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GUILLAUME HERBAUT ET ÉLÉONORE LUBNA

De Kiev au Donbass
Palais de Luppé - Conversation photographique Olympus
Rencontres d’Arles, 3 juillet – 31 Août 2017

En 2017, proposition est faite par Olympus à Guillaume Herbaut de parrainer Eléonore Lubna, fraichement diplômée de l’Ecole Nationale Supérieure de la Photographie d'Arles. L’Ukraine, au cœur du travail de Guillaume Herbaut depuis plus de 15 ans, devient alors un nouveau territoire d’investigation pour Eléonore Lubna. Se rencontrent deux visions, deux sensibilités et deux parcours. Celui de Guillaume Herbaut, dont la connaissance du terrain est extrême. Depuis 2001, il se rend dans un pays marqué par son histoire et le drame de Tchernobyl. En 2004, c’est à la révolution orange qu’il s’attache. L’année 2014, marquée par le début de la guerre, ancrera encore davantage son engagement. Un conflit armé qu’il documente, de la place Maïdan de Kiev à la zone de front à l’est du pays (Donbass). En réponse à ce travail, Eléonore Lubna propose une autre lecture. Avec un regard plus distant, elle installe une enquête photographique au plus près des témoignages bouleversants recueillis durant son voyage. Partie à la rencontre de dix personnes déplacées et exilées du Donbass vers la capitale ukrainienne, elle nous livre les entretiens, les souvenirs, les évocations d’objets emportés et les images trouvées, offrant ainsi une voix à des réfugiés dont la mémoire ancre le reflet d’un conflit plus lointain. 

In 2017, Guillaume Herbaut was asked to mentor Eléonore Lubna, a new graduate from the ENSP. Ukraine has been at the heart of Guillaume Herbaut’s work for more than 15 years; now it was to become a new territory for Eléonore Lubna to investigate. Two visions, two sensitivities and two pathways were about to come together. First, that of Guillaume Herbaut, who knows the place like the back of his hand. Since 2001, he has been visiting this country marked by its history and the Chernobyl disaster. In 2004, it was the Orange Revolution that captured his attention. His commitment grew stronger still with the outbreak of war in 2014. He documents an armed conflict extending from Maidan Square in Kiev to the front line in the east of the country, in the Donetsk Basin – a relent- less undertaking spanning more than three years, during which time he has had to remain impartial and keep his dis- tance: ‘In Ukraine, I never stop asking myself how you can photograph war while simultaneously seeking to develop a personal vision of the conflict.’ A vision that he puts into per- spective, in particular, by stepping away from his initial pro- fession as a photojournalist to work off-camera instead. In response to this work, partially presented in the context of this dialogue, Eléonore Lubna offers us a different per- spective. Taking a more distant stance, she conducts a close-up photographic investigation of the shocking accounts gathered during her trip. Having set out to find ten people who had been displaced from the Donetsk Basin and exiled to the Ukrainian capital, she shares the interviews, the memories, the evocation of objects taken along and the images found, thus offering a voice to these refugees whose memory encapsulates the reflection of a more distant conflict.