L’Amour toujours :
Jenny Rova + Natasha Caruana

29.10.2021 – 30.01.2022

Curators: François Cheval and Yasmine Chemali

For its second exhibition, L’amour toujours (Love, Eternally), the Mougins Center of Photography once again celebrates female photography while inviting Natasha Caruana and Jenny Rova. Their works result from personal stories told through familiar experiences.

Photographers are not immune to emotional experience! Whether women or men, all share in the ordeal of romantic relationships with a partner, subjected to the mystery of desire like everyone else. But how do they speak of this today? And are they capable of finding an original form linked to the medium of photography to describe the indescribable?
Historically, excluding portraits of the beloved being, the object of desire or the muse, narratives of coupledom and the complexity of private life are recent. And quite often, they are produced by women photographers seeking to inscribe their work in the general movement of ideas prevailing since the 1970s.

Jenny Rova and Natasha Caruana, clear-sighted, have no particular difficulty in conveying the question of romantic commerce. They are attempting a new iconographic approach to this human invariant, the basis of everything. Their works are essentially reflection turned action on the senses, the sexual body and relationships between the sexes.
For Jenny, the main character in her photo series, romantic passion dominates above all, and for this reason, the consequences of a burning flame must be accepted. Natasha, meanwhile, defines her position through an interrogation of the male gaze. She plays, to some extent, with what animates male desire. We are led into universes in which fiction and autobiography mingle.

You
Jenny Rova

Jenny Rova (b. Sweden, 1972) turns her private life into elements for display. The four series of what will be her first solo show in France reveal her singular work.
Originally, this Swedish photographer worked in documentary photography. After finishing up her studies of the medium in Prague, Rova moved to Zurich, where she developed a radical and joyful take on romantic relationships. Separated from, but still in touch with her former partner, she began following him on social networks, discovering her ex-love’s new world, from which she was now excluded. What sort of work could she undertake on the emotions she was drowning in? How could she portray this situation whose very existence was but a mere media mirror? Rova invented a diary, a triangular drama, the existence of which she alone was aware.

Series:

I would also like to be / A work on Jealousy, 2013
Älskling / A self-portrait through the eyes of my lovers, 2017
Letters I didn’t send, 2020
Calling Phillipe / Prove your love, 2021

Jenny Rova
On departure, April in Venice
Série : I would also like to be / A work on Jealousy
2013

Jenny Rova
On departure, April in Venice
Série : I would also like to be / A work on Jealousy
2013

Jenny Rova
Me and Lisa
Série : I would also like to be / A work on Jealousy
2013

Jenny Rova
On departure, April in Venice
Série : I would also like to be / A work on Jealousy
2013
Jenny Rova
Älskling / A self-portrait through the eyes of my lovers
2017
Jenny Rova
Älskling / A self-portrait through the eyes of my lovers
2017

Jenny Rova
Letters I didn’t send
2020

A Lover’s Discourse
Natasha Caruana

Natasha Caruana (b. UK, 1983) is no longer an unknown in France. Winner of the BMW Artist in Residence Award in 2014, she has nevertheless not gotten the exposure that she deserves. For fifteen years, the British artist has been fictionally creating scenarios that recount personal relationships, the complexity of positions in a heterosexual couple. With typically British wit, Caruana structures photographic encounters using documentation and staging.
From the first series, The Other Woman, we are confronted with the secret lives of married women in extra-conjugal romantic relationships. This series introduced an original tone that subsequently developed withMarried Man – – less an interrogation of the couple than of the ongoing miracle of how it lasts, its fragility and vulnerability to temptation. All of the series hold something of a perfect illustration of the power of desire, its tiny daily perversions and untold secrets – all of which constitutes the work’s originality, never passing judgement but confronting us with the complexity of the couple as an institution. While the theme may be stinging at times (Curtain of Broken Dreams), the illusion that anything is possible still lingers in spite of everything (At First Sight) .

Series:

The Other Woman, 2005
Married Man, 2008-2009
Fairytale for Sale, 2011-2013
Love Bomb, 2013
At First Sight, 2015
Muse on Muse, 2021

Curtain of Broken Dreams, 2017

Natasha Caruana
« Alchemy of the sun »
Série : At First Sight
2015

Natasha Caruana
« Alchemy of the sun »
Série : At First Sight
2015

Natasha Caruana
The Baltic
Série : Married Man
2008

Natasha Caruana
Natasha
Série : The Other Woman
2005

Natasha Caruana
Penny #1
Série : The Other Woman
2005

Natasha Caruana
Penny #1
Série : The Other Woman
2005

Natasha Caruana
Nail bomb
Série : Love Bomb
2013

Natasha Caruana
Penny #1
Série : Fairytale for Sale
2011-2013

Cahiers #2

L’amour toujours :

Auteur·e·s :
François Cheval, Laurence Pourchez, Jenny Rova, Natasha Caruana, Dr Chris Hoff, Christophe Perrin, Yasmine Chemali

192 pages
29 €
Isbn : 979-10-90698-51-2

Cahiers is a new, independent magazine in paper format that accompanies each exhibition.
Its positioning:
be situated between the luxurious photo book, the exhibition catalogue with little durabilitý and the popularisation book.
Cahiers is a new, independent magazine in paper format that accompanies each exhibition.

On sale at the Center of Photography’s store.

Upcoming Exhibitions

Li Lang

25.02.2022 – 22.05.2022

Born in Chengdu in 1969 (Sichuan, China) Li Lang works were never shown in France; the exhibition at the Mougins Center of photography will be his first experience with French public.

A Certain Day of A Certain Year.
“I got on the train: a round trip, 4600 kilometres at high speed. shooting the view out of the window in a manner of taking statistical sampling and following the train through this familiar and yet unfamiliar country, through the city, town, countryside, hills, plains and the wilderness. When I numbly looked out the window, the landscape rushed against the direction of the train, then fleeted behind. I suddenly had an illusion, the future is ahead, the future is captured by the movement. I am unaware of that the future has become a thing of the past. For me, the present place here seems to be missing. Only when the train arrives at the end, I walk out of the carriage and feel the present existence and the reality of the return.
What is reality? “

Yuki Onodera

25.02.2022 – 22.05.2022

Born in Tokyo 1962, Yuki Onodera set up her studio in Paris in 1993 and began to work internationally. She asks herself what photography is and what photography can do. This reflection leads her to an unusual practice that ultimately goes beyond “simple” photography: she inserts a marble in the camera, or travels to the other side of the Earth to take photos based on a story constructed from a news item or a legend. An original series will be produced for the Mougins Center of Photography.
Onodera is known her two-meter-high darkroom prints by herself, oil painting on a photography, as well as for other original hands-on methods. Her work is held in collections around the world, including those of Centre Georges Pompidou, San Francisco Museum of Modern Art, The J. Paul Getty Museum, Shanghai Art Museum and The Tokyo Metropolitan Museum of Photography.

Past Exhibitions

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