Finding a partner in times of social distancing: impossible, right? But only at first glance. Because singles are inventive – and distance can also lead to closeness.
WORLD: According to a survey of 1,200 people from the US research institute Kinsey Institute, around a fifth of users are on Tinder to create an “addition” to their existing sex life, including by sexting or sending nude photos. There will be people in partnerships, right?
Johanna Degen: We know from previous studies that around 40 percent of users are in a relationship. One part only wants to look around, the other is flirting with others or to check the market value. Those who cheated before the pandemic, were unhappy in their partnership and outsourced the fulfillment of needs will find ways now.
WORLD: Some singles are now contacting ex-friends or ex-lovers out of sadness. What do you think of such strategies?
WORLD: Dating apps like Tinder and Bumble, but also partner exchanges like ElitePartner, have seen significantly increased activity since the beginning of the Corona crisis. There are 20 percent more chats worldwide on Tinder, which are also significantly longer. Bumble reports around 70 percent more video calls in March. Apps are the new way out – and virus-free as long as you stay good.
Johanna Degen: The corona crisis shows that a pandemic does not mean that you have to delete dating apps, on the contrary. If Tinder were just an app for sex, there wouldn’t be that many there now. This is now proving – contrary to many prejudices. Even before Covid-19, psychological research showed that Tinder users have complex, often deep motives, wishes and hopes. This is now confirmed, physical meetings are not possible, but online dating is booming, or rather “chat dating”. There are very different motives and causes: Environmental fear, loneliness, boredom and reflections: How do I want to live when the going gets tough, and with whom? When too high demands prevent love
WORLD: Tinder regularly sends WHO warnings to its users. In addition to advice such as “Stay home” and “Be safe”, emoticons such as the hand-washing emoji or sexting symbols such as eggplants and peaches are also sent. And since the pandemic started, users have sent almost four times as many “Dick Pics”. What role does the virus currently play on Tinder – and which is flirting?
The vast retrospective devoted to them by The Rencontres d’Arles in 2013 was a great (re) discovery and a gift for those who ventured to the Parc des Ateliers, burning in the July sun, to the Atelier de la Chaudronnerie.
Despite the avalanche of images of any self-respecting Arlesian edition, there was still to be seen, what to be surprised, what to be enchanted in front of the philosophical and burlesque world of Gilbert Garcin, known until then mainly to amateurs, dreamers or worried people with a surrealist tendency.
Sort of Facteur Cheval of photo-montage born June 21, 1929 in La Ciotat, Gilbert Garcin was indeed this gentleman at the same time strict and laughing, in suit and tie, as if it came from the last silent films or from an old trilogy of Pagnol. He then lived and worked in Marseille. Hero, subject, model of all his allegories on human life, he was suddenly multiplied because of all the images, large formats for his exhibition of Rencontres. Anodyne silhouette become a prototype, Gilbert Garcin died, peacefully in his sleep, at 91 years old, on Saturday April 17.
Presentation of a French character. “It was not until the mid-1990s that Gilbert Garcin, then seller of lighting fixtures in Marseille where he led a life without stories, set out to build a new identity, that of the artist.” In 1998, he began this second bohemian life when he retired. His unexpected career begins. Discovering her work at the Braga, Portugal photography festival, the gallery The girls of Calvary and her then director, pioneer Christine Ollier, then exposed her to Paris Photo. Professionals and collectors, amateurs or confirmed, are conquered by his photographic work which quickly becomes a reference.
His images are carefully worked out. They are composed of cut out figurines (his own overcoat image, often accompanied by that of his wife Monique) and staged in a minimalist decor, between waking dreams and slightly threatening symbols, dear to surrealists. Philosophical fables, humanist reflections on lightness and significant poetry, his photographs explore universal themes, love, time, glory, solitude or freedom.
Since appearing as whimsical as it is incongruous, Gilbert Garcin has been exhibited around the world, approached by directors of small art centers as well as large international museums. For 2011 alone, Gilbert Garcin traveled from the Atlantic Center of Photography in Brest, to the Meyrin Center in Meyrin (Switzerland), from the Stephen Bulber Gallery in Toronto (Canada) to the Lisa Sette Gallery in Scottsdale, Arizona (USA) , from the Fotofest festival in Houston, Texas (USA) to the Meyrin Forum in Geneva (Switzerland), from Head on Festival in Sydney (Australia) to our good city of Nantes and at Hermès, in Paris.
“The skits invented and produced by Gilbert Garcin are falsely simple. The means used are: a table for the theater, cut-out images, a few accessories and a slide projector … But their development, and the resonances they arouse, that’s less so “, underlines the Parisian gallery Camera Obscura which exhibited it for the first time in June 2015 (Gilbert Garcin – Doing Your Best, from June 6 to 12, 2015, subjective choice encompassing twenty years of creation) and has represented it since. “From twenty years of artistic creation, Gilbert Garcin has kept around 260 images, an approximate average of thirteen per year. It’s a lot of work to arrive at the essential simplicity of these little fables, parables, aphorisms “.
Their success now transcends borders: for 2014 alone, the year following the revelation of Arles, Gilbert Garcin was shown at the Infocus Arnold Burkhard Gallery (Germany), at the Malmö Museum (Sweden), at the Maison du Peuple from Brussels (Belgium) and the Alliance Française de Bogota (Colombia). His first – and late – exhibition dates only from 1993! It is a long-term success, more the solitary hike on the way to the peaks than the sprint on the Grand Boulevards.
“The best of his creations combine form and substance, visual impact and relevance of the metaphor”, underlines Didier Brousse, director of the Camera Obscura gallery, which celebrated its 25th anniversary in 2018. Explanations from this photo pro who shows the Finns Pentti Sammallahti, Arno Rafael Minkkinen, the so Parisian Sarah Moon, but also the late Marc Riboud and Willy Ronis. In “Change the world“He said, Mr. G grasps and undoes the route of the determinisms represented by a black ribbon which runs endlessly on the ground. Humor of a Tati-like character, overwhelming the world by a reduced but concentrated and obstinate action on a “detail” which turns out to be decisive. Other images keep a part of mystery. Which makes it flavor.
A good number of images – not far from the quarter – “deal” with the couple: The life ahead,The union, To be right, The marriage contract, The perfect balance, Divergence… Gilbert Garcin exposes himself through his carved character, the main protagonist of his stories and a mirror of his life, his conscience, his projections, his talent. His creation invaded his daily life: it was natural for his wife Monique to join him in the painting. One of the main drivers of his images is the contrast created by the banality of this ordinary couple and the fantastic aspect of the situations evoked by a refined theatrical staging à la Beckett.
Some scenes are close to autobiography. “Leaving the aphorisms and the declamation of principles, they illustrate a state of mind, a feeling, and the character of Mr. G is then simply human” Its vaulted silhouette walking at night among the collapsed sandcastles (At the beach, 1998), and that, after the death of his wife Monique (Sul, 2012). The titles play between words and photos: The danger of images strikes with its visual complexity and the labyrinthine side of its interpretation; The Master of the world, strikingly simple, directly illustrates the expression “pulling strings”. It hits the bull’s eye, as in its enigmatic The target’s heart.
His existentialist productions were the delight of photo festivals, galleries and publications in the press. Gilbert Garcin, the “Grandpa of photography” where the “Papi de Marseille”, as he was nicknamed, died Saturday April 17 at the age of 90. His signature, recognizable at first glance, is synonymous with black and white images where a character – most often lonely – crosses philosophical skits. Also called “Monsieur G.”, this anonymous figure is an avatar of the photographer. White hair, sometimes wearing a bob and most often dressed in a thick overcoat, this kind of gentleman evolves in a miniature theater where the horrors of the human condition and the life of artist. With more than 300 images to his credit, Gilbert Garcin leaves behind an allegorical work inspired by the deadpan of Jacques Tati, the humor of Charlie Chaplin and the darkness of Alfred Hitchcock. In Void Attraction, for example, one of his famous photographs, Mr. G., from behind, looks at a window represented by the frame of a painting: art, a suicide mission?
For Gilbert Garcin, art is rather a cushy adventure. Let him start with the wisdom and experience of his advanced age. Born in La Ciotat in 1929, Gilbert Garcin embarks on a second life at the age of 65 after forty years spent running a lighting boutique in Marseille. The trigger? An amateur photography competition which he won in Aubagne and which opened the doors to an internship as part of the Rencontres d’Arles. Before that, Gilbert Garcin practiced very little photography, at most he bought an old Nikon, made a few pictures here and there and kept some family slides that he never looks at. It was under the guidance of photographer Pascal Dolémieux that he undertook to photograph figurines cut out and installed in the streets of Arles. During his internship, Gilbert Garcin is the oldest but his work is quickly noticed. And the mini studio’s ploy appeals to him so much that he adopts it so that he never lets go.
Consequently, it is in his small workshop in La Ciotat bathed in the song of the cicadas that Gilbert Garcin invents a world: that, miniature, of Monsieur G., therefore. He does not need much to make his images: his own character photographed and cut out, a projector, a cinema screen in the back and a decor of little things: sand, stones, pieces of string or pieces of wood. Sometimes he invites his wife Monique to appear on the photo board. Importantly, the titles he gives to his images open up multiple perspectives for the viewer: Gilbert Garcin seeks to make his Hollywood of the poor a “Spanish inn”, with tracks wide enough to speak to everyone. His home-made cinema is above all on a table corner, in a small room. “We have to find a happy medium between reality and fiction ”, he explains to Patrick Le Bescont of Filigranes editions in a short video on his site. It has to be believable, but not to be believed to be the reality either. “ His razor-sharp skits put him on the road to success. At the rate of 15 photos per year, the former lamp dealer was able to exhibit internationally. His prints are now featured in prestigious collections, such as the European House of Photography, among others. Never had he planned to handle the camera so well. When asked how he imagined his retirement, he always replied that he rather saw himself with a fishing rod.
So goes the world, by Gilbert Garcin. Courtesy Camera Obscura gallery
The right diagnosis, by Gilbert Garcin. Courtesy Camera Obscura gallery
I.n Times of the Corona crisis, completely new love questions arise. For couples, the unusually close proximity to the relationship test can become a real challenge, and also for singles. But it doesn’t have to be all that terrible, says Nicola Erdmann, Managing Editor of iconist.de and an expert in relationship matters. She has tips for couples in the new, very tight everyday life. And she knows where singles are now looking for a partner.
Against the Corona Koller is the WELT podcast for everyday life in a state of emergency. With this podcast we want to make your everyday life and life easier in times of the corona virus. The editors Antonia Beckermann and Sonja Gillert talk to experts and colleagues about how to master the big and small challenges of this unusual time. And how you can even enjoy the break from the normal state a little at best.
Do you have any questions, feedback or tips for Corona times. Then feel free to comment under this article or write to us at: email@example.com.
End of a suspense that lasted eighteen months (!). It is the director of the Rencontres d’Arles, Sam Stourdzé, who will be the next director of the Academy of France in Rome, the Villa Medici. Born in 1973, specialist in photography, former resident of the Villa in the cinema section, Sam Stourdzé, according to the press release announcing his appointment issued by the Ministry of Culture, proposed to “Rethinking the Villa Medici as a place of mobility: artistic mobility, social mobility and European mobility“ while the missions of the Académie de France in Rome would be “brought to evolve in order to assert new priorities: a resolutely European orientation, greater openness to the diversity of artistic fields and to the social diversity of career paths, strengthened international synergies with Europe, the Mediterranean basin and Africa “.
Sam Stourdzé notably proposes to open the Villa to short residences, as part of “collaborations with an associative network“ and plans to “develop collaborations with artistic scenes in the Mediterranean and French-speaking Africa“ He will be responsible for around twenty residents – visual artists, musicians or writers – and around forty employees.
Vacant since the end of the mandate in September 2018 of Muriel Mayette-Holtz, whose appointment had caused a stir, and who was highly criticized internally during her mandate, the position had, according to our colleague from World Roxana Azimi, aroused the lust of Christophe Leribault, director of the Petit Palais, the writer Luc Lang or even Didier Ottinger, curator at the Pompidou center. Stéphane Gaillard, former number 2 and magistrate of the Court of Auditors, also a candidate, managed the premises in the interim. Sam Stourdzé would have been favored by Emmanuel Macron and Franck Riester, in particular because of the European accent of his project. His replacement at the head of the Rencontres d’Arles has not yet been announced, one week before the presentation of the 2020 program.
S“Swiping” has been cultivated in the dating world for eight years: the dating app Tinder was launched in 2012, since then around 57 million people worldwide have registered, 20 billion “matches” took place. Today there are successful figures like 20 percent of all marriages that are said to have come about thanks to Tinder. Register, swipe candidates to the right, chat, date, fall in love – in reality, what sounds simple is a long way off.
Because although we all want to be loved for our uniqueness, there is a huge discrepancy on Tinder: Most people present themselves less individually, so that they are more likely to please and “match” with many. The Flensburg psychologist Johanna Degen found out by interviewing Tinder users from Germany with her doctoral mother Andrea Kleeberg-Niepage. Degen explains in an interview why the dating app is a double-edged sword.
WORLD: Sex or love, what do you think Tinder users are really looking for?