{"id":910,"date":"2020-06-07T21:01:00","date_gmt":"2020-06-07T21:01:00","guid":{"rendered":"https:\/\/www.museumswelt.de\/blog\/?p=910"},"modified":"2020-08-30T16:15:07","modified_gmt":"2020-08-30T16:15:07","slug":"gerard-uferas-a-day-in-the-museum","status":"publish","type":"post","link":"https:\/\/www.museum.de\/blog\/gerard-uferas-a-day-in-the-museum\/","title":{"rendered":"G\u00e9rard Uf\u00e9ras
\u201cA Day in the Museum\u201d"},"content":{"rendered":"\n

Few photographers are instantly recognizable as G\u00e9rard Uf\u00e9ras – especially the works of \u201cA Day in the Museum\u201d by the French photographer which will be presented at the Samara Museum of Art in Russia from August 7 through September 20, 2020.<\/span><\/p>\n\n\n\n

The collection on show features about 120 black-and-white photographs of G\u00e9rard Uf\u00e9ras\u2019s extensive \u0152uvre and is initiated and organized in cooperation with the Multimedia Art Museum in Moscow.<\/span><\/p>\n\n\n\n\n\n\n\n

Further Information:
The Samara Art Museum
Ulitsa Kuybysheva, 92, Samara, Samara Oblast, Russia, 443099
Phone: +7 (846) 332-33-09, e-mail: office@artmus.ru<\/a><\/span><\/p>\n\n\n\n

G\u00e9rard Uf\u00e9ras \u201cA Day in the Museum\u201d
A Portrait by Anna Blume<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

G\u00e9rard Uf\u00e9ras is one of the most important photographers in France today. He has been working with the newspaper Lib\u00e9ration <\/em>since 1984. His photographs, which are almost exclusively in black and white, are regularly published in renowned newspapers and magazines such as Le Monde<\/em>, Time Magazine<\/em>, The New York Times<\/em>, L’Express<\/em>, Beaux Arts Magazine<\/em>, Madame Figaro<\/em>, Paris Match<\/em>, Corriere della Sera<\/em> and The Independent Magazine<\/em>. His pictures are represented in the most important collections including the National Gallery in London, the Maison Europ\u00e9enne de la Photographie and the Biblioth\u00e8que nationale de France in Paris, the Mus\u00e9e de l\u2019Elys\u00e9e in Lausanne and the Multimedia Art Museum in Moscow. G\u00e9rard Uf\u00e9ras has been honored with the World Press Photo<\/em> Award<\/em>. <\/p>\n\n\n\n

\"\"
\u00a9 G\u00e9rard Uf\u00e9ras, Museum Berggruen Berlin, 2018,
Alberto Giacometti „La Place II“<\/figcaption><\/figure><\/div>\n\n\n\n

<\/p>\n\n\n\n

A Feeling for The Decisive Moment<\/em><\/strong><\/p>\n\n\n\n

G\u00e9rard Uf\u00e9ras possesses, to the most extraordinary degree, a feeling for the decisive moment, that instinct which prompted Cartier-Bresson to conjure up the expression \u201csaisir l\u2019instant d\u00e9cisif\u201d.<\/p>\n\n\n\n

Right at the beginning of his career he was given the opportunity to take photographs backstage in major fashion houses like Dior and Givenchy, documenting everyday life on an ongoing basis. It was here that he learned to capture dramatic scenes under conditions of extreme lighting.<\/p>\n\n\n\n

G\u00e9rard Uf\u00e9ras started taking pictures when he was 8 years old, using his father’s cameras. At the age of 11 G\u00e9rard Uf\u00e9ras began to visit the museums of Paris regularly \u2013 and he has never stopped. Later he fulfilled his childhood dream and travelled to the most important museums in the world.<\/p>\n\n\n\n

\"\"
\u00a9 G\u00e9rard Uf\u00e9ras, J\u00fcdisches Mueseum Berlin, 2018,
Menashe Kadishman, Installation „Shalechet“<\/figcaption><\/figure><\/div>\n\n\n\n

However, his career began \u2013 alongside photojournalism \u2013 with fashion photography, which quickly secured him international acclaim. Just like Hoyningen-Huene, Horst and Munk\u00e1csi, who worked for the most significant fashion magazines of the day, such as the French Vogue<\/em> and Harper\u2019s Bazaar<\/em>. They all photographed the modern woman in austere elegance, of infinite grace, sensual and confident\u2026 yet enigmatic and mysterious.<\/p>\n\n\n\n

\"\"
\u00a9 G\u00e9rard Uf\u00e9ras, Metropolitan Museum of Art – The Cloisters, New York, 2018, „Heavenly Bodies: Fashion and the Catholic Imagination“<\/figcaption><\/figure><\/div>\n\n\n\n

G\u00e9rard Uf\u00e9ras’s photographs can be seen in exhibitions all around the globe: his books are published by renowned publishing houses such as Flammarion, Terre Bleue and Rizzoli Publications.
Uf\u00e9ras works within the tradition of the great French photographers and yet manages to remain unmistakably unique. He succeeds in captivating the observer while constantly coming up with surprises. Cartier-Bresson once remarked: \u201cWe are thieves, but we steal in order to give.\u201d On top of this, the special feature of Uf\u00e9ras’s work is that his photographs are frequently full of humor and the comic aspect of the situation.<\/p>\n\n\n\n

\"\"
\u00a9 G\u00e9rard Uf\u00e9ras, Louvre Paris, 2018, Th\u00e9odore G\u00e9ricault,
„The Raft of the Medusa“<\/figcaption><\/figure><\/div>\n\n\n\n

Willy Ronis, his mentor and friend, describes Uf\u00e9ras’s work with the words: \u00ab On voudrait employer un mot tr\u00e8s fort, mais on n\u2019ose pas, alors on dit qu\u2019on est devant le grand myst\u00e8re qui se nomme la Gr\u00e2ce. \u00bb (\u201cYou are tempted to use a very strong word, but you don’t dare to \u2013 so you say you are faced with the great mystery which is called grace.\u201d)<\/p>\n\n\n\n

Securing Evidence in Museums<\/strong><\/p>\n\n\n\n

Just as Eug\u00e8ne Atget created a detailed record of Paris during his strolls around the city at the dawn of the 20th century, G\u00e9rard Uf\u00e9ras secures evidence for his documentary account in museums. In this environment he renders himself virtually invisible. Thus he manages to create, from a great distance, astonishing observations with immense intimacy, capturing insights into the souls of the museum visitors which are at the same time deeply personal, humorous and striking. He possesses a very special instinct for the open gaze of children at great works of art \u2013 though he also shows them unimpressed, sometimes exhausted, playing with soft toys on the floor or a bench at a museum, or falling asleep. Here his images are of almost tender attentiveness. The museum becomes the stage of the human, the all too human. G\u00e9rard Uf\u00e9ras captures these moments to perfection, reclaiming the museum \u2013 which too often becomes a mausoleum \u2013 for the living present.<\/p>\n\n\n\n

\"\"
\u00a9 G\u00e9rard Uf\u00e9ras, 2017<\/figcaption><\/figure><\/div>\n\n\n\n

\u201cA Day in the Museum\u201d <\/strong>was first shown in spring 2019 at the Multimedia Art Museum in Moscow as part of the XI Moscow International Biennale \u201cFashion and Style in Photography\u201d. The exhibition was curated by Olga Sviblova \u2013 the founder and director of MAMM \u2013 and was a great success with audiences and the press: over 80,000 visitors to the museum saw these photographs. Immediately after the opening of the exhibition, G\u00e9rard Uf\u00e9ras held a masterclass in the museum.<\/p>\n\n\n\n

***<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Few photographers are instantly recognizable as G\u00e9rard Uf\u00e9ras – especially the works of \u201cA Day in the Museum\u201d by the French photographer which will be presented at the Samara Museum of Art in Russia from August 7 through September 20, 2020. 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