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UID:20260503T020930UTC-26393zeokF@Gratis-in-Berlin
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DESCRIPTION:NO INNOCENT LANDSCAPEValérie Leray solo exhibition02.08 ? 27.10.2
 021On view in the ERIAC galleryLocation: Reinhardtstraße 41-43\, 10117 Berl
 inOpening hours: Monday to Friday 10-17hFree entrymax. 3 visitors at the s
 ame time only with FFP2 maskAbout:&nbsp\;Valérie Leray?s landscapes are mark
 ed by abandoned\, neglected\, contested or rehabilitated sites of past mas
 s violence: unmarked locations where Sinti and Roma were held prisoner in 
 camps. Shattered spaces\, wrote Michael Meng (2011)\; difficult heritage\,
  diagnosed Sharon Macdonald (2008). These are affective places that fright
 en ? acting on the body and the sphere of feelings of a disoriented passer
 -by\, they do not allow themselves to be ?understood? or ?read?. The negat
 ive memory that surrounds these places leads to a range of practices of co
 vering up\, hiding\, and rejection: various sites are littered\, allowed t
 o be covered with vegetation\, not fenced off or marked\, no monuments or 
 plaques erected\, and commemorations are perfunctory and erroneous.After d
 iscovering that her grandfather\, Jean-Pierre Leray\, was interned as a ch
 ild in a concentration camp in Jargeau\, near Orléans\, Valérie Leray commence
 d a systematic journey to different camps scattered throughout France\, do
 cumenting\, through a photographic subversion of the genre of landscape pa
 inting\, the absence of the people who had once been interned there. Durin
 g World War II\, about a quarter of the Roma population of France underwen
 t administrative internment\, while others were placed in restricted resid
 ence. Under the Vichy Regime\, 30 camps\, including those of Saliers\, Riv
 esaltes\, Barcarès\, Montreuil-Bellay\, Jargeau\, Coray and Lannemezan opene
 d to detain thousands of French Roma. Yet\, the horrific crime against the
  Roma has been widely ignored\, and they have received little or no compen
 sation for their suffering or lost property. It took decades for Roma to g
 o public with their stories\, giving testimony of the racist Nazi persecut
 ion\, and demanding justice and recognition as victims of genocide.Leray?s
  photographs hijack the genre of the French landscape painting and challen
 ge the mechanism of incorporating a particular landscape into the fabric o
 f national identity. Fragments of concrete reality bear witness to it\, bu
 t they also become in some sense collaborators ? as the Dutch poet Armando
  writes in his poems about the Holocaust\, blaming the landscape\, the tre
 es and the land surrounding the camps for becoming accomplices to the crim
 e. The mysteriousness of Leray?s works points to the duality of the gaze a
 nd requires a change in the status of the beholder. What we see seems at f
 irst glance to be apparently clear\, obvious and quite analytical\, and ye
 t we sense that another\, fuller view is latent\, brewing underneath. The 
 image resists ? not allowing us to assume the position of a passive observ
 er\, before whom meaning is simply revealed. We\, too\, must set out on a 
 journey towards which we are guided by clues contained in the unusual mann
 er of depiction\, the intriguing banality of the subject\, the colours\, t
 he titles. In order to prevent us from forgetting the horrors of history\,
  Leray directs our gaze towards the common\, everyday sights that have bec
 ome history?s beacons. We need to look\, not only to discover the hidden m
 emory of these landscapes\; we must begin to look as an act of resistance 
 against the process of forgetting.--&nbsp\;Vale?rie Leray (Chartres\, Fran
 ce\, 1975) is a visual artist and photographer\, researcher\, curator and 
 art director of the artist-run alliance la mire\, based in the Loire Valle
 y (France) and in Berlin\, where it has established an artist residency pr
 ogramme for visual artists\, called A Roof Above Your Head\, and is planni
 ng to establish another in South Asia.Leray began her artistic career as a
  reportage photographer and conceptualised her approach in documentary pho
 tography. She received her MA in Photography and Multimedia at the Paris 8
  University. She was an award-recipient in ?The European Year of Intercult
 ural Dialogue?\, and has been awarded a number of visual art grants in Fra
 nce\, and elsewhere in Europe. Her works have been exhibited international
 ly\, including at: Fotonoviembre (Spain)\, Europäischer Monat der Fotografie
  (Berlin)\, Fotoseptiembre (Mexico D.F.)\, Pingyao International Photograp
 hy Festival (China)\, and in Taiwan\, Serbia\, Croatia\, Poland\, and Pari
 s\, among others. In 2019\, the series\, Place With No Name\, was shown at
  the prestigious Venice Biennale within the exhibition\, FUTUROMA\, curate
 d by Daniel Baker and commissioned by ERIAC.Leray regularly gives artist t
 alks and conferences\, and also organises workshops and interventions for 
 a range of audiences\, on various analogue and digital photographic proces
 ses. She has also initiated a creative performance series as a conference 
 with European visual artists\, the majority of Roma background\, and for t
 his\, she has been awarded in the European Mobility Program I-Portunus.Ler
 ay engages in an analysis of the photographic medium and its historical ro
 le as evidence and artefact required for an event reconstruction. She also
  questions the relationship between the true and the fake in the process\,
  the possibilities of data and image manipulation\, and the paradigm of th
 e visible/invisible\, placing subjects in their geopolitical and geohistor
 ical contexts\, and more widely questioning through the discipline of arch
 aeogeography (or landscape heritage).https://www.valerieleray.com/\n\nViel
  Spass wünscht Gratis-in-Berlin\n\nLink zum Tip: https://www.gratis-in-berlin.d
 e/kalender/item/2053085-photography-exhibition-no-innocent-landscape\nZu d
 en Gratis-in-Berlin Angeboten: http://www.gratis-in-berlin.de\n
DTSTART;VALUE=DATE:20210802
DTEND;VALUE=DATE:20211027
SUMMARY:Photography Exhibition: No Innocent Landscape
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