CRP/ launched́ a commission for four professional photographic artists. Echoing the anniversary of the 10th anniversary of the inclusion of the Mining Basin on the UNESCO World Heritage List and the 40th anniversary of CRP/, celebrated in 2022, these winning projects share the common theme of all having a link with this emblematic territory of the region.
As part of its mission to support and accompany creation, CRP/ is leading the artistic direction of these four projects during the ten months of production up to the restitution which will take the form of this collective exhibition.
Trained at the École Supérieure d’Art et de Design in Nancy and at La Cambre in Brussels, Clément Brugger explores the ecosystem of slag heaps and the link between coal and photography. Specialized in laser engraving on wood, he combines his field investigation with his singular approach to this material, which refers as much to the carboniferous era as to the origins of the photographic medium.
A graduate of the Beaux-Arts de Paris and Le Fresnoy – Studio national des arts contemporains, Isabella Hin develops the duality between the fixed image and the movement of fluids. Her research focuses on the “shower room”, an iconic space linked to the world of the miner, by focusing on the color blue, the work clothes or the importance of water in this universe.
Trained in photography at the Beaux-Arts de Tokyo, and at the Fresnoy – Studio national des arts contemporains, Hideyuki Ishibashi seeks to highlight the current state of the mining basin through photographic experiments. He explores several slag heaps, produces pigments from collected materials and makes prints with gum bichromate. A series of chromatographs completes this scientific approach of the territory.
Apolline Lamoril is a graduate of the ENSP in Arles and works on the fan culture of RC Lens. She is conducting a photographic and sociological investigation into the aesthetic and cultural references of the club’s supporters and their historical and identity-based links with the mining culture. Using different types of images, Apolline Lamoril connects supporterism to the history of the mining basin.