s\u00e9rie de 10 photographies de diff\u00e9rents sites g\u00e9ologiques du Chablais, fruit de cette r\u00e9sidence de 4 semaines, donne lieu \u00e0 une exposition itin\u00e9rante sur l\u2019ensemble du territoire chablaisien, entre l\u2019\u00e9t\u00e9 2022 et l\u2019\u00e9t\u00e9 2024, et compl\u00e8te l\u2019ouvrage d\u2019Aurore Bagarry, Glaciers,<\/em> paru aux \u00e9ditions H\u2019artpon en mars 2022.<\/p>\n\n\n\n

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<\/p>\n","protected":false},"excerpt":{"rendered":"

Glaciers, 2012-2018 Avant d\u2019\u00eatre admir\u00e9e au XIXe si\u00e8cle, puis domestiqu\u00e9e et consomm\u00e9e au XXe si\u00e8cle, la montagne est source d\u2019appr\u00e9hension. Ainsi jusqu\u2019au XVIIIe si\u00e8cle, les “glaci\u00e8res” de la “Montagne Maudite”, l\u2019actuel Mont-Blanc, ne sont gu\u00e8re visit\u00e9es. C\u2019est \u00e0 un inventaire photographique de ces fameux glaciers que proc\u00e8de Aurore Bagarry et c\u2019est par une carte de ces flots gel\u00e9s que s\u2019ouvre son voyage. Le recours \u00e0 la chambre photographique accompagne son exploration contemporaine. L\u2019infinie qualit\u00e9 de d\u00e9tails et la totale maitrise technique des rendus de lumi\u00e8re et de couleur renvoie aux approches documentaires les plus exigeantes. Le style en est adopt\u00e9 mais les choix de points de vue, de lumi\u00e8re et de cadrage troublent l\u2019impression de “d\u00e9j\u00e0 vu”. Ces glaciers ne ressemblent ni \u00e0 ceux, actuels, issus de la conqu\u00eate sportive ni \u00e0 ceux enregistr\u00e9s par les glaciologues contemporains ni encore aux images \u201d noir et blanc \u201d des glaciers d\u2019albumine, de collodion ou de g\u00e9latine qui ont pali avec le temps. La vision est revitalis\u00e9e ici, via la couleur, dans la rencontre extr\u00eame et sensible entre une jeune femme photographe et des sites qui, s\u2019ils ne sont plus consid\u00e9r\u00e9s comme maudits, n\u2019en restent pas moins fascinants. Luce LEBARTHistorienne de la photographie The German \u2010speaking Swiss writer, Ludwig Hohl (1904\u20101980), in his work Ascension1, warns us: \u00ab Les bons alpinistes sont presque toujours des \u00eatres laconiques. \u00bb (Good mountaineers are nearly always people of few words.) Everything in his story relates back to the necessarily minimalist relationship that man must maintain with mountains. The two heroes of the story, in setting off to conquer a glacier, heroically confront the harsh terrain, with tragic consequences. They perfectly exemplify this quasi\u2010 Nietszchean proverb:  \u00ab Celui qui gravit les plus hautes montagnes, celui\u2010l\u00e0 se rit de toutes les trag\u00e9dies qu’elles soient r\u00e9elles ou jou\u00e9es. \u00bb 2 (He who climbs the highest mountains laughs at all tragedies, whether real or imagined.) Aurore Bagarry\u2019s work is completely at one with this line of thought, which makes representation of the mountain a kind of withdrawal, or what the Greek philosophers called epoch\u00e9, the suspension of beliefs and assumptions. It can also be a suspension of the senses, a setting aside of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-53","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/aurorebagarry.com\/index.php\/wp-json\/wp\/v2\/pages\/53","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aurorebagarry.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/aurorebagarry.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/aurorebagarry.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/aurorebagarry.com\/index.php\/wp-json\/wp\/v2\/comments?post=53"}],"version-history":[{"count":42,"href":"https:\/\/aurorebagarry.com\/index.php\/wp-json\/wp\/v2\/pages\/53\/revisions"}],"predecessor-version":[{"id":1604,"href":"https:\/\/aurorebagarry.com\/index.php\/wp-json\/wp\/v2\/pages\/53\/revisions\/1604"}],"wp:attachment":[{"href":"https:\/\/aurorebagarry.com\/index.php\/wp-json\/wp\/v2\/media?parent=53"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}