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It was amazing to see what the tide would do to the water level ... In the morning, you could jump from pool to pool - in the late afternoon, you could kite surf at the same spot. Just amazing! #Tanzania #beach-life
So this custom was an attempt to see how much I could customise a body aesthetically. I bought this temporary tattoo and applied it on after spraying the back with matte sealer then applied it like I would on human skin.
MSC for some reason really emphasised the edges of the clear parts but Testors Dullcote helped it blend onto the plastic really well heh.
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A deep passion of mine about photography concerns, in addition to traditional Sicilian festivals, the black and white genre and street photography, which often but not always end up coinciding, so, although I am currently working on other photographic projects, I have given up (temporarily) everything and I immersed myself in the creation of this group of photos, they are heterogeneous, there is no common thread, yet I felt the need to reclaim these passions of mine. The photographs were taken in Taormina, Letojanni, Messina (at the Torre Faro pylon), on the hydrofoil that takes you from Milazzo to the Aeolian islands, on the islands of Lipari and Salina. A good number of these photos were taken with a 35mm Lensbaby on full frame (focus is manual). I photographed a lay friar, Giovanni L.P., he spoke to me about his troubled life, namely the rediscovery of a profound faith, now with the help of an old and worn Bible, he goes around the world preaching the Word of the Lord; I photographed a huge cargo ship, it was crossing the Strait of Messina, when I saw it I was speechless, I don't think I've ever seen such a gigantic ship up close, I had to wait for it to move away a little so I could take it again all of it, with the lenses I was wearing at the time, as it passed by me, all of it just didn't fit...; on the island of Salina, in the Pollara district, I photographed the external patio of "Neruda's house" where some scenes of the film "Il Postino" with Massimo Troisi, Philippe Noiret, Maria Grazia Cucinotta were filmed; also on the island of Salina I photographed the little black beach of Rinella; the man who "put the dead hand" on her partner was lovingly reprimanded by her, there was complicity between the two of them, she feared that someone might see them...
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Una mia profonda passione circa la fotografia riguarda, oltre le feste tradizionali siciliane, il genere bianco e nero e la street photography, esse spesso ma non sempre, finiscono per coincidere, così, pur lavorando attualmente ad altri progetti fotografici, ho mollato (temporaneamente) tutto e mi sono immerso nella realizzazione di questo gruppo di foto, sono eterogenee, non c’è un filo conduttore, eppure sentivo la necessità di riappropriarmi di queste mie passioni. Le fotografie sono state realizzate a Taormina, a Letojanni, a Messina (al Pilone di Torre Faro), sull’aliscafo che da Milazzo porta alle isole Eolie, sulle isole di Lipari e di Salina. Un buon numero di queste foto è stato realizzato con una Lensbaby da 35 mm (su full frame, il fuoco è manuale). Ho fotografato un frate laico, Giovanni L.P., mi ha parlato della sua tribolata vita, pèoi la riscoperta di una profonda fede, ora aiutandosi con una vecchia e logora Bibbia, va in giro per il mondo predicando la Parola del Signore; ho fotografato una enorme nave cargo, stava attraversando lo Stretto di Messina, quando l’ho vista sono rimasto a bocca aperta, non credo di aver mai visto da vicino una nave così gigantesca, ho dovuto aspettare che si allontanasse un po’ per poterla riprendere tutta, con le ottiche che montavo in quel momento, mentre mi passava vicino, tutta proprio non ci entrava…; sull’isola di Salina, in contrada Pollara, ho fotografato il patio esterno della “casa di Neruda” ove furono girate alcune scene del film “Il Postino” con Massimo Troisi, Philippe Noiret, Maria Grazia Cucinotta; sempre sull’isola di Salina ho fotografato la spiaggetta nera di Rinella; l’uomo che “faceva la mano morta” sulla sua compagna veniva amorevolmente ripreso da lei, c’era complicità tra loro due, lei temeva che qualcuno potesse vederli ….
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In Tokyo I had the exciting and unintentional privilege of living for a couple days in the Korea Town area of Shinjuku. It's a very beautiful and unique area that I really enjoyed spending my time in.
Photographed here at Corwen Car Park is an Alexander Dennis E20D Enviro200 operated by Lloyds Coaches with the registration YY16YJU, which was new in July 2016 and is seen boarding passengers for a TrawsCymru service T3 to Wrexham.
Hana and Archie resting on a bed in the computer room. The resting is only temporary before they enter crazy mode again (which at their age, is most of the time they are awake).
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I know that wasps have their place in how things interrelate, but even so I was content to see how this might play out - Id hardly expect a small garden spider to do battle with something as formidable as this, but the spider proved a no-show. The wasp freed itself and then continued with its wood scrapings, seeming none the worse for its short term residence in the extraordinarily fine web that'd snared it.
Noa's cottage has (temporarily) been moved to the other side of the patio. We got new neighbours, and the old ugly wall between our patio and their backyard has been demolished. Until there is a new wall, Noa will have to camp in her cottage and a makeshift pen against the opposite wall. She won't be able to play on the patio for a while, because there's a 6m long open passage to the neighbours' backyard and driveway - and thus the public road - when there's no wall.
Reading Buses took over running the Green Line 702 service from First Group over the Christmas period in 2017. The service runs from Bracknell to London Victoria with some early morning and late evening services extending to Reading.
Since then a variety of different vehicle types have been used on the service including Scania demonstrator YN16CFU, a Scania N250UD / Alexander Dennis Enviro400 MMC temporarily numbered 778 in the Reading fleet, seen here in Bracknell in February 2018.
Water Street is reflected on the surface of a temporary art exhibit in Gastown. It reminded me of mirrors you'd find at the circus.
First Leeds received 3 enviro 400 double deckers during late August for the A65 bus lane launch although non are expected to stay. Here 33706 is seen inbound on the new bus lane complete with first Leeds branding, adverts for the A65 improvements and FWY legals.
the princesses attic,and we call it that because we're sort of just dumping all their belongings to this new room I made them,of course it is still a work in progress.
Train 109 waits to let Train 20 slide by after meeting at the location where double-track returns to single-track East of 11th St. Station. This is CP 33.3 on the South Shore Line in Michigan City Indiana.
October 30, 2023
A tour guide standing at observation area 3, at the end of the 300m long walkway on which visitors of Battleship Island are allowed to walk along, seen through the semi-collapsed building that housed the coal finishing factory.
Camera: Canon EOS 1V
Film: Kodak Vision 2 500T
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From Wikipedia, the free encyclopedia
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Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
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O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
West Haddlesey is a village and civil parish in the Selby District of North Yorkshire, England. In the 2011 census, it had about 78 houses and a population of 214. The mouth of the Selby Canal lies to the south of the village and joins onto the River Aire.
The village was historically part of the West Riding of Yorkshire until 1974.
The village has a public house called the George and Dragon Inn, however it was temporarily closed due to a 'deliberate' fire in March 2019. The village shares a primary school with the neighbouring village of Chapel Haddlesey.
This particular aircraft was built by Hispano Aviacion in Saville in 1959. This aircraft was one of 27 purchased at auction from the Spanish Air Force by Spitfire Productions for use in the making of the 1968 film “Battle of Britain”. After filming this aircraft was acquired by Wilson C Edwards and shipped to the U.S.A. She was acquired by the Old Flying Machine Company and arrived back in the U.K in 1996. After being sold on to The Real Aircraft Company who initiated a full rebuild to airworthy condition she was acquired by Spitfire Ltd in 2006. This aircraft is now owned by Historic Flying Ltd and flown in the movie ‘Valkyrie’ starring Tom Cruise.
The Nepalese Peace Pagoda complemented the Nepalese Pavilion at the World Exposition 1988 (Expo 88), held at Southbank in Brisbane. The square, three-level replica of a traditional Nepalese temple is built of hand-carved wood, and has a double-tiered roof of brass with brass trimmings. It proved popular with the crowds who attended Expo 88, and the Peace Pagoda is the last international exhibit remaining on the Expo 88 site. It was originally sited near the Vulture Street entrance to Expo 88. In 1991 it was moved to its current location, amongst the rainforest near the northern riverbank entrance to the Southbank Parklands.
World Expositions (or Exhibitions) become increasingly popular after the 1851 Great Exhibition in London, but their frequency, and the standard of their facilities, was not regulated until after the 1928 Paris Convention on International Expositions. The Bureau International des Expositions (BIE) was established in 1931 to administer the Convention. Under BIE rules there are two types of international exposition: the Universal/Category A/General Exposition, and the International/Category B/Special Exposition. The former involves broad themes, and participants design their own pavilions from the ground up, based on the theme.
The International Exposition, which has a narrower theme, is much cheaper to host, and is usually limited to one branch of human endeavour. Participants rent prefabricated pavilions from the host country's committee. Brisbane's Expo 88 was an International Exposition, with the theme "Leisure in the Age of Technology". Most of the structures built on exposition sites are intended to be temporary, but some sites have become parks, incorporating surviving exposition elements, including the sites of Montreal 1967, Seville 1992, Taejon 1993, and Lisbon 1998. Some structures have gone on to become landmarks in their own right, such as the Royal Exhibition Building (Melbourne 1880), the Eiffel Tower (Paris 1889), and the Space Needle (Seattle 1962).
The first bid to bring an exposition to Brisbane in 1988 began with James Maccormick , the architect who had designed the Australian pavilions at Montreal 1967, Osaka 1970, and Spokane 1974. The Brisbane Chamber of Commerce was converted to the idea, and lobbied the Queensland State Government during 1977. However, the Queensland Government was worried about the cost of a Universal Exposition, and was preoccupied with its bid for the 1982 Commonwealth Games. A second Queensland bid was made in 1981. The Australian Bicentennial Authority (ABA), under John Reid, wanted an Universal Exposition in Australia as part of Bicentennial in 1988, and the Federal Government was prepared to fund half of the cost of an exposition in Melbourne or Sydney. However, when these states turned the offer down in January 1981, Reid approached the Queensland Government with a proposal for a cheaper International Exposition. In late 1981 the State Cabinet funded a study that identified South Brisbane as the preferred site. The State Cabinet approved the study on 5 November 1981, on the condition that the Federal Government share the capital costs, but Prime Minister Malcolm Fraser rejected this notion in December 1981.
Queensland made two more attempts in 1982 for an International Exposition. Frank Moore, Chairman of the Queensland Tourist and Travel Corporation (QTTC), believed that private enterprise could fund the exposition, and that it would benefit Queensland's tourism. Queensland's Premier Joh Bjelke-Petersen asked Prime Minister Fraser to get the BIE to keep a slot open for Brisbane in 1988. Fraser was willing to support this proposal, so long as there was no Federal financial commitment. However, Queensland private enterprise was not forthcoming, and Bjelke-Petersen withdrew the proposal in April 1982. November of 1982 witnessed a renewed bid by the State Government. The State would lend money to a statutory authority, which would be tasked with buying and developing the land, and managing the exposition. Brisbane's application was sent to the December 1982 meeting of the BIE in Paris, and was approved in June 1983.
The Brisbane Exposition and South Bank Redevelopment Authority (BESBRA) was established in February 1984 by an Act of the Queensland Parliament. BESBRA was soon referred to in the media as the Expo 88 Authority, or the Expo Authority. Sir Llewellyn Edwards, the Deputy Premier, was appointed as Chairman. In April 1984 the Expo 88 Authority's general manager, Bob Minnikin, claimed that Expo 88 would require $180 million to produce, including resumptions and development, and $90 million to run. It was hoped that gate takings and sponsorship would cover the running costs, and that the development cost would be recouped through selling off the site after Expo 88. Only 13 hectares of the Expo 88 site was private land, with the remainder of the 40 hectares belonging to either the State Government or the Brisbane City Council. Nonetheless, the last resumption did not occur until October 1984, as the owner of the heritage-listed residence 'Collins Place' fought a running legal battle with the Expo 88 Authority.
Grey and Stanley Streets were closed to traffic in July 1985, and demolition work began. Construction of the pavilions started in January 1986. The concept of the Expo 88 architects, Bligh Maccormick 88, included eight large shade-canopies, to protect the public from the Queensland sun. Landscaping began in March 1987, and the Monorail, which would circle the site on a 2.3 kilometre long track, was commissioned in June of that year. By January 1988, $90 million of the $136.8 million construction budget had been spent, and 7.8 million visitors were expected.
During 1987 developers had been asked to present their proposals for Southbank's redevelopment after Expo 88. In February 1988 the State Government announced that the redevelopment plan of the River City 2000 Consortium had been accepted. The Consortium, headed by Sir Frank Moore of the QTTC, had visions of a World Trade Centre on an island, and a casino. However, by early 1988 there was a growing call in the media for more of the site to be turned into public parkland. During March and April 1988 the National Trust protested the River City 2000 Consortium's scheme to move Collins Place, the Plough Inn, and the Allgas Building, three heritage listed buildings, to a historic village. Premier Mike Ahern eventually gave reassurances that this would not happen.
Expo 88 ran for seven days a week, between the hours of 10am-10pm, for six months. Between its opening on 30 April, attended by Queen Elizabeth II, and 30 October 1988, the Expo attracted 15,760,447 visitors, the majority of these being Australians. Most of the international visitors were Japanese, but 100,000 came from the United Kingdom and Europe, with 150,000 visitors from the United States. A total of 36 nations, two international organisations, 14 state and regional governments, and 34 corporations had exhibits.
The pavilions were mostly plain, modular, and temporary. However, the Nepalese Peace Pagoda is a distinctive building, and was easily noticed as the public came through the Vulture Street entrance to Expo 88. The Association to Preserve Asian Culture (APAC) commissioned the Peace Pagoda, which was built by 160 craftsmen of the Kathmandu Valley over two years, before being assembled in Brisbane. It is one of only three such temples outside Nepal, the others being at Munich and Osaka. Nepal has a long history of intricate woodcarving on buildings, and the Peace Pagoda was an attempt to showcase this skill to the world. The two small timber pavilions in front of the Peace Pagoda sold yoghurt lati, samosas, orange juice and lemon tea. Artisans demonstrated their crafts inside the ground floor of the Pagoda, and people could drink their tea and watch the Expo crowds from the teahouse on the first floor. The nearby Nepalese pavilion showcased traditional costumes, climbing dress, photographs, and artefacts.
Expo 88 was a turning point for Queensland's culture and economy, especially in Brisbane. On 30 May 1983 Joh Bjelke-Petersen had noted that if Brisbane's bid were successful, it would focus the world's spotlight on Queensland. Sir Frank Moore believed that the key to developing a major tourist industry in Queensland was a series of hallmark events, including the 1982 Commonwealth Games, which would focus attention on Queensland far better than any advertising campaign. Expo 88 was also intended to start Brisbane on a modernisation process, and towards becoming a 'global' city. The urban renewal of South Brisbane was just one aspect. In April 1984 Sir Llew stated that Queensland would never be the same again after Expo 88, and Brisbane would develop an image as a centre of trade, culture and entertainment. In April 1988 the Courier Mail claimed that Expo 88 was "bridging the yawning gap from a hayseed State to an urbane, international future". Sir Llew also claimed in April 1988 that the aim was for Expo 88 to be a catalyst for a change in lifestyle. Queenslanders had experienced extended opening hours and outdoor café dining, and had liked it.
While the crowds enjoyed Expo 88, controversy continued regarding future plans for the site. There were calls for more public input on redevelopment plans. About 4.5 hectares of land between Stanley Street and the river belonged to the Brisbane City Council (BCC), as Clem Jones Park, and had been lent to the Expo 88 Authority. In June 1988 it was decided to restore this land as parkland, and the River City 2000 Consortium lost its Preferred Developer status.
Government plans for a South Bank Development Corporation were announced, and in July 1988 an interim committee, headed by Sir Llew, was formed to oversee redevelopment. Sir Llew noted in October 1988 that more public funding was necessary to increase the parkland component of the new Southbank, as the land had been earmarked for development to repay for the cost of Expo 88. The draft redevelopment plans released in November 1988 included 12 hectares of parkland. Public submissions on the plan suggested that people wanted to be able to return to the Expo 88 site, to a public facility that had a similar combination of food, art and nature.
At the end of Expo 88, the APAC had planned to sell the Nepalese Peace Pagoda, and it appeared likely that it would be moved to Japan. However, 90,000 people had signed a petition during Expo 88 to keep the Peace Pagoda in Brisbane, and in late 1988 the BCC offered to provide land for the Peace Pagoda, if the Federal Government would pay for its cost and maintenance. A "Save the Pagoda Campaign" was active by February 1989. Public donations eventually totalled $52,000, with $30,000 coming from one couple, who wanted to "give Brisbane something to remember from Expo 88". The BCC provided $50,000, and the Federal Government supplied $100,000. "The Friends of the Pagoda Committee" also raised funds to buy several items that had complemented the Peace Pagoda, including a brass statue of the deity of compassion, a bronze bell and carved stone frame, and a stone lingam.
The Southbank Development Corporation was set up February 1989, with Vic Pullar as the Chairman. Approximately $200 million had been spent on developing the Expo site, and this money had to be recouped. The South Bank Corporation Act was passed in May 1989, and the former Clem Jones Park area was transferred to the Southbank Corporation, which was tasked with managing a new parkland precinct. In June 1989 submissions were sought from five architectural firms, and in August the "Media Five" concept of a mixed residential, commercial, and parkland development was chosen. Under Media Five's plans, the Peace Pagoda would be moved to the northern part of the parklands. The Media Five Chairman, Desmond Brooks, also suggested that Collins Place, the Plough Inn and the Allgas Building be removed to a historic village, but Vic Pullar rejected this idea. However, when the Southbank Corporation's Draft Development Plan was released in November 1989, it proposed to only keep the facades of the historic buildings. After protests by the National Trust, the State Government overruled the Southbank Corporation.
The proposed redevelopment included a waterway through the park, and a large lagoon, which was later downsized. In March 1990 the Final Plan was presented, after public submissions, and site redevelopment started in July 1990. The official Southbank Parklands opening occurred on 20 June 1992. The Waterway was later filled in and replaced with the Energex Arbour, which was officially opened in March 2000.
The transfer of the Peace Pagoda to its current site started on 24 September 1991. The deity of compassion was moved from the first floor to a glass case on the ground floor, the sides of the ground floor were encased in glass, and a display case was added inside. Access to the first floor was sealed off. The two smaller pavilions were also transferred, but their service windows were locked up. Two lion statues and two elephant statues were also relocated. The building was originally designed to be demountable, but it is currently set in a ceramic tiled floor. The Peace Pagoda was one of the best-loved exhibits at Expo 88, as visitors were able to relax in it away from the bustle of the crowds. Today it is still popular, both with tourists, and those who go there to meditate and reflect.
Source: Queensland Heritage Register.