PRESS BOOK

(In)OrganiqueULLA REIMER & CAROLINE CARLES

When two generations of photographers

work together matter.

www.ullareimer.com

Atelier Les Claparèdes 84480 BONNIEUX

00 33 (0)6 83 59 50 77 ulla_reimer@yahoo.fr carles.caroline@yahoo.com

www.carolinecarles.com

(In)OrganiqueULLA REIMER & CAROLINE CARLES

When two generations of photographers

work together matter.

SOMMAIRE

Overview 3

descriptive (In)Organique 4

journalistic interviews 5

Presentation of artists 8

(In)OrganiqueExposition

ULLA REIMER & CAROLINE CARLES

Born from the combination of experience and youth, through the association of the long-standing international artist Ulla Reimer with the emerging photographer Caroline Carles, the series» (in) Organique» offers a sensual

journey into the heart of the matter.

Ulla Reimer has been a photographer for years. She worked fi rst as a photojournalist and as a portrait photographer specializing in the cinema before becoming a full-fl edged artist. Ulla has always been concerned with the notion and experience of emotion.

While her desire to arouse emotions has remained intact to this day, her style has become more refi ned and her interest has turned to abstraction. Thus, object structures and architectures now represent a major source of inspiration.

Caroline Carles is a young photographer whose interest is centered on the human body and who takes pleasure in showing our corporal shapes and textures as she sees them or as she would like them to be.

In June 2009, Ulla and Caroline took up the challenge of mounting a joint exhibition. Without betraying their own styles or their own interests, they worked together and the fruitful combination of Ulla’s experience and Caroline’s energy fi nally gave birth to this series of diptychs in which the juxtaposition of the inorganic (Ulla Reimer) and the organic (Caroline Carles) ultimately makes matter triumphant.

An extract of the series was shown in Gordes (Provence, France) in August 2010 and in a privat gallery Paris 16è in 2011, the exhibition was a great success. Close-ups confuse the eye and allow the viewer to let his imagination roam while the tones produced by the high-key or low-key add softness and sensuality to this journey into the heart of the matter.

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Atelier Les Claparèdes 84480 BONNIEUX

00 33 (0)6 83 59 50 77 ulla_reimer@yahoo.fr carles.caroline@yahoo.com

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The series consists of diptychs asso-ciating each fragment of the human body signed Caroline Carles, to archi-tectural signed Ulla Reimer.

The dimensions:60 x 120cm or 90 x 120cm, silver la-minated paper on Garobond 3mm.

D E S C R I P T I V E

T E C H N I Q U E

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(In)OrganiqueUlla Reimer & Caroline Carles

A feminine ideal of sweetness

It is a strange journey wandering in the anatomy of things, a walk through the mysterious nature of duality.

Ulla carries with it a long international experience artist when, Caroline, she responds with the fervours that

creates a unique world, in being built.

(In) organic is the result of an unusual chemistry between two artists with different outlooks the light enters

the mirror of undecided where the materiality of things would wash up on the living and the living would go

to be confused with the inert.

In the style of the hieroglyphics of the Egyptian sacred writing, the series (in) organic reads from right to

left, left right. In a fi rst moment, sensuality is put aside in order to allow the living to discover in more imme-

diate, in fact more material. Yet, strangely paradoxical way, we are absorbed by the symbiosis that we deliver

the immateriality of things and the movement of emotions intended to travel the way these works.

Between the inanimate and the body, the look seems surprise, taken as vertigo. No doubt, there is the strong

desire among the artists not to address the spiritual dimension of things. Maybe it is to show how the materia-

lity of beings inert merges with the living in what he has more particles.

However, in a second moment, not seeing how, in these works a tribute to the life, life in it has more fl uid,

adjacent and more unexpected.

The binomial Ulla / Caroline appears to meet the couple inert / living. Everything here exudes sensitivity

Heraclitean: if being is, it is in a constant oscillation between the inert and the living it becomes available. In

addition, seem to add Ulla and Caroline, if being is, it is on the side of life he looks. Being is, life is short and

the inert fi gure would be a fugitive of the living. We can now understand why these works come to express a

feminine ideal of gentleness, harmony and fl uidity. An ideal of life ...

Patrick Levieux

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Conversation between bodies and structures

Bodies and structures that seem to respond. Why dialogue?

Caroline: First, because we will propose a series made in pairs and we were anxious not to betray our res-

pective styles. I, as a rule, I am interested in the body, while Ulla fi nds its inspiration in the structures of

objects. Then because we wanted to collect the inert and the living, to be confused so that it remains only

the matter, as we show elsewhere in more detail. Finally, object or human, all that the molecules are the

same; it is just changing their organization.

Does that mean that there would be no specifi city of the body as an object? That reminds me, a photogra-

phic image of Ulla, an erotic form of what appeared to be a woman in the back of a shower, when it was

ultimately that of a leek ... In short it is a very materialistic vision which seems to be your approach. There

is no mystery of the body?

Ulla: The mystery is in the eyes of everyone. Interest is to confuse the subject and the human in order to

bring the viewer to question.

Caroline: If we stick to the defi nition of materialism, it is interesting just here to represent the body as an

object and to separate it from the mind. However, in my opinion, the body retains its mystery by the sensual

curves that are shown and the softness of the colours used. The question that emerges may be in this series

might be is the body an object like any other? Of course, in my opinion, the answer is no because it gives off

a unique sensuality. Finally, even if this is the same molecules, one cannot help but keep in mind that one

side there is an element and more life.

Interview with Ulla Reimer and Caroline Carles

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A hyper-materialist approach, can we also talk about a dehumanization of the body? For example,

what is striking is the absence of the face; the gentle sweetness becomes a line of fl ight. Can we say

that there is a critical dimension of the human condition in the sense that fi nally the place of human

beings would not be more central than the objects that inhabit our environment? In short, there would

not be a privileged place of human beings.

Ulla: Divert the body object or the object in the body, helps to realize that the body can be an issue.

A simple package. For example, a chest that is usually sensual, soft object could become fossilized.

While a simple corrugated iron home to the weather and is usually represented as a sharp appearance,

cold and dirty, becomes soft. This game of opposite interests me, and even wears an interpretation of

the material.

Caroline: Yes, the body appears as dehumanized as they are only pieces that shown. However, I do not

think that the sweetness is only lines of fl ight. I think the softness of the body , photographed as part

of a drop in kidney, breast, the hollow of the neck ... As for the place of humans in relation to objects;

it seems to me that the body is the contrary in this series an ideal place. If we associate the fragments

of food or animals to these structures of objects, the diptychs would not have had the same power. The

presence of humans and life gives meaning to the entire series. The a priori approach «hyper mate-

rialist» acts contrary giving a special dimension to the living, because even if you want to get the body

to a mere object, no mistake about it, one hand there are longer life. Perhaps this very aspect infects

living things and brings the sweetness.

There is more to an artistic productions that deliver a speech. Can we say that your approach helps in

this way to glimpse the art?

Ulla: In my opinion, the speech is not helpful. Each individual enters the subject, feel an emotion of its

own. Give to read a text; give an explanation, a clear approach is important for who desires it. Howe-

ver, it is important to give freedom to those who want to plunge our world just by feeling the emotions

that we wanted to communicate.

Caroline: I agree with Ulla. The explanation of the artist’s approach does more to those who wish to

understand the mechanisms that led to fi nal production and that the image is a trigger for refl ection.

For others, it seems that only the emotion generated suffi cient. They stick to what he feels and do not

necessarily want to know why or how the artist got there. I think both are equal, after all they are two

different but complementary needs. What is certain is that our way of working requires a lot of thin-

king before and during the production of works but we do not create in order that the viewer sees the

same thing as us.

What is the role of spectator in your approach? What are he asked through this work?

Ulla: The viewer is invited to share our universe, to discover a glance, to imagine them transported

into a dream, a matter that is the body and structure. At the same time, the viewer is invited to dive

into a world far from reality, to be carried away by his emotions.

Caroline: The audience is fi rst asked to examine concretely what he sees; his look is deliberately pus-

hed to that kind of reality. Then the viewer is invited to consider the meaning of proposed associations,

which should bring him to see the world differently. In the words of Ulla, the viewer is not particu-

larly encouraged to understand, he was invited to experience. We presented an excerpt from the series

in Gordes and it was wonderful for us to observe the reactions of people, some had the chills, other

exclaimed with wonder, others sought to understand ... We would like to deal with these images each

comes face to himself...

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For 40 years,

Ulla Reimer is an artist

in the visual arts world.

Reporter in its infancy, Ulla later

became a portraitiste in the world of

entertainment, before devoting himself to his

true passion,fi ne art photography.

So now a partner at the

young photographer and visual artist

Caroline Carles, they

continue to share their passion

The lecture course in re-creative,

Ulla has always been to convey his

interest in the image and experience.

More details onw w w . u l l a r e i m e r . c o mw w w . c a r o l i n e c a r l e s . c o m

© Intellectual property: the reproduction and distribution of images is prohibited without the express permission of the artists.

Ulla et Caroline P A R C O U R S

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2011 PARIS, Galerie Arsyne «Duality» avec Caroline Carles

PARIS, Artfi nder

LYON, Espace Paul Ricard «Etre ou ne pas paraitre» PARIS, Galerie Arsyne «Duality» avec Caroline Carles

PARIS, CNIT «A contre-pied» PARIS, Galerie Arsyne «Duality» avec Caroline Carles

2010 LYON, Espace Kozac pour le mois de la photo, BODY OR NOBODY avec Caroline Carles

GORDES, La chapelle, Exposition comune avec Caroline Carles

TOKYO, Brasserie Institut Franco japonais <WINGS OF FANTASY>

PARIS, Galerie Oberkampf «in)Organique Ulla Reimer et Caroline Carles

2009 AIX EN PROVENCE <FOOD for SOUL> Exposition «festival du fi lm sur l’environnement»

JINAN-QUFU (Chine) Contemporary International Photography Biennale

<WINGS OF FANTASY> et <ETRE OU NE PAS RARAITRE> Prix de l’Académie Supérieur

2008

2007

AIX EN PROVENCE REGARDS CROISES <ETRE OU NE PAS RARAITRE> rétrospective Musée de Tapisserie

ARLES, Maison des Associations Création Vidéo dans le cadre des Rencontre de la Photographie

PORT DE BOUC Création Vidéo et Photo, invitée d’honneur

2004

2002

APT, MJC Résidence d’Artiste (Oct.2003 à Juin2004) < Les 40 ans de la MJC> Installation, Exposition, Projection

GORDES, Château <JALEO>

2001 TOKYO, Pentax Gallery <WINGS OF FANTASY>

AIX EN PROVENCE Espace Sextus <ETRE OU NE PAS RARAITRE>

2000

1999

ARLES, Espace MPT <ECLAIRS>, dans le cadre des Rencontre de la Photographie

ALLAUCH, Invitée d’honneur, PHOCAL le vieux bassin <ECLAIRS-Ailes>

1998 TOKYO, Pentax Gallery <ECLAIRS-Nocturne> <JALEO OU LE REEL TRANSFIGURE>

GORDES, Aumônerie St.Jacques <ECLAIRS>, <ETRE OU NE PAS RARAITRE>

LYON, Palais de Bondy, Journée de la photographie <ECLAIRS>

1996 Festival d’AVIGNON, Théâtre de l’Escalier <ECLAIRS - TOKYO-TO>

NEMOURS, Mois de la Photo Invitée d’honneur <ECLAIRS - SYMBIOSE >

LYON, Journée de l’Image Photographique <FRAGMENTS>

LOURMARIN, Espace Karas <ECLAIRS>

MARSEILLE, Espace Ecureuil <ECLAIRS >1995

1994 YOKOHAMA, Festival du Film Français <ON-OFF>

OSAKA, Galerie AF, Festival de Film International <ON-OFF>

FRANCFORT, Atelier Nr.695 rétrospective

YOKOHAMA, Galerie Institut Franco-Japonais <PARIS - SEPIA>

1993 TOKYO, Pentax Forum <VIT-LE-REVE>

OSAKA, Pentax Forum <VIT-LE-REVE>

MARSEILLE, Espace Ecureuil <VIT-LE-REVE>

MARSEILLE, Atrium CG13 <ETRE OU NE PAS PARAITRE>

OSAKA, Galerie Espace <ETRE OU NE PAS PARAITRE>

FUKUOKA, Galerie Amikasu <SERIE NOIRE>

NARA, Galerie AF <ETRE OU NE PAS PARAITRE>

1992 AIX-EN-PROVENCE, Espace Sextus <ETRE OU NE PAS PARAITRE>

TOKYO, Galerie Institut Franco-Japonais <SERIE NOIRE>

YOKOHAMA, Galerie Institut Franco-Japonais <SERIE NOIRE>

ISTRES, MPT invitée d’honneur <ETRE OU NE PAS PARAITRE>

1991 ARLES, Espace MPT <ETRE OU NE PAS PARAITRE> dans le cadre des Rencontre de la Photographie

OSAKA, Pentax Gallery <ETRE OU NE PAS PARAITRE> <OMBRE ET LUMIERE>

AIX-EN-PROVENCE, Espace Méjane <ON-OFF>

OSAKA, Pentax Gallery <ETRE OU NE PAS PARAITRE> <OMBRE ET LUMIERE>

1990 PARIS, ESEC <SERIE NOIRE> dans le cadre du mois de la photo

MONTROUGE, 35.Salon d’Art Contemporain <ETRE OU NE PAS PARAITRE>

NEMOURS, invitée d’Honneur, Festival de Photo <SERIE NOIRE>

1989

1988

PARIS, Lucernaire - Centre d’Art et d’Essai <SERIE NOIRE>AIX-EN-PROVENCE, Galerie Fontaine Obscure <OMBRE ET LUMIERE>BONNIEUX, Galerie St. Dieu <SERIE NOIRE>AIX-EN-PROVENCE, Offi ce Départementale de la Culture <SERIE NOIRE>FRANCFORT, Musée de Cinéma <ON-OFF> 10 ans de portaits dans le monde du cinéma

EXPOSITION - EXHIBITION - EXPOSITION - EXHIBITION - EXPOSITION - ULLA REIMER

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