Julia Gat. *Sara and Michael, Israel*, 2019. Courtesy of the artist.

Written by Nikkala Kovacevic
Copy Edited by Parker Renick
Photo Edited by Yanting Chen

Les Rencontres de la Photographie at Arles has kicked off its summer festival, showcasing a range of photography and performance art focused on the human form and identity. This year’s festival, now free from covid restrictions, comes in the wake of a multitude of international movements and crises, specifically acknowledging the turmoil Europe faces in light of the conflict between Russia and Ukraine. The timing of this festival in the midst of these major international events has opened an opportunity for over 160 artists to explore themes of humanity and identity to an extent never seen before by Arles.

Julien Lombardi, *Kauyumari, the blue deer*, *The land where the sun was born* series, Mexico, 2017-2021. Courtesy of the artist.

Lukas Hoffmann. *Bronx River Avenue, New York*, 2016. Courtesy of the artist.

Patrick de Carolis, Mayor of Arles, introduces the festival as a study of time. The pieces offer explorations of time in the role of the human form; they examine how the body changes and ages under the formidable and unavoidable force of time, and they depict time as an unwavering agent toward progress. Collections like The Feminist Avant-Garde, which showcases a variety of photos and performances by generations of feminist artists, give a glimpse into the true scale of issues that persist and change as time progresses. Pieces like Bruno Serralongue’s Water Protectors, a collection of portraits of members of the Standing Rock Sioux Tribe who have fought against the creation of the Dakota Access Pipeline, show the persistence of individuals against time and in the wake of setbacks against progress.

Bruno Serralongue. *Gil Kills Pretty Enemy III in front of his house, posing with his weapons. McLaughlin, South Dakota, August 21, 2017*. *Water Protectors* series, 2017, in progress. Courtesy of Air de Paris and the artist.

Francesca Woodman. *Face, Providence, Rhode Island,* 1975-1976. Courtesy of The Woodman Family Foundation / Artists Rights Society (ARS) / Bildrecht / VERBUND COLLECTION, Vienna.

The festival itself, irrespective of the art it showcases, offers an approach to time that does not exist elsewhere. Art consumption in its own right is the slowing of time, the making of space to stop and absorb artistic works at a speed incongruous with the rest of our fast-paced reality. Arles’ focus on depicting humanity in all its facets allows for this year’s attendees to stop and reflect on the realities placed before them in the medium of photography; each piece serves as a glimpse into identities that have been swept from the mainstream or that we simply struggle to confront. This genuine appreciation for the power of the photographic image makes Arles stand out and empowers this year’s festival to make the commentary it strives to showcase. Like in years past, the festival will offer free admission to residents of Arles while still attracting thousands of visitors, many of which have traveled from abroad. The diversity of pieces will be met with a diversity of viewers, each working together to create a meaningful celebration of art and identity.