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2008 EDITION

July 8th - September 14th

Patrick Box - Camelle de stockage

Exhibition proposed by the museon Arlaten

PATRICK BOX

Salin-de-Giraud: The Empire of Salt

In the mid-19th century a sea-salt extraction complex was set up around the Étang de Giraud in the Camargue. Covering several thousand hectares, this was the largest saltworks on the entire Mediterranean rim. And in this isolated part of the Rhône Valley was created the workers’ village of Salin-de-Giraud, designed by the saltworks employers and inspired by the social ideology of the second half of the 19th century.

The distinctive character of this village ‘at the end of the world’ – deep in the Camargue, between Beauduc and the Rhône – was the subject of a study carried out in the 1980s by ethnographer Hélène Guyonnet and photographer Patrick Box. They focused on social issues, with a particular emphasis on people’s relationships with the world of work.

Today, with the Camargue salt industry winding down, the pair have gone back to Salin, continuing the words-and-images dialogue begun twenty years ago. The exhibition at the Museon Arlaten – the Bouches-du-Rhône Département’s ethnography museum – highlights the singularity of a landscape shaped by its industrial past, with gleaming workers’ houses, crystallised cliff faces and machines at a standstill offering a glimpse of how the work of man can merge with the work of nature.


Patrick Box

Born in 1955.


A freelance photographer, he works in the tradition of humanist photography. Most of his output concerns societal themes, particularly lifestyles and people’s relationships with the world of work. His work was first distributed by the VIVA agency; when it folded in 1982, he joined Rapho. He began his report on the village of Salin-de-Giraud in 1982, completing it in 1988.

“I came across Salin-de-Giraud while doing a report on ‘wild beaches’ commissioned by the local infrastructure directorate in 1980. My interest in the overcrowded beaches of the Camargue shifted inland to the immense salt pans, their rigorous operation, and a sociability rooted in two working-class estates that are distinct yet closely entwined. “There, I found a choice setting for the photographic approach I favour: extended immersion in a locality, closeness to my subject, and observation of human relationships.”