La maison pour tous. Une photographie sociale dans les années 80

from 8 November 2023 to 28 January 2024


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• Sébastien QUÉQUET, assistant curator, Photographic Collections
• Assisted by Joana BRAVO

This exhibition is part of Photo Days and Paris Photo. Your ticket also gives you access to the exhibition “Le Japon en couleurs. Photographies du XIXe siècle” presented from November 8 to December 31, 2023 in the library, as well as to all areas of the museum (collections and exhibitions).

Please note: the permanent collections and the exhibition “Le Japon en couleurs. Photographs of the 19th century” close at 6pm on Thursdays.


In France, since the end of the Second World War, there has been an ongoing debate between urban policies and how they influence life and living standards. Beginning in 1983, this juxtaposition was photographed by Carros-le-Neuf in the Alpes-Maritimes region, Sabine Weiss, Jean Dieuzaide, Bernard Gille, Guy le Querrec, Emil Schulthess, and Jacques Windenberger, at the behest of exhibition curator and communications director, Marc Netter. The photographic evidence captured significant moments in human existence, from childhood to old age, the street sweeper to the real estate agent, the priest to the family, and everything in between; Socio-photography depicting life in France. This collection of over 500 photographs, contact sheets, and documents, entered the collections of the Musée des Arts Décoratifs in 2023, and provides a perspective of public and private spaces for all.


Jean Dieuzaide [1921-2003]

A photographer specializing in architecture, still lifes, and quotidian scenes, Jean Dieuzaide travelled across the South of France, Spain, and Portugal. He mounted a photographic inventory of medieval marvels in the travelling exhibition “L’art roman du soleil” (The Romanesque Art of the Sun), shown at the Musée des Arts Décoratifs in 1962. Jean Dieuzaide was a founding member of the Rencontres Internationales de la Photographie in Arles in 1970. He promoted the artistic recognition of photography, in particular through the Château d’Eau gallery in Toulouse, which he created in 1974.

Bernard Gille [Born in 1952]

Bernard Gille was the youngest of the photographers present in Carros. Born in Luxembourg, he moved to Arles in 1982 to study art photography and became the assistant and coordinator for Lucien Clergue for the organization of the festival Rencontres d’Arles in 1983 and 1984. Since he arrived later than the other photographers in Carros, he left fewer prints in the photographic archive.

Guy Le Querrec [Born in 1941]

Beginning his career as a photojournalist in Africa, Guy Le Querrec was among the nine photographers who founded the agency Viva in 1972. The aim of the organization was to produce collective and foundational reportage on French society, breaking away from the immediate and spectacular character of the news. The photographic documentary entitled “The Family in France” is based on family relationships within different social milieux. Guy Le Querrec entered Magnum in 1976. At the Rencontres d’Arles festival in 1983, in parallel with « sociophotography », he presented a show marrying photography with live jazz performance. He would explore music as a subject throughout his entire career.

Sabine Weiss [1924-2021]

Sabine Weiss began working in fashion as an assistant to Willy Maywald before opening her own studio in 1950. Her photographs have appeared in Vogue, Life, and Paris Match. She captured the different ways of life in post-war Europe as she visited various countries for magazine commissions. A representative of humanist photography, which takes the people of the street as its preferred subject, Sabine Weiss is also known for her advertising and portrait photography, using a variety of photographic techniques and creating both black and white and color prints.

Jacques Windenberger [Born in 1935]

Jacques Windenberger started out as a journalist before joining the photographic press agency Keystone. He soon began working independently. His work shows a predilection for subjects related to daily life, urban design, and work, which he documented rigorously through series created over time. According to Windenberger, photography has a social role. He presents his approach in the book La photographie. Moyen d’expression et instrument de démocratie (1965), in which he describes the concept of “photographic information-participation” – an invitation to civic and political responsibility through photography.

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