Edition 2022


This collective exhibition presents photography from life as it is — in all its complicated wonder — in the twenty-first-century United States: from Vanessa Winship’s peripatetic vision in She Dances on Jackson through Curran Hatleberg’s gatherings of humankind in Lost Coast; Richard Choi’s meditation on the differences between the flow of life and our memory of it in What Remains; RaMell Ross’s images of quotidian life from Hale County; Gregory Halpern’s luminous Californian journey in ZZYZX; Piergiorgio Casotti and Emanuele Brutti’s Index G on the delicate balance between economic theory and lived fact; Kristine Potter’s re-examination of the Western myth of 'manifest destiny' in Manifest; or Stanley WolukauWanambwa’s braiding the power of images with the forces of history in All My Gone Life. This photography is post-documentary. No editorializing or narrative is imposed. That there is no story is the story. For these artists, all of life is in play and everything matters — here is a freedom, hard won, sometimes confusing, but nonetheless genuine: a consciousness of life and its song.

Emanuele Brutti (1984) & Piergiorgio Casotti (1972), Richard Choi (1982), Curran Hatleberg (1982), Gregory Halpern (1977), Kristine Potter (1977), RaMell Ross (1982), Vanessa Winship (1960), Stanley Wolukau-Wanambwa (1980).

Exhibition curator: Paul Graham.
Exhibition produced by the International Center of Photography, New York, in collaboration with the Rencontres d’Arles.
Publication: But Still, It Turns, Mack/ICP, 2021.

  • Institutional partners

    • République Française
    • Région Provence Alpes Côté d'Azur
    • Département des Bouches du Rhône
    • Arles
    • Le Centre des monuments nationaux est heureux de soutenir les Rencontres de la Photographie d’Arles en accueillant des expositions dans l’abbaye de Montmajour
  • Main partners

    • Fondation LUMA
    • BMW
    • SNCF
    • Kering
  • Media partners

    • Arte
    • Lci
    • Konbini
    • Le Point
    • Madame Figaro
    • France Culture