Tatoueurs, tatoués catalogue

I am happy to announce that my portrait of a muay Thai fighter has been chosen for the cover of the Tatoueurs, tatoués exhibition catalogue at Paris’ musée du quai Branly.


Tatoueurs, tatoués exhibition catalogue cover. Picture © Cedric Arnold

Published by Actes Sud in Arles, the 300 page hard cover book features selected works from the exhibition and details the history and practice of tattooing from around the world.  Available in May at the museum’s book shop all good art book stores in Paris and France; the catalogue also has an English version.


Tony Benn

Sad to hear the news about Tony Benn. Obituaries are filling the British press today. I had the opportunity to photograph the great man early on in my career in 1999 in London. It was one of my first big one on one portrait sessions. He readied himself for the camera with his usual face-on, pipe puffing pose. When I suggested a profile shot, he arched an eyebrow and quipped:  ”I’ll look like a coin”. May he rest in peace.

London, 1999 © Cedric Arnold

Here’s his wonderful quote on photography

“Most things in life are moments of pleasure and a lifetime of
embarrassment; photography is a moment of embarrassment and
a lifetime of pleasure.” -Tony Benn-


Old film stills from Myanmar

A few years ago, while on assignment in Yangon, I came across a small antique / curiosity / junk shop in the old city center.  I searched through boxes of old photographs and eventually found a pile of old movie stills, many stamped with “British, Burma Film co., ltd – Rangoon” a film production and distribution company established in the 1930′s. While many of the images were stamped, none were dated, making identification quite challenging. Some do have notes on the back, so I will post an update once contacts and friends in Yangon help me gather more info.


A movie still from what was then known as a “stunt film”

The first film produced in Myanmar was a 1920 silent film called “Myitta nit athuyar,” (Love And Liquor) a tale of  gambling, alcohol and destruction. Later on in the 1930s the British began to censor films with such themes.


“But soft! What light through yonder window breaks?” The classic balcony scene from Romeo and Juliet, with a Burmese twist on the wardrobe and probably on the dialogue too. This is one stamped with the British Burma Film co seal, and judging by the decor, most probably a stage production. In 1941 the Japanese bombed most of the movie theaters, during occupation no films were produced, film companies and actors turned to stage productions. Due to the impossibility of acquiring film, an attempt to save precious film stock was made by burying it; but the high temperatures caused the film to deteriorate.


The “British Burma Film co” seal on the back of one of the prints.

In 1946 film production kick started again but it wasn’t until the early 1950s that much needed extra film stock, new equipment and technical expertise were brought in by reps from international studios such as Universal Studios. The 1950′s were considered to be Myanmar’s cinematic golden years with state of the art studios such as the A1 studios attracting productions from Neighboring Thailand and even the then President U Nu getting involved in script writing in 1953.


An archer in a scene that could also be a local take on the story of Ekalavya

With the formation of the Revolutionary Council in 1962, things began to change for the local film industry. Although, according to the LA Times , “Censors could be influenced with tea money – and the industry remained relatively vibrant until the mid-1970s.” after the socialist regime’s “reformation” officials insisted that all films should promote the socialist agenda. This obviously hugely restricted the themes filmmakers could tackle.

Absurd decrees such as the 1982 decision stating that actors must make three movies simultaneously further damaged the already chocking industry. After the pro-democracy protests of 1988 which saw many actors and directors take part, the government would regularly ban films because of actor choices and film score choices. To avoid the need for script approval, filmmakers started shooting direct-to-CD and later direct-to-DVD releases.

This along with the growing popularity of pirated foreign films further sealed the fate of the industry and created a huge decline in Cinema goers. Land prices soaring to incredible heights have predictably caused old “standalone” cinemas to be destroyed or targeted for destruction to make way for hastily built business towers. By 2011 cinema numbers nationwide had declined to  71 from their peak of 244, several more have since been destroyed in what is known as “Cinema Row” in Yangon.

The film industry today focuses mainly on TV productions with very rare cinema releases. However, initiatives such as the Yangon Film School and various organizations helping with media and art development, will hopefully help Burmese cinema to grow again.


Many photographs from the collection feature this type of “almost kiss” in varying stages of closeness, but never quite a Hollywood style embrace.


A little closer…


A countryside scene


The shop owner told me she was very famous, but could not give me a name… Eye lashes and hair point to the 1960′s, possibly Khin Than Nu.


A confusion of facial expressions in what looks like a countryside scene.


Two actor portraits


A family scene, no clues given on this one, but it looks like it’s from the 1950s

Further reading:

A fascinating website documenting the traditional standalone movie theaters in SE Asia including Myanmar:


On Burmese cinema history:



Musée du quai Branly show

I am happy to announce my participation in Paris’ musée du quai Branly ’s “Tatoueurs, tatoués” (Tattooists, tattooed) exhibition May 2014 – Oct 2015 -

The 18 month long show examines the history of tattooing from all over the world, as well as the current renaissance of the practice. Visuals in the form of large format prints and multi-media from ‘Yantra: the Sacred Ink’ will be on show to illustrate the yantra tattoo tradition. More details on the content of the show soon.


Tribute to the Transformer


© Cedric Arnold - Photograph taken at the Shepherd’s Bush Empire back in Sept 2000.

RIP, Lou Reed.

Festival Photo Saint-Germain-des-Prés

I am happy to announce my participation in this year’s Festival Photo Saint-Germain-des-Prés with a solo show, taking place this November in Paris.

The show ‘Yantra: The Sacred Ink’ will be on from Nov 6th to 23rd at Galerie Olivier Waltman. For more information on the festival, featuring the work of Susan Meiselas, Frank Horvat, Lucien Clergue, Sergio Larrain and Vivian Maier. Visit the official site (in french) - or visit this page on Lens Culture in English.



‘Sacred Ink’ on show in Arles

If you’re in Arles for the Photo Festival, please join us at Gallerie: Le Magasin de Jouets at 2 pm on Thursday for the opening of the ASEAN exhibition, where Sacred Ink is on show.


Limousine in Bangkok

After being on the road for ages, finally a moment to write about a great gig in Bangkok…

Last May, I had the pleasure of seeing French band Limousine for the second time during a stunning performance blending instrumental jazz, Mor Lam, traditional music from Isaan (North Eastern Thailand), with touches of post rock and beautiful Ethiopian-jazz-like sax. The music was accompanied by a slide show featuring Agnes Dherbeys‘ images taken during a road trip with the band in Isaan as they began work on their Siam Roads album.


Image  © Agnes Dherbeys, see more here in this slide show to Limousine’s music


© Cedric Arnold – Limousine in Bangkok, playing with Thai multi-instrumentalist Yodh Warong with whom they recorded the tracks for Siam Roads. Left to right: Laurent Bardainne, Maxime Delpierre, David Aknin, Frédéric Soulard & Yodh Warong


© Cedric Arnold – Agnes’ images were also on show at Toot Yung Gallery . Laurent Bardainne of Limousine on the mini- balcony after Agnes’ opening at the gallery… Another great evening in Bangkok.

Paris, May 68′

This month marks the 45th anniversary of the May 1968 protests in Paris. My father was living in Paris’s Latin Quarter at the time. He had finished his studies at la Sorbonne, was working as an English teacher at Air France and still living in his student hotel. “L’hotel de la Loire” on Rue Du Sommerard ended up being at the crossroads of most of the action during the month long protests.

Armed with a 35mm rangefinder “Rank Mamiya” w / f2.8 40mm lens and rolls of Kodak ‘Safety film’ (older name of Tri x pan) which he developed at home, he captured these images. Some of the pictures were scanned from a contact sheet as the negatives mysteriously vanished from a local lab. My father was eager to get proof prints done of the negatives, which featured some violent scenes of clashes; he never got them back.


© JD Arnold  -  A student barricade with burning cars, photographed on the corner of Rue St Jacques & Rue des Ecoles (the main Sorbonne University building is to the right of frame). The CRS (the notorious French riot police) barricade was on the other end of Rue St Jacques, and the student hotel was sandwiched between the two.

The CRS, Compagnies Républicaines de Sécurité (English: Republican Security Companies). This riot police force has been much despised by generations of protestors and students; a popular slogan, coined in May 1968 and still used when I was a student in the 1990s in Paris was “CRS, SS!”, likening them to the Nazi SS.


© JD Arnold – On the corner of Rue St Jacques and Blvd St Germain, the CRS gathering, preparing to confront students.


© JD Arnold - Taken from my father’s window, CRS charging towards students on Rue Des Ecoles.  Canisters of teargas were exploding everywhere. During the protests, the constant cry of the students could be heard all over the latin quarter:  ”de l’eau!  de l’eau!  de l’eau!” (“water, water water!”) People would throw buckets of water out of their windows, as it helped dissolve the gas. Mr Victor, The hotel owner had  to check all the windows every morning and often replace them (broken windows were treated as suspicious by the CRS)


© JD Arnold - An  outer canister and three burned out inner canisters of teargas on my father’s floor.  He was taking a photo through an open window, when the CRS saw him and fired a shot. Instinct told him to shut the window but the shot was powerful enough for the heavy canister to pass through the closed window on the 4th floor and exploded.  In such a small enclosed space, it was potentially lethal, so he had to make a quick exit.


© JD Arnold - A demonstration on Champ De Mars, the student in the foreground is looking up at a police helicopter hovering above.


© JD Arnold  - Students preparing themselves for the night’s confrontation.


© JD Arnold - Place Monge, the morning after.


© JD Arnold - Boulevard St Germain


© JD Arnold - CRS firing teargas on Place St Michel, one of the most touristic spots in Paris it was known then, as “no man’s land” .


© JD Arnold – Students, running from a police advance. Boulevard St Michel


© JD Arnold – A night time clash taken from my Father’s window.


© JD Arnold – Aftermath of the battle, a wounded student is taken to hospital by a Red Cross Ambulance.


© JD Arnold – Students on their way to a demonstration on Champ De Mars


© JD Arnold – composite of 2 images  - 

A meeting at the main amphitheater, still known today by Sorbonne students as “Le Grand Amphi”. The leaders of the student movement  Daniel Cohn-Bendit,  Jacques SauvageotAlain Geismar and Alain Krivine were gathering support to organize student action. My father took the pictures with flash and was promptly thrown out, only holding on to the roll of film by finally making the students understand that he was not CRS spy.


© JD Arnold – A large gathering of students in the Sorbonne’s courtyard


© JD Arnold - This image was taken on the corner of Boulevard St Germain and Rue St Jacques (taken from the hotel) On most days, the police would set up a massive blockade in one place and watch the students gradually assemble their barricade opposite them.  When everything was ready, the actual fighting began. The CRS could have easily broken it up early if they had received the order to do so, but they usually  waited, seemingly adhering to very traditional rules of engagement.


© JD Arnold – A student barricade Rue Des Ecoles.


Wikipedia page on May 68

Collection of May 1968 posters, featuring the CRS, SS poster and many others such as the famous slogan, ‘Sous les paves, la plage” (under the pave-stones, lies the beach)

Archive footage of May 68: