Photographs, “Armes de Classe” at the Centre Pompidou

JACQUES-ANDRÉ BOIffARD, Chaussure et pied nu, vers 1929 Épreuve gélatino-argentique, Centre Pompidou, Musée national d’art moderne, Paris © Centre Pompidou, MNAM-CCI/ Philippe Migeat/Dist. RMN-GP © Mme Denise Boiffard

WIDE WORLD PHOTOS NEw YORK TIMES - ARCHIVES CHARLOTTE PERRIAND, Entraînement, milieu des années 1930 Tirage gélatino-argentique, Collection privée © Adagp, Paris 2018

PIERRE JAMET,Le Banc, Nice, 1936 Épreuve gélatino-argentique, ancienne Coll. Christian Bouqueret Centre Pompidou, Musée national d’art moderne, Paris © Centre Pompidou, MNAM-CCI/ Philippe Migeat/Dist. RMN-GP © Pierre Jamet

PIERRE JAMET, Dormeurs au soleil à Barcelone, 1935 épreuve gélatino-argentique, ancienne Coll. Christian Bouqueret, Centre Pompidou, Musée national d’art moderne, Paris © Centre Pompidou, MNAM-CCI/ Philippe Migeat/Dist. RMN-GP © Pierre Jamet

ANDRÉ KERTÉSZ,Sur les quais, près de Saint-Michel ,1926 Épreuve gélatino-argentique, Centre Pompidou, Musée national d’art moderne, Paris © Centre Pompidou, MNAM-CCI/ Service de la documentation photogra- phique du MNAM/Dist. RMN-GP © RMN-Grand Palais

DORA MAAR, Sans titre (femme à la fenêtre), vers 1935 Épreuve gélatino-argentique, Centre Pompidou, Musée national d’art moderne, Paris © Centre Pompidou, MNAM-CCI/ Philippe Migeat/Dist. RMN-GP © Adagp, Paris 2018

JEAN MORAL, La piscine Molitor, vers 1932 Épreuve gélatino-argentique, ancienne Coll. Christian Bouqueret Centre Pompidou, Musée national d’art moderne, Paris © Centre Pompidou, MNAM-CCI/ Samuel Kalika/Dist. RMN-GP © Jean Moral, Brigitte Moral, SAIF

RÉ SOUPAULT, Délégation de grévistes à la fête de la victoire du Front Populaire, le 14 juin 1936 Épreuve gélatino-argentique, Centre Pompidou, Musée national d’art moderne, Paris © Centre Pompidou, MNAM-CCI/ Georges Meguerditchian/Dist. RMN-GP © Adagp, Paris 2018

WILLY RONIS, Prise de parole aux usines Citroën – Javel, 1938 Épreuve gélatino-argentique, Centre Pompidou, Musée national d’art moderne, Paris © Centre Pompidou, MNAM-CCI/Bertrand Prévost/Dist. RMN-GP © RMN - Gestion droit d’auteur Willy Ronis

ANDRÉ STEINER, Livreur de journaux à vélo, vers 1938 Épreuve gélatino-argentique, ancienne Coll. Christian Bouqueret, Centre Pompidou, Musée national d’art moderne, Paris © Centre Pompidou, MNAM-CCI/ Samuel Kalika/Dist. RMN-GP © Steiner-Bajolet

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JACQUES-ANDRÉ BOIffARD, Chaussure et pied nu, vers 1929 Épreuve gélatino-argentique, Centre Pompidou, Musée national d’art moderne, Paris © Centre Pompidou, MNAM-CCI/ Philippe Migeat/Dist. RMN-GP © Mme Denise Boiffard
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WIDE WORLD PHOTOS NEw YORK TIMES - ARCHIVES CHARLOTTE PERRIAND, Entraînement, milieu des années 1930 Tirage gélatino-argentique, Collection privée © Adagp, Paris 2018
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PIERRE JAMET,Le Banc, Nice, 1936 Épreuve gélatino-argentique, ancienne Coll. Christian Bouqueret Centre Pompidou, Musée national d’art moderne, Paris © Centre Pompidou, MNAM-CCI/ Philippe Migeat/Dist. RMN-GP © Pierre Jamet
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PIERRE JAMET, Dormeurs au soleil à Barcelone, 1935 épreuve gélatino-argentique, ancienne Coll. Christian Bouqueret, Centre Pompidou, Musée national d’art moderne, Paris © Centre Pompidou, MNAM-CCI/ Philippe Migeat/Dist. RMN-GP © Pierre Jamet
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ANDRÉ KERTÉSZ,Sur les quais, près de Saint-Michel ,1926 Épreuve gélatino-argentique, Centre Pompidou, Musée national d’art moderne, Paris © Centre Pompidou, MNAM-CCI/ Service de la documentation photogra- phique du MNAM/Dist. RMN-GP © RMN-Grand Palais
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DORA MAAR, Sans titre (femme à la fenêtre), vers 1935 Épreuve gélatino-argentique, Centre Pompidou, Musée national d’art moderne, Paris © Centre Pompidou, MNAM-CCI/ Philippe Migeat/Dist. RMN-GP © Adagp, Paris 2018
Trulli
JEAN MORAL, La piscine Molitor, vers 1932 Épreuve gélatino-argentique, ancienne Coll. Christian Bouqueret Centre Pompidou, Musée national d’art moderne, Paris © Centre Pompidou, MNAM-CCI/ Samuel Kalika/Dist. RMN-GP © Jean Moral, Brigitte Moral, SAIF
Trulli
RÉ SOUPAULT, Délégation de grévistes à la fête de la victoire du Front Populaire, le 14 juin 1936 Épreuve gélatino-argentique, Centre Pompidou, Musée national d’art moderne, Paris © Centre Pompidou, MNAM-CCI/ Georges Meguerditchian/Dist. RMN-GP © Adagp, Paris 2018
Trulli
WILLY RONIS, Prise de parole aux usines Citroën – Javel, 1938 Épreuve gélatino-argentique, Centre Pompidou, Musée national d’art moderne, Paris © Centre Pompidou, MNAM-CCI/Bertrand Prévost/Dist. RMN-GP © RMN - Gestion droit d’auteur Willy Ronis
Trulli
ANDRÉ STEINER, Livreur de journaux à vélo, vers 1938 Épreuve gélatino-argentique, ancienne Coll. Christian Bouqueret, Centre Pompidou, Musée national d’art moderne, Paris © Centre Pompidou, MNAM-CCI/ Samuel Kalika/Dist. RMN-GP © Steiner-Bajolet

#PARIS In its photo gallery, the Centre Pompidou takes a look at social and documentary photography from the 1930s until February 4. Beaubourg highlights a large number of documents and photographs from its collections. They are structured around themes such as anti-militarism and the fight against the colonies. “Photography, Class Weapon” is this manifesto of Henri Tracol that led to the formation of the photographic section of the Association of Revolutionary Writers and Artists; it is also a vision and a strong collaboration of artists of the time (Henri Cartier Bresson, Eli Lotar, Germaine Krull, Willy Ronis or Lisette Model) engaged with amateurs or workers (including the A.P.O. Association Photographique Ouvrière). Based on a Soviet and German aestheticism, the exhibition begins with this magazine headline “Son of the Commune”. Then comes a number of covers evoking this commitment, this refusal to accept the rise of identity withdrawal. In 1933 the magazine “Regards” titled “A bas le Fascisme”. The whole period is also an opportunity to immerse yourself in the iconography of the mythical magazine “Vu” founded by Lucien Vogel, an era when the press offered itself a Capa on the cover. Scenographed as in a Parisian gallery, we can stroll according to our imagination in a hanging device in “exploded cloud” mode. Despite the upheavals that photography has undergone in recent decades, nothing will prevent it from always being considered as a weapon, as a weapon of struggle, as a weapon of “class”. The societal criticism, the very object of this medium which transcribes a certain reality, such as a satire, is still valid today, as with this photomontage by Roger Parry made in 1935… We can see the deputies in the hemicycle of the national assembly seated in front of a large plate of spaghetti… A squeaky humour, of an incredible modernity that still echoes today… with good hearing, hello!

 

PHOTOGRAPHY, CLASS 1928-1936 WEAPON

From November 7 to February 4, 2019

Free entrance

Centre Pompidou

Photo Gallery, Forum -1

Place Georges Pompidou

75004 Paris

Dominique Vautrin

Dominique Vautrin is a French photographer. Influenced by American street photography, he develops during his various projects, a dark work that depicts a society in a phase of anonymization. The c...

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