Saturday 8 December 2018 from 13h to 17h30, the Biennial of Tangible Image organizes to the Media LibraryMarguerite Duras an afternoon of meetings and discussions about new practicesphotographs, the history of experimental photography and the advent of new toolsdigital. Are invited: two artists presented in the flagship exhibition of the Biennale (visible from 9 to 18november 2018 at Red Studio, 25 rue Boyer, 75020 Paris), as well as theoreticians, historians and criticsspecialized in photography, contemporary art and digital art.
Media library Marguerite Duras
115 Street of Bagnolet, 75020 Paris
Discussion between Juliette-Andréa Elie and François Salmeron.
Discussion between Caroline Delieutraz and François Salmeron.
Juliette-Andréa Elie, photographer and visual artist represented by the Baudoin-Lebon gallery (Paris) and theBaro Gallery (Sao Paulo), and Caroline Delieutraz, visual artist represented by the gallery 22,48m2,will expose the stakes of their work and their approaches to François Salmeron, art critic, teacher inphotography at Paris 8 University and co-director general of the Tangible Image Biennial.The artists will explain to the public their approaches, their methods and answer their questions.
Born in 1985, Juliette-Andréa Elie lives between Brazil and France. She graduated from ESBANM in Nantes (2010)
and Concordia University in Montreal.
Represented by Baudoin-Lebon Gallery (Paris) and Baro Gallery (Sao Paulo).
Born in 1982. Lives and works in Paris.
Represented by the gallery 22,48 m² (Paris).
Art critic member of the AICA (International Association of Art Critics), journalist, artistic advisor, lecturer in the Department of Photography of Paris 8 University, associate general director of the Tangible Image Biennial.
Conference by Marc Lenot.
"A short history of experimental photography".
Author of the book Playing against devices, published by Éditions Photosynthèses (Arles), Marc Lenot retraces itthe evolution of experimental photography through the analysis of the works of a hundred photographers. Indeed, since its inception, photography has never ceased to experiment, and has never been limited to the mere function of reproduction or documentation of reality. It would also be interesting to understand that photography did not wait for the advent of digital technology to experiment and change our vision of reality.
Marc Lenot (born in 1948, Polytechnique, graduated from MIT, master of the EHESS) supported in June 2016 a thesis on experimental photography at the University Paris 1 Sorbonne under the direction of Michel Poivert. He has also written several essays on Czech photographer Miroslav Tichý. Winner 2014 of the Critics' Prize awarded by the French section of the AICA (International Association of Art Critics), he was, in this capacity, the publisher of the book Estefanía Peñafiel Loaiza, preliminary fragments (the presses of the real , 2015). He is also the author of the blog Glasses Rouges on contemporary art published under the aegis of Le Monde (http://lunettesrouges.blog.lemonde.fr/). He shareshis time between Paris and Lisbon.
Discussion-debate between Jean-Luc Soret, Dominique Moulon and Fanny Lambert, hosted by the team of the Biennialthe Tangible Image.
«Recoveries, hijacking, 3d scan, image banks, Google view, algorithms, manipulationsdigital, as many processes and contemporary processes of creating an image.
Are we losing the link with the photographic act intrinsically linked to the real and the tangible? "
The Tangible Image Biennale offers a series of questions on the advent of newsimage technologies, and if the "umbilical" link that seemed to link photography to reality is definitelybroken, or in a phase of profound mutation.
How the multiplicity of tools and their ease of use and adaptation (new sources of capture orof productions of images. Internet, image bank, 3D technologies ...), facilitate apositioning in the face of reality on the part of image creators?
The important appearance of unique works and interventions on the photographic material itself fromartists is it not a tendency to find this link with a certain materiality or realitytangible ?
Faced with the exponential production of images and their interpenetration, or stops their appropriation aswhat is the artist's work of art, and what makes it unique?
Is the single piece the only answer?
Jean-Luc Soret is curator, responsible for new media projects of the European Houseof Photography (MEP), co-founder and artistic director of the International @rt Outsiders Festival which wasorganized at the MEP from 2000 to 2011. Since 2003 he has organized exhibitions or collaborated with manyevents devoted to artistic practices inspired by research or spatial activity. It is, moreover,member of the Leonardo Space Art Working Group (USA), of the Leonardo / Olats Space and the Scientific CouncilArts Project (Fr), from the Zero-Gravity Art Consortium (US).
Art critic and curator, Dominique Moulon studied visual arts at the National SchoolSuperior of Art (ENSA) of Bourges and holds the Diploma of Advanced Studies in aesthetics, sciences andarts technologies from Paris 8 University. He is a member of the Observatory of the Digital Worlds in ScienceHumanities (OMNSH), the International Association of Art Critics (AICA) and the Opline Prize for Artcontemporary online. Founder of the site MediaArtDesign.net and initiator of the MoocDigitalMedia.paris, he writesarticles for Art Press, Digital MCD, The Seen, Neural and is the Artistic Director of media art fairVariation (Show Off).
Graduated from a cycle of museology at the Ecole du Louvre, Fanny Lambert is art critic, curatorIndependent Exhibition (CEA), in charge of the Contemporary Art Center at the Gradiva Gallery, and teacher. Specialized in contemporary art and photography, sheis particularly interested in the body in the image and in the image contained in the archive but also in the specificitiesdemonstration of so-called ephemeral or performative productions. She collaborated with The Eye of Photographyand at Beaux Arts Magazine. It focuses on bringing contemporary art and the image intocurrent practices. Since 2016, she teaches the History of Art from the 1960 years to the present day at the UniversityParis 8, where she develops an axis dedicated to the critical perception of the image.