On Saturday 2 November 2019 from 14h to 17h30, the Biennale of Tangible Image organizes to the Media Library Marguerite Duras an afternoon of meetings and discussions about new practices photographs, the history of experimental photography and the advent of new tools digital. Are invited: artists exhibited at the first edition of the Tangible Image Biennial, as well as theoreticians, historians and critics specialized in photography, contemporary art and digital art.
Media library Marguerite Duras
115 Street of Bagnolet, 75020 Paris
Presentation of the Tangible Image Biennial.
Conference by Marc Lenot, accompanied by Laure Tiberghien.
"A short history of experimental photography".
Author of the book Play against devices, published by Éditions Photosynthèse (Arles), Marc Lenot traces the 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 modify 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 divides his time between Paris and Lisbon.
Discussion-debate animated by the team of the Tangible Image Biennial, with Sarah Ihler-Meyer, Christian Gattinoni, Dominique Moulon.
Guest artists: Juliette-Andréa Elie and Caroline Delieutraz.
"Recovery or misappropriation of images, 3d scan, image banks, Google view, algorithms, digital manipulations, as many contemporary processes of creating an image ... With the emergence of these new technologies, the link that seemed to unite is the photographic act in the real, and the tangible, is it being undone? "
In what way does the multiplicity of these tools, and their ease of use, lead artists to change their position in the face of reality?
Is the significant appearance of unique works, and interventions on the photographic material by the artists, not a tendency to find this link with a certain materiality or tangible reality?
In front of the exponential production of images and their interpenetration, where their appropriation as a work of art stops by the artist ?
Art critic (AICA member) and independent curator (member of CEA), Sarah Ihler-Meyer collaborates regularly for La Dispute - France Culture and Art Press. She has worked as an exhibition curator for Mudam-Luxembourg, Mrac Sérignan and the Contemporary Art Center of the Butchers' Hall in Vienna. His projects aim to highlight emerging issues and trends in contemporary creation, most often falling short of doxas and official narratives.
Christian Gatttinoni was a teacher at the National School of Photography in Arles from 1989 to 2016. Member of the International Association of Art Critics he is editor-in-chief of the journal online www.lacritique.org. and artistic advisor of the Fictions Documentaires festival with the GRAPH in Carcassonne. Latest published works The history of photographic criticism (with Yannick Vigouroux) New Editions Scala; The love life of angels, videogame. Area Editions.
Dominique Moulon is a teacher, researcher, art critic and independent curator. Holder of a doctorate in Arts and Sciences of Art, he is a member of the Art & Flux laboratory of the Mixed Research Unit ACTE (CNRS / University Paris 1 Panthéon-Sorbonne), of the International Association of Critics of Art (AICA) and the International Association of Curators of Contemporary Art (IKT).
Born in 1985, Juliette-Andréa Elie lives and works in Paris. She is a graduate of ESBANM in Nantes (2010) and Concordia University in Montreal.
Winner of the Fotoprice prize at the Fotofever fair, her work was exhibited at Villa Cameline (2012), at Agnès b. (2014), Circulation at Centquatre Festival (2015), Outside the walls of the Palais de Tokyo (2015), at the Fiac; as well as Paris Photo.
She is represented by the galleries Baudoin Lebon (Paris), and Maria Baró (Sao Paulo).
Born in 1982. Lives and works in Paris.
She has participated in numerous group exhibitions, such as the festival "Do Disturb" at the Palais de Tokyo in 2018; "Service Company", curatorial: Dominique Moulon, Platform, Paris, in 2016; "Young Creation", Centquatre, in 2014.
And she has had several solo shows at the 22,48m2 Gallery, which represents her, in 2014, 2017 and 2019 ("When we were Trolls"), and was a finalist in the 2017 Science Po Award.
Matthieu Boucherit, Caroline Delieutraz, Juliette-Andréa Elie, Laure Tiberghien.
From 1er to 17 November 2019
Opening November 1er at 18h
In parallel with the afternoon of meetings and discussions of 2 November 2019 organized at the library Marguerite Duras (Paris 20e), The Biennale of the Tangible Image proposes an exhibition around new photographic practices. More precisely around the alteration and disappearance of the subject that photography is traditionally supposed to represent. Indeed, through the works of four artists (Matthieu Boucherit, Caroline Delieutraz, Juliette-Andréa Elie, Laure Tiberghien), " Off topic " shows us how the photographic referent can be erased, transformed, decontextualized - or even absent from the image, instead of being its usual center of interest.
Through a wide spectrum, ranging from photoreporting film, to manually reworked photography, through Internet archive images, photogram or chemical experimentation, artists from " Off topic " question the status of photography as a process whose primary function is to reveal reality. For far from being a faithful mirror, photography can mask, alter or transfigure reality.
So, Matthieu Boucherit digitally erases the subjects of press photographs and leaves room in the image for the accessory or the context. These empty images question the trace (or lack of impact) that all information leaves in the collective memory. Presented in Ikea frames, these "shock-shots" broadcast by the mass-media reveal a domestic violence, which adorns our daily life - far from awakening the conscience of the spectators ...
Moreover, the Internet and its continuous flow of images are pushing Caroline Delieutraz to materialize this virtual body into a very real puzzle, whose multiple layers emphasize the complexity of the sources and origins of images circulating on the Web. Like a sediment deposited by the waves, these searchable and online images seem to accumulate until they become confused and disappear in their uniqueness to recompose the famous wave of Hokusai.
At the origins, precisely, Laure Tiberghien it returns with a work anchored in the heart of light and photographic emulsion. His photograms without subject, born of chance and experimentation, reconnect with the etymology of photography as pure "light writing" produced without apparatus. The photograph asserts itself here as an act of creation realized with filters and interventions guided by the gesture of the artist.
Unique works opposing the mechanical nature of the photographic reproduction, the engraved and scraped prints with the dry point of Juliette-Andréa Elie create dreamlike landscapes, where tracing papers, colorful and folded papers are superimposed. These manually retouched images invite us to contemplation and open up a new relationship with time, faced with the speed of increased diffusion of images.
Like the flooded of Hippolyte Bayard, a self-portrait dating from 1840 where the photographer stages his own disappearance, photography remains a tool open to experimentation that can take itself as an object - instead of thinking of itself as a true record of " which was ". An image therefore does not necessarily have the vocation to faithfully represent a subject, and can also reflect on its own production methods. Through " Off topic ", the creation of unique works, the work on the support and the materiality of the photo, or a critique of the durability of the images, appear as so many open tracks on the future of photography.
François Salmeron and Dominique Clerc