Stephan Vanfleteren

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Stephan Vanfleteren (born 1969) is a Belgian photographer, best known for his portraits in black and white and his depictions of Belgium and abroad.

Contents

Biography

Stephan Vanfleteren was born in Kortrijk in 1969, [1] and was brought up in Oostduinkerke. [2] :202 He studied photography at the Institut Saint-Luc in Brussels from 1988 to 1992. [1]

In 1993, while awaiting military service, he made a trip to New York, where he mostly did street photography. He has described New York as his "entrance ticket" to the profession of photography. [3]

Career

Vanfleteren started out as primarily a photojournalist for the newspaper De Morgen . [4] In this role, he covered, in black and white, stories of the 1990s such as the death of King Baudouin, the protests over the Clabecq ironworks  [ Wikidata ], the Kosovo War, the Rwandan genocide, and the Dutroux affair. [5] He also found time for stories far from the headlines, such as the experience of riding boxcars in the American northwest. [6]

He has also contributed to The Guardian , [7] [8] Humo , [9] Independent Magazine, [9] [10] Knack, [11] Le Monde, [9] [10] Paris Match, [9] de Volkskrant, [9] [10] and Die Zeit. [9] [10]

Co-founder of the publishing company Uitgeverij Kannibaal/Hannibal, he is also its artistic director. Since 2010, he has been a visiting professor at the Royal Academy of Fine Arts in Ghent. [4] [12]

Elvis&Presley

In May 1999, Vanfleteren travelled around the USA with his friend the Swiss photographer Robert Huber  [ Wikidata ], in the footsteps of their idol Elvis Presley. They photographed each other, "in identical white jumpsuits, mirror shades and high-rise hair", [13] as "Elvis" (Huber) and "Presley" (Vanfleteren), in humdrum scenes from Times Square to Death Valley. Vanfleteren photographed in black and white, Huber in colour. This led to Vanfleteren's first major book [14] and an exhibition. [13] [15] Both photographers, said a reviewer of the exhibition at the Open Eye Gallery, showed themselves to "have a fine eye for ironic composition". [13]

From reportage to portraiture

Vanfleteren's portraits have been his best-known and most recognizable work. Always in black and white, he has photographed many people from the art world but also many who are unknown. A review in Het Nieuwsblad of an exhibition of his portraits commented that Vanfleteren's proximity to the faces and the detail of the photographs together almost create "death masks of the living". [16] [n 1]

As an international project, Vanfleteren has given faces to numerous people living in poverty and isolation in Antwerp and Brussels. "While I focused on their eyes, I listened to their experiences." [3] In 2009 these portraits, along with others, became the subject of an exhibition at Le Botanique, a cultural centre in Brussels. [17] Most were taken with one of Vanfleteren's four Rolleiflexes, as their waist-level finders allowed him to get close. [2] :205

In the same year, at Wintercircus Mahy  [ Wikidata ], Ghent, Vanfleteren exhibited Portret 1989–2009 , around two hundred portraits in black and white of people who had had some media presence during the previous two decades. [16] The exhibition then went on tour.

In 2018, he published Surf Tribe , for which he had made a months-long journey around the world, making portraits of surfers. He went to the most celebrated beaches for surfing, but also little-known places in order to portray the most famous surfers, champions as well as unknown amateurs. He did not photograph them in motion but instead captured their static portraits on the beach. [3]

Belgicum

From September 2007 to February 2008, the exhibition Belgicum was held at Fotomuseum Antwerp (FoMu). A review in La Libre described this:

Dilapidated buildings, outdated town fairs, unfashionable bars [. . .]. Series of portraits – one could call them mugs – of persons bearing the scars of their hard lives, landscapes engulfed in mist, a document of the repetitive days of an internee at the Guislain Institute in Ghent and finally an un-embellished portrayal of Theofiel, an old farmer broken down amid a pile of objects. This is all "Belgicum"; and obviously, as the [book of the same title] also shows, this tragic Belgium of the little people between canals and side-roads is in fact that of a true Simenon of photography. [18] [n 2]

Charleroi

Vanfleteren was the fifth (after Bernard Plossu, Dave Anderson, Jens Olof Lasthein and Claire Chevrier) in a series of photographers to be provided with a residency at the Museum of Photography  [ Wikidata ] in Charleroi. [19] [20] He produced a series of photographs, including many portraits, taken in that city, which had been greatly affected by deindustrialization. These were exhibited in the museum in 2015. The exhibition was described on RTBF as "a tender look at a harsh reality", and as having links to the work of August Sander and Walker Evans yet being the product of a singular vision. [21] [n 3] A review in Moustique said:

Alone, free as a dog, sidling between fog and neon lights, in streets where memories of once flourishing industry disintegrate, or contemplating from the top of a slag heap a landscape where factories once spewed smoke, it is above all all the decay of the world that he encounters. [19] [n 4]

Façades & Vitrines

With rare exceptions, Vanfleteren has only photographed in black and white. However, in 2013 he published a series of colour photographs, taken several years earlier, of old wall advertisements, facades destined for demolition or abandoned shop windows; these appeared in a lavishly produced book, Façades & Vitrines . [22]

Stil leven

In 2016, Vanfleteren made a series of photographs for an exhibition, Stil leven , at the Museum Oud Amelisweerd  [ Wikidata ] (MOA), in Bunnik. Rejecting the museum's initial request for photographs of the Atlantic Wall, he let himself be influenced by the environment of the museum and the surrounding park to realize a series of nudes, still lifes with dead animals, in both black and white and colour. His photos form a dialogue with the work of the painter Armando, the building, and the surrounding nature. [23]

Present

In 2020, Fotomuseum Antwerp organized a major retrospective, Present , which followed Vanfleteren's thirty years of photography, with personal reflections: from street photography in cities such as New York to the Rwandan genocide, from store facades to the "darkly beautiful" [24] remains of the Atlantic Wall, from still lifes to portraits. [5] [25]

Awards

Exhibitions

Solo and pair exhibitions

Group exhibitions

Collections

Books

By Vanfleteren alone

In collaboration

About Vanfleteren

Notes

  1. dodenmaskers van levenden
  2. Bâtisses délabrées, kermesses ringardes, bistrots borgnes, des ambiances qui se prolongent dans sept suites d'images installées en grand tout autour du reste de la salle. Séries de portraits – de gueules plus exactement – d'écorchés de la vie dure, paysages tous noyés dans la brume, constat des journées répétitives d'un interné de l'institut Guislain à Gand et enfin description au couteau de Theofiel, un vieux fermier cassé au milieu de son capharnaüm. C'est tout cela "Belgicum" et de toute évidence, comme le laisse voir également le très bel album éponyme, cette Belgique tragique des petites gens entre canal et trajectoires obliques est en fait celle d'un véritable Simenon de la photo.
  3. Il livre un reportage à fleur de peau et pose un regard tendre sur une réalité âpre. [. . .] Le reportage humaniste de Stephan Vanfleteren a la force du style documentaire qui le relie à des auteurs tels August Sander et Walker Evans, mais le regard du photographe est singulier.
  4. Seul, libre comme un chien, se faufilant entre brouillard et néons, dans des rues où s’écroulent les souvenirs d’une industrie autrefois florissante, ou contemplant du haut d’un terril un paysage où les usines vomissaient autrefois des nuages de fumée, c’est surtout toute la décrépitude du monde qu’il croise.
  5. Also named "Rabo Photographic Portrait Prize".
  6. Website (in Japanese) created for this exhibition.
  7. "Stephan Vanfleteren – Façades & Vitrines"; eight-minute video, hosted by Vimeo: an interview of Vanfleteren by PhotoQ (in Dutch).
  8. For a personal description of the exhibition, see Kelly Steenlandt, "Aller retour", kellysteenlandt.com, 12 April 2013.
  9. 1 2 Photographs of Façades & Vitrines – both the book and the show at the Broel Museum – are at "Façades & Vitrines", The Book Design Blog, 15 January 2014.
  10. "Virtuele rondleiding", FoMu. A series of short videos (hosted by Vimeo) showing the exhibition. "Present at home | Compilation – all episodes | A virtual tour through the FoMU exhibition of Stephan Vanfleteren," Vimeo. Twelve-minute video, with Dutch narration and English subtitles.
  11. Including two pairs of photographers: Clegg & Guttmann  [ Wikidata ], and Ari Versluis & Ellie Uyttenbroek; therefore billed as "31 photographes réputés".
  12. On the title Flandrien:
    In Flanders the term flandrien refers to cyclists who display a strong work ethic, great perseverance, are powerful and who perform best in adverse weather conditions. Until the 1960s, only leading cyclists originating from the province of West- and East-Flanders were considered as flandriens. After 1960, the media extended the use of this term to Belgian cyclists in general and even to international cyclists.
    Stef Van Puyenbroeck, et al.,"Can Cancellara really be a Flandrien? Ethno-cultural identity representation predicts regional exclusivity of a historically contested cycling term", Psychologica Belgica, 58 (1), 19 March 2018. doi:10.5334/pb.358.
  13. Publisher's description of Flandrien, as retrieved by the Wayback Machine on 8 September 2013.
  14. Belgicum is the nominative, accusative and vocative case form of Latin singular belgicus , meaning "Belgic".
  15. Publisher's description of Belgicum, as retrieved by the Wayback Machine on 6 November 2019.
  16. Publisher's description of Façades & vitrines, as retrieved by the Wayback Machine on 14 April 2013.
  17. Publisher's description of Atlantic Wall (Dutch/English), as retrieved by the Wayback Machine on 9 August 2018.
  18. Publisher's description of Atlantic Wall (French/English), as retrieved by the Wayback Machine on 12 August 2018.
  19. Publisher's description of Charleroi, as retrieved by the Wayback Machine on 9 November 2018.
  20. Surftribe.be, website for the book.
  21. Publisher's description of Surf Tribe, as retrieved by the Wayback Machine on 9 November 2018.
  22. Publisher's description of Present (English- and Dutch-language editions).
  23. Publisher's description of Dagboek van een Fotograaf.
  24. The exhibition: "Hans Vandekerckhove: schilderijen ter vervolmaking van methoden van onbeweeglijkheid".
  25. Publisher's description of Elvis&Presley.
  26. Publisher's description of Bobbejaan, as retrieved by the Wayback Machine on 23 September 2020.
  27. Sergiology.com, website for the book.
  28. Publisher's description of The Butcher's Book, as retrieved by the Wayback Machine on 25 March 2016.
  29. Publisher's description of Placet Hic Requiescere Musis.
  30. Publisher's description of Onuitgesproken.
  31. Other issues in the series are devoted to Rineke Dijkstra, Carl De Keyzer, Raymond Rutting  [ Wikidata ], Rob Hornstra, Koos Breukel  [ Wikidata ], Hans Heus, Joost van den Broek, Robert Capa, Guus Dubbelman, Hellen van Meene, Sebastião Salgado, Gerard Fieret  [ Wikidata ], Ed van der Elsken, Helmut Newton, Robert Doisneau, Henri Cartier-Bresson, Peter Lindbergh, Man Ray, Anton Corbijn.

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