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"Sarfati, Lise."
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THE YOUNG AND THE LISTLESS
[Lise Sarfati] was born in Algeria but was living in Nice, France, when she started taking photographs at the age of 15. She remembers her universe at that time, in 1973, as filled with the music of Pink Floyd and David Bowie and literature by Anton Chekhov, Fyodor Dostoevsky, and Mikhail Bulgakov. She went on to earn her master's degree in Russian studies at the Sorbonne in Paris and become a full- time photographer in 1986. She is a member of the exclusive international photographers' cooperative Magnum. The young people who populate The New Life were singled out by a famous photographer yet don't appear energized by that. Perhaps Sarfati knows how to defuse such reactions in order to truly show her subjects as they are. So they exhibit the stunned, absent countenance that mystifies grown-ups. Olga Medvedkova, in her essay for The New Life, refers to the teens' faces as self-serving \"alibis\" for their true characters, which they would rather hide. She sees in those faces \"signs of absence.\" 1. Lise Sarfati: Ashley #36, Sept. 23, 2003, Portland, Ore. 2. Asia #33, Oct. 19, 2003, North Hollywood, Calif. 3. Mariela #27, Oct. 17, 2003, Los Angeles 4. Robin #43, Oct. 4, 2003, Oakland, Calif. 5. Gabe #12, March 15, 2003, Austin, Texas
Newspaper Article
The Guide: PREVIEW exhibitions: Lise Sarfati LONDON
Who didn't want to paint their bedroom walls black when they were 15 years old? If not to suit a morose disposition then at least to piss off the parents. [Lise Sarfati]'s photographs of young Americans captures that purgatorial world between child and adult, when life becomes an endlessly dreary trudge for independence.
Newspaper Article
LIFE IS A CABARET The Moulin Rouge is a byword for bohemian excess. But Lise Sarfati's backstage photographs of Paris's most famous nightclub, show a world that's infinitely more strange and sad
Then calm your stomach with these behind-the-scenes pictures of the modern Moulin Rouge by the Paris-based Magnum photographer [Lise Sarfati]. If they are short on horny dukes, they do tell a story which is, in its own way, every bit as weird as Luhrmann's. The film's real- life namesake may have stopped offering Peers of France hot dates with its dancers, but the Moulin Rouge is still a curious place. You can't help feeling that something's been lost in the process. No doubt the Moulin Rouge did harbour the odd unhappy [Satine], but the raunchiness of its original cabaret was also strangely neo-feminist, avant, as it were, la lettre. The washerwomen who danced the cancan back in the 1890s didn't take any nonsense from anyone, duke or no. Their dance routines used raw female vulgarity to poke fun at male bastions like the church and army. Flashes of tits and bums showed the women's power over their own bodies, and thus over their own lives. Hints of pudenda suggested just what the girls of the Moulin Rouge thought of their punters. of course, we're put in mind of Degas. Just as there's no hint of sexual interest in Degas's views of ballet dancers rubbing their cramped calves or washing their private parts in foot-baths, so there's no particular sense of womanly empathy in Sarfati's photographs of the girls at the Moulin Rouge. She doesn't feel sorry for them, or attached to them, or disgusted by them; in fact, you don't even feel that she's particularly interested in them. Instead, she seems to see the dancers as cyphers for a kind of emptiness. They are phenomenal, really, for being pointless: 21st-century women acting out a 19th-century ritual, without so much as a decent duke to flash their culs at. n
Newspaper Article
Review: Critics: Photography: Poor girls who are living the dream: Lise Sarfati's portraits of two sets of sisters brilliantly capture their isolation and suspicion of the lens: Lise Sarfati: She Brancolini Grimaldi, London W1; until 17 March
Lise Sarfati is a French photographer who lived and worked in Russia for 10 years before relocating to California in 2003. To date, her subjects have tended to be adolescents and her colour portraits, which often resemble film stills, evoke the strange sense of suspended time between youth and adulthood. Sarfati's obsession with the inner lives of the young and dislocated is not, of itself, anything new: both Rene Dijkstra and Larry Clark have explored similar terrain. But Sarfati's photographs, though deceptively simple on first viewing, have a mysterious quality that is to do, in part, with her deft merging of portraiture, snapshot and arranged tableau. The notion of \"instability\" is a constant here, as are the behavioural fault lines and tremors that run like invisible currents though the generations. Of the four, [Sloane] is the most traditionally photogenic, and the one whose portraits most resemble film stills. One could easily imagine her haunting a David Lynch movie in the manner of Patricia Arquette in Lost Highway. Her sister, Sasha, appears only twice, and seems the most ill at ease with Sarfati's camera. When I walked around the show with Sarfati last week, she told me that all the women were difficult to photograph because they remained constantly suspicious of the camera's gaze, as well they might. Captions: Sloane #07 Oakland, CA, 2007, by Lise Sarfati:; 'one could easily imagine her haunting a David Lynch movie'. Courtesy; Brancolini Grimaldi; [Gina] #12 Oakland, CA, 2009: 'like a different person from one portrait to the next'. Courtesy Brancolini Grimaldi; Sasha #20 Emeryville,CA, 2007: 'the most; ill at ease with Sarfati's camera'. Courtesy Brancolini Grimaldi
Newspaper Article
Looking inside the minds of a deadpan younger generation ; EXHIBITION
Both artists create carefully calculated images devoid of adults or smiles, and leave us to invent life stories through clues in the furniture, clothes, decor and body language. [Cuny Janssen]'s wide-eyed, younger subjects are warm and open. Their pretty, comfy clothes lack any of the knowingness of [Lise Sarfati]'s Americans. Woven among Janssen's portraits are her striking landscapes in Macedonian woodlands, and the epic mountains of Iran. Photographed in spring and summer, the mountains reveal an entirely different character from Abbas Kiarostami's meditational snowscapes.
Newspaper Article
ART: PRIVATE VIEW: Lise Sarfati: Photo Exhibition to 31 Jul The Photographers' Gallery, London WC2
As well as an exhibition of [Lise Sarfati]'s work, the Photographers' Gallery is also presenting a selection of Dutchwoman Cuny Janssen's images. Since visiting Macedonia in 2003, Janssen has been taking photographs of children and the war-torn environments they live in.
Newspaper Article
Young And Restless
Magnum photographer Lise Sarfati, whose youth-centered The American Series is now on view at New York's Yossi Milo Gallery, is interested in identity and the way time and circumstance, history and place impose forms on people's lives. For The American Series, Sarfati traveled to a variety of stateside cities to make portraits of teenagers that are not specifically about being a teenager but are simply about being.
Trade Publication Article
Face and places: The 'new' Europeans 10 photographers, 10 nations and visions of the EU's latest expansion
Like many of the photographers in the exhibit, [Mark Power] had little knowledge of the country he chose to photograph. His only previous visit had been a romantic vacation. Memory drove Patrick Zachmann's exhibition of images and sounds from Hungary. The French photographer, who had visited Hungary only once for a one-week assignment, found in Paris a Hungarian writer, Adam Biro, who had left the country at the age of 15, and he took Biro back to Hungary with him. \"I can't just take photographs in the street,\" Zachmann said. \"I need to interact with the fears and desires of others.\" The opening photograph is of Biro standing by the Danube in Leanyfalu. \"It was raining, sad, and a sign had been stolen off its pole along the riverbank,\" Zachmann said. \"I don't want to say it was ugly to me, but to Adam this was a place of great beauty.\" Through discussions with Biro and others, Zachmann traveled across Hungary. \"I visited Hungary through the memories of others, but my own memories of Hungary are not strong,\" Zachmann said. \"It is sad, it is empty and it is a forgettable country.\" \"Like Belgium, Malta is a small country that was occupied by many invaders,\" [Carl de Keyzer] said. \"I wanted to visualize the layers of history in the faces and places.\" To show history in the faces, De Keyzer took simple head shots that rotate on three screens amid a dozen larger photographs intended to show the layers of history in places.
Newspaper Article
Lise Sarfati
Sholis features the works of photographer Lise Sarfati. Her series Oh Man, completed in 2013, depicted men enveloped within interior lives that cannot be accessed. Sarfati underscores the fullness of their solitude by keeping her distance from them.
Magazine Article