Sein neuester Werkzyklus führte den Fotografen Charles Fréger in achtzehn europäische Länder auf der Suche nach der mythologischen Figur des Wilden Mannes: Österreich, Italien, Ungarn, Slowenien, Slowakei, Spanien, Portugal, Polen, Deutschland, Griechenland, Mazedonien, Bulgarien, Tschechien, Kroatien, Schweiz, Finnland und Rumänien.Die Verwandlung des Menschen zum Biest ist ein zentraler Aspekt in über Jahrhunderte tradierten heidnischen Ritualen, die den Wechsel der Jahreszeiten, Fruchtbarkeit, Leben und Tod zelebrieren, heute noch lebendig in Fasnacht- oder Adventsbräuchen. Die Kostüme repräsentieren häufig Teufel, Ziegenböcke, wilde Eber, Bären oder den Tod, sie verwenden Masken, Hörner, Glocken, tierische Materialien wie Fell und Knochen oder pflanzliche Stoffe wie Stroh oder Kiefernzweige. Charles Fréger (*1975, Bourges, Frankreich) ist einer der wichtigsten Vertreter der jungen europäischen Fotografie. Seine Arbeit ist fast ausschliesslich dem Porträt gewidmet, insbesondere der Studie uniformierter und kostümierter Kollektive und der wechselnden Identität deren Mitglieder zwischen eigenständigem Individuum und Teil einer Gemeinschaft. Fréger ist Mitbegründer der internationalen Künstlergruppe POC (Piece of Cake).
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
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.
https://www.charlesfreger.com/wp-content/uploads/2021/05/charle_freger_maraichers_hyeres_video1_1.mp4https://www.charlesfreger.com/wp-content/uploads/2021/05/charle_freger_maraichers_hyeres_video2.mp4
Seaside, Normandy coast, Deauville, city - among other leisure activities - of horse racing. Charles Fréger returns to horses. He too, like many painters in the 19th century, regularly tries to capture the animal. To make it fit and hold in its frame, the visual orchestration of the legs, the tail, the head carriage, to
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
"Souvenir d'Alsace" explores the inner workings of an iconography built, over the course of the nineteenth and twentieth centuries and three successive wars, on the close interweaving of picturesque representation and national propaganda.Charles Fréger draws on historical references borrowed from imagery, illustration, press drawings, manufactured objects and works of historical commemoration. Alsace thus becomes a
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
Er staat een beer in het struikgewas. Hij laat zijn schouders hangen, en zijn kop ook. Je ziet meteen dat het geen echte beer is; het is een man verkleed als eeuwenoud heilig wezen, aangeroe…
Charles Freger représenté par Eyemade Talents
Came across this great website last night. Among other interesting articles, and of a different topic, this post was in his blog. Ever heard of this photographer? He documented crazy cool tradition…
Charles Fréger poursuit, depuis le début des années 2000, un inventaire intitulé « Portraits photographiques et uniformes ».
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
Made by illustrator and animator Michael Frei with games designer Mario von Rickenbach, _Kids_ has got gamers, animators and illustrators whipped up into a addictive frenzy.
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
"Souvenir d'Alsace" explores the inner workings of an iconography built, over the course of the nineteenth and twentieth centuries and three successive wars, on the close interweaving of picturesque representation and national propaganda.Charles Fréger draws on historical references borrowed from imagery, illustration, press drawings, manufactured objects and works of historical commemoration. Alsace thus becomes a
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
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
L’amoureux du portrait Charles Fréger est parti dans l’archipel sur les traces de créatures surnaturelles qui peuplent l’imaginaire nippon et surgissent lors des fêtes traditionnelles.
Seaside, Normandy coast, Deauville, city - among other leisure activities - of horse racing. Charles Fréger returns to horses. He too, like many painters in the 19th century, regularly tries to capture the animal. To make it fit and hold in its frame, the visual orchestration of the legs, the tail, the head carriage, to
"Souvenir d'Alsace" explores the inner workings of an iconography built, over the course of the nineteenth and twentieth centuries and three successive wars, on the close interweaving of picturesque representation and national propaganda.Charles Fréger draws on historical references borrowed from imagery, illustration, press drawings, manufactured objects and works of historical commemoration. Alsace thus becomes a
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
Charles Fréger poursuit, depuis le début des années 2000, un inventaire intitulé « Portraits photographiques et uniformes ».
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
