Japanese horses and Senegalese rough land

Huis Marseille displays exhibitions of Charlotte Dumas and Luke Delahaye. Dazzling footage and narrative presentations with hidden meanings.

keger bag And Edo Dexterhuis

Charlotte’s strength always lies in silent speech

One-way traffic in museums is one of the few good things that have resulted from the Corona pandemic. Visitors don’t get in each other’s way and you no longer have to guess the order in which the moderator wants to tell the story.

Do you think. because in ao By Charlotte Dumas, the succession of works is already raising questions.

The backbone of this exhibition is the trilogy of short films Duma made between 2018 and 2021 on the Japanese island of Yonaguni, in which a dying breed of horse captured the interest of an animal portraitist. The films represent an important step in the artist’s work, which is known for its images of tigers, street dogs and horses. Over the past 10 years, I’ve developed a new way of telling stories using motion pictures, as there’s been room for people lately. Intuitively, the films at Huis Marseille follow each other in the order in which they are made, but in presentation, the first part makes up the end.

windy meadow

at Xiu (2018) A ten-year-old Japanese girl attempts to lead a horse to surf, something she only succeeds in if she literally and figuratively wraps the animal in an indigo fabric surface and belt. This blue is back! yurishiro (2020) in the form of a horse suit. It is worn by a younger girl who wanders around the big city until, in a windswept meadow, she finds her intimate spirits, the last eight horses of Yonaguni. at ao (2021), finally, a young teenager dancing over the rocks, and his story that local pregnant women were forced to jump here, in order to combat overcrowding on the island. The ballerina spins their souls, but finds peace when she meets the Japanese girl from Shio.

The arrangement may have been altered to make it exciting for today’s serial viewer, adapted through pre-shows and flashbacks. Or to give newer work the largest room in the middle of the cycle. But this is not only puzzling, it also unintentionally confirms it ao It is the weakest of the three parts.


Ao #14 (2019).Charlotte Dumas statue

amazing shots

In wanting to provide her with a trio with a meaningful koda, he always became excited. Not cinematic. The footage is impressive again, the compositions are well balanced and the editing has the right rhythm. But the symbolism is heavy and the soundscape adds to it a lot. The sounds that act as atmospheric punctuation in the first two movements become exciting thrusters here.

It was also better to leave out the poem by Maria Parnas in the voiceover. The strength of always lies in silent talk. The magic of children in the delicious yurishiro It evokes a mixture of love and alienation. The uncertainty of growth in Xiu, moving away from the animal world towards the human universe, is very clear. But ao It lacks that emotional persuasiveness, precisely because the manufacturer wants to say a lot.

Edo Dexterhuis

Charlotte Dumas: Oh. Until March 13th at Huis Marseille, Keizersgracht 401.

Luke Delahaye: Spitting in the Senegalese Rough Ground

Lechamp (2019).  Sculpture by Luc Delahaye / Courtesy of the artist and Gallery Nathalie Obadia, Paris/Brussels

Lechamp (2019).Sculpture by Luc Delahaye / Courtesy of the artist and Gallery Nathalie Obadia, Paris/Brussels

Her strong personal horoscopes are on the horizon. A Senegalese farm worker digs with a shovel in rough terrain, where nothing has grown yet. The edge of the forest can be seen in the distance, which also has a special meaning. Over the past fifteen years, the Senegalese government has greatly increased rice production to make the country self-sufficient. In the north of the country, forests gradually began to give way to agriculture. That is why the image is made up of half forest and half plain.

The exhibition of French photographer Luc Delahaye (1962) at the Lois of Marseille is the result of a several months stay in a village in the Fouta Toro region of northern Senegal, near the river from which the country takes its name. Delahaye stumbled upon this place a few years ago and went to work there a little longer. “It is a small community. I wanted to stay in a place like this for a long time to explore the smallest aspects of it and give them the meaning they deserve.”

legendary character

Delahaye composes narrative performances in which all kinds of meanings disappear and nothing is left to chance. A similar picture hangs next to the digger, this time a hunter. The man is holding a tangled net in front of him. Once again, we see not just any hunter, but some kind of mythical figure ruling the chaotic nets. This confirms his social status, because hunters have a special place in the very hierarchical coexistence of the Volpi nomads.

Luke Delahey started as a photojournalist. Was affiliated with Magnum, filmed for News week I have worked as a war photographer, including in Afghanistan, Rwanda, the Balkans and the Middle East. And successfully, because Delahaye won three awards at the World Press Photo.

Le Village, Le Champ (2019-2020).  Sculpture Luc Delahaye / Collection of Florence and Damien Bachelot, France

Le Village, Le Champ (2019-2020).Sculpture Luc Delahaye / Collection of Florence and Damien Bachelot, France

At the turn of the century, things changed and work began in museums. His portraits have become huge in size, which also makes them reminiscent of painting history. We also see other forms of painting in his compositions. It’s hard to look at Delahaye engraver without thinking of Jean-François Millet and Vincent van Gogh, who depicted farm workers in nearly identical ways in the 19th century.

dust

The line between fact and fiction keeps coming back. At Huis Marseille, now and then you have to take a closer look at what Delahaye photographed. For example, a gray haze appears next to the spade. This looks like dust hovering just above the ground from shoveling, but it could also be the result of a Photoshop interference. Delahaye is not at all secretive about such scams. A series of small black and white shots give a glimpse into the kitchen. We see how the shooting with the hunter arose, how the man stood against a different background, and that the final drawing was generated on the computer.

However, Delahaye also features documentaries at Huis Marseille. Photographs of a Senegalese region, where he records in a descriptive manner small observations of the people and the traces they leave in the landscape.

keger bag

Luke Delahey, Low Village. Until March 13th at Huis Marseille, Keizersgracht 401.

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