Flagship show

Born in Buenos Aires, Argentina. Lives in Berlin.
Represented by Galerie Bendana Pinel, Paris and Kuckei + Kuckei, Berlin.

“Miguel Rothschild merges the classic metaphor of the Flood, as the punishment for original sin, with the romantic sight of an endless body of water, which would reflect our emotions. (…) One of the methods established by the artist to dilate his photographs in space is the use of fishing line: stretched and multiplied, it can represent the rays emitted by the Holy Spirit as well as a drizzle. . Suspended in a free bouquet, the threads can suggest Marie Madeleine's loose hair, but also a flow of tears springing from the image.

In Untitled. According to William Turner, a piece of thin fabric, on which is printed a photo of the sea, is suspended by a quantity of nylon threads of different lengths, transforming the image into a model of a rough ocean. " Text by Helen Adkins.

Born in 1977 in France. Lives and works in Paris.

Bruno Fontana develops an early interest in photography and architecture, and shapes his self-taught look. His work - which can almost be described as documentary - revolves around the representation of urban environments, landscapes, heritage, memory and our relationship to the territory. The typology is recurrent in his photographic work. It is the result of an elaborate protocol of shooting and methodical reflection.

Bruno Fontana extracts the recurring forms of our urban landscape, collects and releases the invisible of our daily life, which it presents in the form of photographic plates. His photos are repeated with subtle variations, allowing the staff and the human to pierce through an appearance of uniformity. Thus, Bruno Fontana also takes a historical step by trying to fix the forms of everyday life that constitute our living environment. Bruno Fontana combines a poetic and scientific approach of the world: each element he photographs refers to a whole and speaks of the human, although it never appears on the film.

Born in Lisbon in 1979. Lives and works in Lisbon.
Represented by Carlos Carvalho Gallery, Lisbon.

Carla Cabanas acquired photographs taken at random at Lisbon's Feira da Ladra, an old flea market in the Portuguese capital. These were then scanned and inkjet printed, then the paper was laser cut. The final work constitutes an installation that appears as a metaphor of time and space. Because by imitating dead leaves that would have scattered in a garden, this piece blurs the boundaries between interior and exterior spaces, and also symbolizes the process of life and its evolution. The visitor will thus be led, in the words of the artist, to experience “the poetics of time”.

Born in France in 1982. Lives and works in Paris.
Represented by Galerie Binome, Paris and Heinzer Reszler, Lausanne.

Circumscribed Territories is a series whose shots were taken on the coastline of the North and Brittany regions. The company Leica Geosystems, associated with the project, has made available a three-dimensional scanner allowing it to record its environment at 360 degrees, thanks to a cloud of points transposed into volumes. The real past filter device gives birth to a distorted universe, fantastic, which gradually fades with the limits of the machine: it scans the landscape with a range of 150 meters, does not detect volumes, such as clouds or water, and records in two stages the shapes and colors.

Thus, the sea reduced to its foam is only digital mesh, the tree leaves take the color of the sky by offset of the gluing, and all this universe seems to emanate from the heart of a black hole. Thibault Brunet gives to see the power of the machine on our perception of the real, anticipates on the transformations of the world and questions on what will remain of our relations to our environment.

Born in 1982. Lives and works in Paris.
Represented by the gallery 22,48 m²., Paris.

Raymond Depardon has traveled France for several years, since 2004, driving his van, stopping along the roads to make his shots in the camera. Nothing spectacular: signs, windows, roads, trees, buildings. One look, his, and the will to leave a trace of France closer to what it is today, everyday.

What significance does Depardon's work have today when there are millions of images of France's roads in Google's servers? Indeed, Google has since 2006 a plethora of images that only one photographer can ever achieve during his life. Depicting Depardon's journey in Google Street-View, and walking on his steps, is to parallel images taken in the room with screenshots, and put in perspective two types of images, two opposite intentions, two visions of the world. It is also not impossible that the van Depardon and the car of Google will one day crossed ...

Born in 1972 in Le Havre Lives and works in Paris.
Represented by the Anouk Le Bourdiec Gallery, Paris.

Jean-Baptiste Perrot physically converts digital imagery into material (ink, pencil, paint). More precisely, the dysfunctions of new technologies are the basis of his work, leading him to integrate computer errors, bugs and other “glitches” into his creations that disrupt digital iconography. He appropriates them as revealing spaces of unexpected freedom in a digital world where everything is coded, standardized, designed for a predefined objective, where “zero defects” are supposed to be the order of the day.

Reinterpreted in the material, a certain form of reality takes back its rights in this virtual world. It is in this breach that his questions about free will take shape. Are we free? Conversely, are we the subjects of an overdetermination with inalienable constraints? 

Born in 1986 in L'Arbesle. Lives and works in Lyon.
Graduate in photography from Condé de Lyon school (2010).

Long passionate about cinema and its ambiances, Zacharie Gaudrillot-Roy uses mainly photography and video as artistic supports, also interested in other mediums, such as sound recording and the music that results from it. In his work, he positions himself as a spectator of a world that is often distant. A wandering stranger in what could be perceived as a false decoration, he confronts himself on the surface of things to question the unknown.

The facade is the first thing you see is the surface of a building. It can be imposing, superficial, or evoke a certain urban security. This is a wandering in a city that seems foreign to us, a first meeting where everything is to be built.

Born in Tehran in 1969.
Represented by the Edwynn Houk Gallery, New York.

Unlike other types of retouched photographs (such as collage and color or hand-painted photos), sewing and embroidery are techniques where the surface of the image is perforated. These handmade gestures are a voodoo practice, soft and contemplative, which transforms the surface of the image, splitting it into many small particles, and also penetrating the back of the photo. Sissi Farassat thus applies highlights to her photographs with intertwined threads or glitter rugs, which bring physical and textural qualities to the image. Photographs protected by glass are often subject to light refraction effects. But the glass also "seals" the photographic surface and prevents any direct contact with our eyes.

In intimate rooms or "banal" interiors, Sissi Farassat produces self-portraits, and portraits of friends or members of her family. Embroidering a photo can take days, even weeks, and brings the artist to personally confront his photographed subjects, in this slow and patient manual work.

Born in 1985 and 1983 in France. Live and work in Paris.
Represented by the gallery 22,48 m², Paris.

Émilie Brout & Maxime Marion began their collaboration at the ENSAD Lab in Paris, which they joined for two years.

"With Lightning Ride, the poles of the technological, the organic and the mysticism are telescoped with electricity for junction point. This is a video made from extracts of "Taser Certifications", a kind of ceremony allowing the United States the use of Tasers on the condition of self-tasering. Passed to the "oil painting" filter on Photoshop, slowed down and accompanied by an ominous soundtrack, the images that follow one another reveal bodies and faces whose positions and deformations evoke both pain and christic ecstasy. "Text by Sarah Ihler-Meyer.

Born in 1981 in Strasbourg. Lives and works in Paris.

As often in his work, through the medium of photography, photomontage or collaborations, Joachim Biehler captures a reference, an inheritance, a work. He is truly part of a history of contemporary art and claims his quotes and affiliations. Lightness, humor, derision, complicities, fantasy even, characterize his work, which focuses on issues nevertheless central. Because, as it underlies common representations, the history of art has contributed to the imposition of models, born in the past and continuing to survive. It is time that art foils the models it has imposed to suggest others, freer and more open.

Born in 1964. Lives and works in Paris.
Represented by Galerie Goutal, Aix-en-Provence.

For the past ten years, Philippe Calandre's work has revolved around architecture and, more recently, utopia. These utopias subtly echo a whole literary, architectural and cinematographic culture. We think in particular of Thomas More, founder of the concept of utopia in the sixteenth century, the city of Babel Fritz Lang in the film Metropolis and the futuristic creations of the architect Antonio Sant'Elia.

Born in 1972 in France. Lives and works in Paris.
Represented by the On Gallery, Beijing.

This series produced with the artist Etienne François evokes the societal and geographical condition of residential areas, through an anticipatory fiction. The bell tower, a structure visible in the French countryside, reminds us that the history of villages and their development is closely linked to religious culture. On the other hand, any symbolic construction seems to be excluded from the new housing developments. They were created as family homes, and their settlements form villages without a real center. Peri-urban pavilions have little to do with the surrounding countryside, and are also located far from large cities.

To fill the isolation of these populations, and to overcome the feeling of abandonment that they can feel, we imagine that, in the near future, the inhabitants could be led to develop a strong community culture, an organized autonomy in response to this relegation. The signs are these watchtowers surmounted by a bell tower, functional and symbolic, facing outward, both protections and totems marking the territory.

The series The villages conjures, through a play of mirrors, the landscape in its pictorial tradition, and more particularly its representation in the nineteenth century (in France with the Barbizon school), which was the support and the stake of a construction of the national imaginary . In summary, ideological landscapes. These images were made in a circle of 50 km around Paris and Brussels.

Born in 1975 in France. Lives and works in Paris.
Represented by the New Gallery, Paris, and the Laurence Bernard Gallery, Geneva.

Placing an amused and critical look at technology, Bertrand Planes diverts the object from its utilitarian and commercial functions while maintaining its aesthetic qualities.

La Montmartre series consists of abandoned paintings, found in Montmartre. The canvas and the frame, after having been photographed, are entirely repainted in white then impregnated with a photosensitive liquid. The photograph is then projected onto the board using a video projector. The surface is finally revealed and fixed in the manner of a photo development. The painting and the frame become the support of their own image, consisting of video pixels fixed by the grain of the argentic photo.

Born in 1985 in Aix-en-Provence. Lives and works in Paris.
Represented by Galerie Valerie Cetraro, Paris.

"This video intertwines views of arid landscapes published in 1937's US-based Desert Magazine, and brings together several practices: photojournalism, slideshow, video installation, trompe-l'oeil, 1985D, wallpaper, music. The projection consists of thirty one-minute sequences linked together by a fade-in. Two desert views merge in each scene, and form a third unseen visual, with uncertain contours, which is reflected on vertical stripes scanned by a tracking shot. Everything interpenetrates in a constant flow. We swim in full confused multiplicity ...

The status of the photographic image is thus upset. Neither flat nor two-dimensional, it seems to enjoy a thickness, thanks to the succession of bands that cross the projection screen and give the impression, when our eyes surrender, to face 3D forms . Neither fixed nor static, it fluctuates and vibrates, dynamic, fleeting. Therefore, the image no longer accounts for the world following an ideal of accuracy and clarity. Rather, it forms an experimental and hallucinatory environment that overwhelms us, overflows us, and creates an illusion of depth of field. In soundtrack, echoes of guitars, interpreted by Guilhem Lacroux, do not cease to cover each other, in a psychedelic atmosphere. "Text of François Salmeron.

Born in 1985 in Auvergne. Lives and works in Paris and São Paulo.
Represented by the Baró Gallery, São Paulo, and the Baudoin Lebon Gallery, Paris.

She is a graduate of the Ecole Supérieure des Beaux-Arts in Nantes (DNSEP, 2010) and Concordia University in Montreal (Canada).

The photographs on matte paper and tracing, representing facades of buildings, seaside or palm trees, are approximately taken from the same point of view, but at different times of the day. Then they are cut and rearranged in a radial arrangement. Indeed, these landscapes are arranged according to "Ars Plumaria" headdresses of the Indians of Brazil, and constitute so many territories, horizons folded, glued, embossed, offset, superimposed. Subtracted from immediate legibility, they become worn-out worlds, like real headdresses that Juliette-Andréa Elie puts on during performances.

In photographs printed on tracing paper, several landscapes are superimposed like geological stratifications. In the flesh of these diaphanous images, sculptured reliefs at the dry point float, nebulous.

Born in 1980. Lives and works in Paris France.
Represented by the Bertrand Grimont Gallery, Paris and the Bacqueville Gallery, Lille.

" With the DistrictsThomas Devaux completes his critical vision of the consumer universe by reclaiming the codes of abstract painting, having long revisited those of the classical portrait. The series brings together photographs of supermarket stalls, blurred until broad areas of color with undecided contours, articulated between them in a gradient of light. (...) As minimal as the treatment that is applied to the images, its title thus returns together with its original subject (the supermarket rays) as with the optical effect produced by the process of abstraction (the chromatic beams).

Presented next to the series The Shoppers - supermarket customers seized at the time of checkout - the series adopts the color codes of large retailers (blue, purple, pink, red, orange) to better criticize the underlying marketing strategies. (...) The disaffection of consumers here takes on a more directly critical meaning. It reflects the psychological and libidinal exhaustion of individuals engaged in a mechanism of consumption. "Text of Florian Gaité.