We get behind the lens with the French artist to discuss the possibilities of photography and the compelling body of work chronicling the journey of refugees produced during his BMW Art & Cultu...
‘Supporting photographers is a long-term approach,’ observes Thomas Girst of the residency, which is now in its eighth year. As Head ofCultural Engagement, he says the artists have complete creative independence, with no interference from the company. Lhuisset, Girst admits, has been a remarkable choice – a risky one for a big car corporation given his provocative stance.
to support his work. What he does is so real – he brings depth to photography. It shouldn’t always be just about beauty and aesthetics, but how these subjects come into play when the world turns ugly.’‘L’autre rive’ presents Lhuisset’s coverage of the century-old conflict in the Middle East.
W*: Your exhibition is a compelling visual account of the journey of the many refugees, in this case from the battlefields of Kurdistan – in Iran, Iraq, Turkey and Syria – to exile in Europe. This certainly feels like a very personal story. Why the Middle East and the Kurdish plight?I studied geopolitics and fine art; I then worked in Turkey and Syria for many years as a photographer and artist.
, but they are photographed in a place of war using real fighters. So, the question is: is it true or not?The first shaky handheld video depicts the crossing between Syria and Turkey – the journey taken by those fleeing the war in Syria, and the moment when the civilians become refugees. The photograph that follow then captures a small section of the Mediterranean where a lot of them disappear. I was heading to Lesbos, the island where refugees typically land.
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