Raphaël Dallaporta
France, 1980
Raphaël Dallaporta was born in 1980 in France where he currently lives and works. Graduated in 2002 from Les Gobelins, Paris. He developed a remarkable international photographic approach for its rigorous protocols shots and documentary evidences. Concerned about public issues such as human rights but also more symbolic issues such as the fragility of life. Its long-term projects combining text and images are a product of his collaborations with professionals from a wide range of areas. He worked closely with deminers (ICBL), lawyers (Domestic slavery), forensic doctors (Fragile) and more recently archaeologists (Ruins). Awarded a year’s residence in 2002 at Fabrica, Italy.
His series “The Ladies of Noyant” and “Caravans” was presented in May 2003 as a part of FotoGrafia, the Rome International photography festival, curated by Marco Delogu, at “il Segno” gallery. His “Antipersonnel” project was selected for the “Rencontres d’Arles” 2004 by Martin Parr (curator of the 35th edition) and exhibited in the St-Blaise chapel. He won the Young Photographer ICP Infinity Award in 2010 and Paul Huf Award (Foam) in 2011. Solo exhibitions include Dallaporta, Protocol at Musée de l’Elysée, Lausanne, in 2010, or Landmines selected by Martin Parr Les Rencontres d’Arles 2004. His work is represented in the collections of the Musée de l’Elysée, (Lausanne); Fond National d’Art Contemporain (FNAC, Paris), the Maison Européenne de la Photographie (MEP, Paris), or New York Public Librairy.
Latest Photobook
Raphaël Dallaporta, Antipersonnel — 96 pp.; 36 colour photos; Softcover 24×29.5 cm, 2005
Dallaporta presents the most chilling example of this genre by photographing antipersonnel landmines. These strange ugly objects also have a certain disturbing beauty to them. We hear about the damage that landmines inflict on innocent victims long after the purpose of their planting has lapsed. They of course are hidden underground before exploding. I had never seen a landmine in real life or in a photograph until discovering Dallaporta’s images. It was a revelation. Martin Parr
