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Claude Nori

Photographer invited to the Planche (s) Contact festival in 2017

© Claude NORI
© Claude NORI

Deauville, Dolce Vita

Born in 1949 in Toulouse to Italian emigrant parents, Claude Nori understands from 1968 the expressive potentialities of the photographer, although he intended for the cinema. In 1974, he founded Contrejour, with Bernard Plossu and a group of agitators, photographers and critics. At the same time newspaper, publishing house and gallery in Montparnasse, Contrejour quickly becomes the place to meet and disseminate the new photography. Claude Nori later creates the magazine Camera International, the Notebooks of Photography and publishes nearly 140 works on the main French photographers.
In 1999, with his wife Isabelle Nori, he moved to Biarritz where they founded the Terre d'Images festival.
He is the author of several books on Italy, adolescence, seaside towns ( An Italian summer, The Geometry of flirting, Stromboli, A loving photographer….), works he experiences as creative territories since his first book Glasses published in 1975 and prefaced by Agnès Varda.
Latest exhibitions: Photomed Festival (Sanar), Château d'Eau (Toulouse, 2011), Valid Foto Gallery (Barcelona), Rencontres d'Arles (2011), European House of Photography (Paris, 2011), Polka Gallery (Paris, 2015, 2016).

Claude Nori about his exhibition Deauville, Dolce Vita :
"The seaside towns look alike and are all different. We leave our troubles there, we breathe better, we contemplate the sunset, the woman we love standing out on the sea or the ocean at dusk.
We throw ourselves into the water, salt sticks to our skin, we swim, we dry ourselves in the sun, the rain surprises us, we smile, we're alone, happy, we're sad, we're going to have a drink, maybe even being two in the salons of a Grand Hotel, the bears pass by, lazy dolce.
And then happiness passes on a bicycle, so simple, moving, blond hair, a braid, a smile, a simple deep look, we want to leave everything, start a new life, make cinema.

Deauville, unforgettable images, Anouk and Jean-Louis, and perhaps also Marcello and Anita because the Dolce Vita is also hidden where you least expect it, between dream and reality on the wet boards of a summer night. It is so strong and so difficult to photograph a happiness that passes and flees too quickly, lovers who kiss awkwardly, Coline, Sarah, Isabelle, Marie who take the light. Dolce Vita is already slipping through our hands, but a few grains of photography remain stuck to our fingers."

My travel book