Sylvie Bonnot / Nicolas Hosteing / Swen Renault /
Sylvie BONNOT Born in 1982. lives and works in Saint Léger under La Bussière.
Represented by Galerie Ségolène Brossette, Paris and The Merchant House, Amsterdam
Great Shioji Maru Moulting, 112 x 163 cm
The two snapshots used here were taken from a cruise ship in Tokyo Bay during a photographic cruise on a route from Moscow to Tokyo via Vladivostok. Photographic images are transposed onto paper by a specific process. They were chosen from a large number of shots, they had to respect a correspondence between the subject, the space and the architecture.
The detachment of the gelatin and the rest of the image on another support imply a determining random part. She brings new work: new lines of thought in the relationship to the subject, the landscape and the image. The result of the process evokes fluid movements, paroxically brittle and aqueous that allow to waltz the subject, evoking the collapse of the image.
The gesture of the drawing impinges on that of the photographer, it is part of the fiber of the photographic material. The phenomenon of "moulting" here tends to destructure the mechanical trace to be the starting point of another trip.
These alterations reappropriate the memory of the landscape surveyed on the reported images.
Photography is not enough to remember. The moult restores a becoming.
Nicolas HOSTEING Born in 1985 in St Michel. Lives and works in Pantin
A studied history, art history and photography at Bordeaux III and Paris 8. His work is based on the photographic image to prolong the narrative aspect to excess.
The dancers (Simon), uv printing on PVC crystal, aluminum, 80 x 60 X 30 cm.
This piece is extracted from the installation Twelfth Night : The night of kings is a double reference; a play by Shakespeare and a Charente nightclub set on fire at the end of the 80 years.
The installation borrows from the two references, the theater takes the curtains, the notion of decoration and light, at the festival it borrows the freedom left to each person to embody, or not, a character and the fragmented, uncertain and moving memories that she leaves. The images are the link between the two moments, to those who will come to see them in the day they will appear with the coldness of the private scenery of its actors, the night visitors will be able to mix, to be confused with them or to detach them.
Swen RENAULT Born in 1990 in Paris. Vit t works in Paris.
Graduate at the School of Graphic Arts of the City Hall of Paris and the National School of Photography in Arles. Its interest arises on everyday things, landscapes and changing territories but also on our contemporary relationship to the image, internet, television ...
Families, laminated framed photos 60cmx90cm
In the age of the Internet, we share images like never before. The photographs and portraits of vernacular families are massively shared. These images come from fifty photographs of amateurs found online. Each image is superimposed on 2% opacity to create a single photo. The images are found via a keyword search, bringing together a multitude of visuals based on the same pattern resulting in a montage acting as a collective consciousness. This project shows that, despite a different aesthetic, the "family" photos share a certain uniformity. The theme, the framing, the composition of the image are systematically the same, acting as a subconscious photograph. The image obtained from these photographs is abstract, a feeling of unity is still very present.
Julie ROCHEREAU Born in 1982 in Fresnes. Lives and works in Montreuil.
Graduate of the School of Image Les Gobelins in Shooting section, currently in Master 2, course Photography and Contemporary Art (CAP) in Paris 8.
Entroptiques, photographs, neons, 70x15x120cm
Entroptique is a research on the entropy of landscape in the sense that Robert Smithson defined it; a destruction without possible return.
From 1967, Robert Smithson is surprised by the proliferation of "ruins upside down" in his hometown of Passaic.
The new standardized constructions come out of the ground, the building sites pierce the landscape, creating a "0 panorama", a dystopian emptiness.
These "inverted ruins" come to occupy the few uncontrolled natural spaces, in which the fauna, the flora but also the beings, can bloom far from the ambient control.
Today, it is no longer about layers superimposed as Smithson described them, but rather radical destruction to rebuild what is already ruined, ruins of the past, ruins of the future, ruins of the imaginary and the sensitive .
Clarisse TRANCHARD Born in 1966 in Sainte-Adresse. Lives and works in Aubervillers.
The search for "being in the world" is at the heart of his artistic approach. Her work explores places of anger and helplessness, and looks at the issues raised by the world around us.
The Trump World Tower, photography, wood, neon, 150 x 100 x 15 cm
TTWT is composed of luminous letters taken at the foot of one of Trump's buildings. The image of this detail contains in itself the entire tower, the fallacious representation of the liberal system embodied by Trump. The irony, the cynicism of this piece evokes the state of the world lies in its presentation: a trap, an inevitable fall, a flagrant instability. The photograph is embedded in a rude wooden case, backlit by a neon. The set is positioned obliquely and supported by a wooden stick.