Luz Blanco / Emilio Chiofalo / Lenka Glisnikova / Thomas Jorion /
Silvana Reggiardo
Luz Blanco
Born in 1973 in Saint-Cloud.
Lives and works in Nogent-sur-Marne.
Represented by Sanatorium Gallery, Istanbul.
Conceived as a visual score, composed of silk flags displaying a sample of digitally retouched images printed on both sides, this installation is proposed for the Biennale de l'Image Tangible in a version amplified by the presence of words and fragments of punctuations applied to the wall.
These textual elements come from the alpha-numeric source code defining these own images. Thus, the visual materiality of the image dialogues with the immateriality of the source code which constitutes it, unless it is the reverse... These digital codes, become, in their crumbling and fragmentation, a poetic semantic source, dialogue with these silk flags, in order to question what determines the image today.
The installation Mantras (term whose Sanskrit etymology means “instrument of thought”) offers a visual corpus built from personal and collective photographs digitally reworked by pixelation. The image only reveals itself at a certain distance, blurred by its dithering, its cropping, like so many fragments of a fragmented memory. These images, passing through the code and then the digital screen, become a sensual and fluid element printed on the infra-thin silk screen. This spatialized constellation cut-up is part of a redefinition of the mnemonic spectra haunting the digital space, which shapes our environment: a world of floating images drawing from our own memory matrix.
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Emilio Chiofalo
Born in 1985 in Italy.
Lives and works in Paris.
I often explore in these images the plasticity of heat as a vector of deformation of the photographic material. These manipulations materialize a shifted vision of reality by a gesture that approaches painting or sculpture. Working with fire or boiling chemicals, I transform documentary photographs into images that evoke surreal moods endowed with an organic materiality. In other approaches, I produce automatic drawings on transparent surfaces that I manipulate with different tools and then transform into photography using the photogram technique. It's a way for me to spatialize perceptions through an iconography that oscillates between figuration and abstraction. This work can operate as a deconstruction of the classic use of photography, and also take the opposite view of a stigmatizing conception of a psychic disorder which becomes a creative force in these images.
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Lenka Glisnikova
Born in 1990 in Vyškov.
Lives and works in Prague, Czech Republic.
In my work, I explore the effects of new technologies on the lives of contemporary human beings. Technologies that I see as a curative force in the way we work, rest, think and organize our free time. I am fascinated by the confrontation of relationships (from the smallest like a fingerprint to the vastest like the Internet), materials (virtual and physical) and the ambiguous relationships that we have developed with increasingly clever objects that surround us and the blurring boundaries of many once clear dichotomies such as private and public, professional and personal, scientific and emotional, etc. I like to see and approach digital photography as an organic physical material and the computer as an “extra” creative tool. I enjoy immersing myself in the seemingly endless process of materialization and dematerialization. I create small statues from low-tech materials, mimicking the aesthetics we've come to associate with high-tech products. These sculptures are then photographed. They are transformed into images that serve as building blocks for complex collages created through repetition, cloning and digital assembly into an aggregate where the physical and the virtual meet, merge and blur. I draw on my experience of photography, but I don't limit myself to it. Most often, I try to use large format printing, experiment with materials – usually industrial – and hybridize my photos by turning them into (and applying them to) objects before resubmitting them. digitization and digital post-production. It is an imperfect, living procedural that reveals the cracks and flaws that lurk on the surface of seemingly perfect, futuristic, and streamlined designs and concepts. My visuality taps into the unsettling space between reality and fiction, often recalling a record of its own origin and genesis, in connection with the tools and systems used. A process inspired by online recycling tools – reincarnating visual data, images, photographs.
https://www.instagram.com/lenkaglisnikova/
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Thomas Jorion
Born in 1976 in Paris.
Lives and works in Paris.
Represented by the Esther Woerdehoff gallery, Paris.
The series of mirror towers is made up of concrete monoliths on which fragments of places are represented. The starting point of this project was born from the desire to reproduce on an architecture not its own image but what faces it in its environment. On the four walls are thus restored the four perspectives that surround it.
This real or figurative architectural presence then becomes sensitive to light. It absorbs and becomes impregnated with what surrounds it. I imagine a camera obscura that would be placed between the building and the landscape; the image is projected onto the facade and recorded on the concrete.
With my monoliths, I thus create a shape that occupies the space and around which it is possible to turn. The spectator then becomes an actor by seeking out the details and points of view that interest him. The structure that materializes is the witness of a condensed space reduced to the scale of the spectator.
A dialogue is created between the photographic medium and its transposition as a tangible volume. The image takes shape and develops by marrying the morphology of the materials and the roughness that it covers.
I make these monoliths myself with concrete or mortar. I incorporate urban elements that I collect from the places I visit: elements of mineral or natural origin. Then, after having studied their appearances, I apply my photographs to them.
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Silvana Reggiardo
Born in 1967 in Rosario (Argentina).
Lives and works in Paris.
Represented by the Mélanie Rio galleries, Nantes / La Ferronnerie, Paris.
From my home, I see, in the distance, one of the two towers with glass facades of the Mercuriales which stands at Porte de Bagnolet. I took the habit of photographing it regularly, with a smartphone, between dawn and dawn from the same window of my apartment.
Depending on the time of day, through the play of the sun's reflections on the glass surfaces, the different planes of the façade seem to light up or go out. Climatic conditions also play on the rendering of colors and the shape of the photographed object: the mist softens the contrasts, the colors are diluted in halftones, and the silhouette of the building fades. Each new shot offers a singular experience of light, and perception is sharpened in the repetition of the photographic gesture.
In the image, the building occupies the entire frame, the tight shot is obtained by the successive operations of zooming and enlargement. These transformations exclude details, the shape of the building is reduced to a simple parallelepipedic surface; the process expands and decomposes the digital grain, the photographic material loses its homogeneity. The shots accumulate at my personal pace and join the flow of images on Instagram. Printed on watercolor paper, they take care of the specificities of the support and hybridize with a pictorial dimension.
https://www.silvanareggiardo.com
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Duration:
From Tuesday to Sunday
from 11AM to 19PM
Address
FLORÉAL BELLEVILLE,
43, rue des Couronnes, 75020 Paris, France
https://www.instagram.com/floreal.belleville/
Metro: Crowns
E-mail: floreal.belleville@gmail.com