Edition 2006
MEYER
Born in Villeneuve-les-Avignon (France).
This child of the South trained on the job in the Paris area, as photographer to the municipality of Noisy-Le-Sec from 1991-1996. During the same period, he covered the tours of street theatre company Oposito and band Urban Sax for five years. From 1993-1995, he roved the first rave parties and especially Lunacy, an emblematic underground bash of the early rave years. This yielded a piece of black and white work, headlong and lost, the very image of these entranced nights.
In 1996, he joined the Tendance Floue collective, got involved in the group’s projects and worked for the press. From 1999-2001, he tracked the alter-globalist movements in Prague, Quebec and Genoa. In 2001-2002, he made three trips to the Palestinian Occupied Territories. His series of eleven square colour images, silent and charged, was awarded the Prix Spécial du Jury Paris-Match in 2002.
From 2002-2004, he contributed to Tendance Floue’s major collective projects, Nationale Zéro and Carrefours; travelled widely; and took a close interest in a particular adventure, the CNA, which shows African films on a big screen in East African bush villages. In 2004, he was invited by the Cercle d’Art Contemporain du Cailar to produce a piece of work with a Camargue bull theme: he staged Putain de maïeutique camarguaise !, a set of photos shown at the Rencontres d’Arles 2005.
Since 1989, Meyer has been undertaking a photographic history entitled La Brigada, a darkly affectionate take on friendship, and the deep-rooted, complex aspect of relationships between men.
Meyer presented his work at the Rencontres d’Arles in 2006: Light, my brother at the Atelier des Forges; He also took part in the following collective exhibitions: Madame la Présidente in 2007; Tendance Floue / Magazine Géo in 2004 et Tendance Floue / Getting down to it in 2011.
This child of the South trained on the job in the Paris area, as photographer to the municipality of Noisy-Le-Sec from 1991-1996. During the same period, he covered the tours of street theatre company Oposito and band Urban Sax for five years. From 1993-1995, he roved the first rave parties and especially Lunacy, an emblematic underground bash of the early rave years. This yielded a piece of black and white work, headlong and lost, the very image of these entranced nights.
In 1996, he joined the Tendance Floue collective, got involved in the group’s projects and worked for the press. From 1999-2001, he tracked the alter-globalist movements in Prague, Quebec and Genoa. In 2001-2002, he made three trips to the Palestinian Occupied Territories. His series of eleven square colour images, silent and charged, was awarded the Prix Spécial du Jury Paris-Match in 2002.
From 2002-2004, he contributed to Tendance Floue’s major collective projects, Nationale Zéro and Carrefours; travelled widely; and took a close interest in a particular adventure, the CNA, which shows African films on a big screen in East African bush villages. In 2004, he was invited by the Cercle d’Art Contemporain du Cailar to produce a piece of work with a Camargue bull theme: he staged Putain de maïeutique camarguaise !, a set of photos shown at the Rencontres d’Arles 2005.
Since 1989, Meyer has been undertaking a photographic history entitled La Brigada, a darkly affectionate take on friendship, and the deep-rooted, complex aspect of relationships between men.
Meyer presented his work at the Rencontres d’Arles in 2006: Light, my brother at the Atelier des Forges; He also took part in the following collective exhibitions: Madame la Présidente in 2007; Tendance Floue / Magazine Géo in 2004 et Tendance Floue / Getting down to it in 2011.
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