In 2013, just after finishing his European tour of winter masquerades (Wilder Mann), Charles Fréger began a photography project exploring Japan’s masked ritual figures. Photographing sumo wrestlers (Rikishi, 2002-2003) had already made him familiar with the country, but he knew nothing about rural areas. That is the topic of Yokainoshima: through an inventory of masked

In 2013, just after finishing his European tour of winter masquerades (Wilder Mann), Charles Fréger began a photography project exploring Japan’s masked ritual figures. Photographing sumo wrestlers (Rikishi, 2002-2003) had already made him familiar with the country, but he knew nothing about rural areas. That is the topic of Yokainoshima: through an inventory of masked

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Die Fotos von Charles Fréger zeigen den Menschen als Wesen zwischen Natur und Kultur. Faszinierend und furchterregend wirken die rituellen Kostüme aus Stroh und Fell.

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In some twenty years, Charles Fréger has established himself as a portraitist of communities, in their collective and individual dimensions, drawing up, through photographic inventory, typologies of ways of living, for the individuals who make up his community of heritage or election. Visual sign of belonging and rallying, the uniform, if not the costume, from

Slightly terrifying, right? Not the sort of crowd you want to run into alone, in an empty field, with the sounds of chanting coming from the woods yonder. But don't worry, they only come out at Christmastime to haunt the innocent souls of children. You see, while the rest of us are celebrating the m

Slightly terrifying, right? Not the sort of crowd you want to run into alone, in an empty field, with the sounds of chanting coming from the woods yonder. But don't worry, they only come out at Christmastime to haunt the innocent souls of children. You see, while the rest of us are celebrating the m

Cimarron is the third part of a photographic series begun in 2010 by Charles Fréger and dedicated to masquerades; after Wilder Mann (2010-), dedicated to the European continent, and Yokainoshima (2013-2015), located on the Japanese archipelago, Cimarron (2014-2018) is anchored in the territories of the Americas. In a geographical space stretching from the southern United

Cimarron is the third part of a photographic series begun in 2010 by Charles Fréger and dedicated to masquerades; after Wilder Mann (2010-), dedicated to the European continent, and Yokainoshima (2013-2015), located on the Japanese archipelago, Cimarron (2014-2018) is anchored in the territories of the Americas. In a geographical space stretching from the southern United

In some twenty years, Charles Fréger has established himself as a portraitist of communities, in their collective and individual dimensions, drawing up, through photographic inventory, typologies of ways of living, for the individuals who make up his community of heritage or election. Visual sign of belonging and rallying, the uniform, if not the costume, from

For two years in 2010 and 2011, Charles Fréger criss-crossed Europe from north to south, from Finland to Portugal, passing through Romania, Germany and Slovenia, in search of the figure of the savage as it survives in local popular traditions. These images, like archetypes, half-man half-beast, animal or vegetable, resurface from the depths of time

Bleus de travail, which is French for ‘work overalls’, is similar in approach to the two series Pattes blanches and Liteau, being a continuation of Fréger’s exploration of the world of apprenticeships and learning, only this time with the idea of assembling a far larger set of student portraits, taken in a number of different

They carry their brooms as a king might carry his sceptre. Les hommes verts (‘the green men’) are the road sweepers of the 7th and 14th arrondissements of Paris. Charles Fréger met them, thanks to a grant from the city of Paris, and decided to photograph them, through the seasons, as men of power, holding

In 2013, just after finishing his European tour of winter masquerades (Wilder Mann), Charles Fréger began a photography project exploring Japan’s masked ritual figures. Photographing sumo wrestlers (Rikishi, 2002-2003) had already made him familiar with the country, but he knew nothing about rural areas. That is the topic of Yokainoshima: through an inventory of masked

For two years in 2010 and 2011, Charles Fréger criss-crossed Europe from north to south, from Finland to Portugal, passing through Romania, Germany and Slovenia, in search of the figure of the savage as it survives in local popular traditions. These images, like archetypes, half-man half-beast, animal or vegetable, resurface from the depths of time

Cimarron is the third part of a photographic series begun in 2010 by Charles Fréger and dedicated to masquerades; after Wilder Mann (2010-), dedicated to the European continent, and Yokainoshima (2013-2015), located on the Japanese archipelago, Cimarron (2014-2018) is anchored in the territories of the Americas. In a geographical space stretching from the southern United

For two years in 2010 and 2011, Charles Fréger criss-crossed Europe from north to south, from Finland to Portugal, passing through Romania, Germany and Slovenia, in search of the figure of the savage as it survives in local popular traditions. These images, like archetypes, half-man half-beast, animal or vegetable, resurface from the depths of time

For two years in 2010 and 2011, Charles Fréger criss-crossed Europe from north to south, from Finland to Portugal, passing through Romania, Germany and Slovenia, in search of the figure of the savage as it survives in local popular traditions. These images, like archetypes, half-man half-beast, animal or vegetable, resurface from the depths of time

For two years in 2010 and 2011, Charles Fréger criss-crossed Europe from north to south, from Finland to Portugal, passing through Romania, Germany and Slovenia, in search of the figure of the savage as it survives in local popular traditions. These images, like archetypes, half-man half-beast, animal or vegetable, resurface from the depths of time

There is nothing random about the motifs sewn on the Romanian textiles, every stitch is a code. It tells you the story of it's creator.

Cimarron is the third part of a photographic series begun in 2010 by Charles Fréger and dedicated to masquerades; after Wilder Mann (2010-), dedicated to the European continent, and Yokainoshima (2013-2015), located on the Japanese archipelago, Cimarron (2014-2018) is anchored in the territories of the Americas. In a geographical space stretching from the southern United

They carry their brooms as a king might carry his sceptre. Les hommes verts (‘the green men’) are the road sweepers of the 7th and 14th arrondissements of Paris. Charles Fréger met them, thanks to a grant from the city of Paris, and decided to photograph them, through the seasons, as men of power, holding

For two years in 2010 and 2011, Charles Fréger criss-crossed Europe from north to south, from Finland to Portugal, passing through Romania, Germany and Slovenia, in search of the figure of the savage as it survives in local popular traditions. These images, like archetypes, half-man half-beast, animal or vegetable, resurface from the depths of time

For two years in 2010 and 2011, Charles Fréger criss-crossed Europe from north to south, from Finland to Portugal, passing through Romania, Germany and Slovenia, in search of the figure of the savage as it survives in local popular traditions. These images, like archetypes, half-man half-beast, animal or vegetable, resurface from the depths of time

For two years in 2010 and 2011, Charles Fréger criss-crossed Europe from north to south, from Finland to Portugal, passing through Romania, Germany and Slovenia, in search of the figure of the savage as it survives in local popular traditions. These images, like archetypes, half-man half-beast, animal or vegetable, resurface from the depths of time