Charlot Gallery

03 Nov - 16 Dec

Opening on November 03 from 18 p.m. to 21 p.m.

Anne-Lou Buzot / Katherine Melançon / Thomas Paquet /
Camille Sauer / Jan A. Staiger & Malte Uchtmann

Anne-Lou Buzot
Born in 1990 in Chartres.
Lives and works in Saint-Denis

Photography could be considered a living language that has continued to evolve since its invention. The processes or techniques would be its syntax—the signifier, the form determining both the possibilities and the limits of what can be represented—while the subjects would be a sort of visual semantics—the signified, the meaning.
In “The Photochemical Act”, I propose a diachronic reflection on photographic linguistics, through successive translations. I start from founding texts in the history of photography, which I convert into hexadecimal numerical values. To these values ​​also correspond shades of gray, which allows me to translate these pioneering texts into pixels. I then employ a photochemical process that makes sense with each text (salt paper / phytotype / cyanotype) to derive on the one hand a visualization of the text in pixels, and on the other hand an overview of the intermediate hexadecimal values.
In this case, I have selected texts by Talbot and Herschel, echoing the three parts of the book by Maurice Daumas entitled "The chemical act - Essay on the history of chemical philosophy", where it is a question of the evolutions majors in chemistry, intrinsically linked to the shaping of chemical language. It is by this choice to replace the birth and the transformations of the photographic language in the history of alchemy and chemistry. The prints of the texts converted into pixels will be inserted in different copies of this book, opposite the titles of the chapters. The draws of hexadecimal values ​​will be presented in such a way as to evoke computer screens.
The temporal distances between the different syntaxes employed – analogue or digital – are thus intertwined and condensed into self-reflective photographic objects. The apparent layers of translation highlight the past, present and future evolutions of the medium.

Katherine Melancon
Born in 1977 in Montreal.
Lives and works in Montreal.

By integrating punched cards to automate the loom, the Jacquard loom (1800-1815 approx.) is one of the major inventions that led to digital technologies. For several years, my practice has been interested in exploring the cycles of mutation between the natural, the digital and the material. For this work, I “scanned” the flowers of the Epiphyllum Oxypetalum cactus which only bloom one night; a still life at its peak of ephemerality. The image created from these scans was then woven by a Jacquard loom, thus bringing the image back to the source of its possibility of existence. The tapestry includes threads whose colors change to replay the birth and the rapid death of these event-flowers. It is the luminosity of the moment, communicated by a sensor, which punctuates these changes.


Thomas Packet
Born in 1979 in Troyes.
Lives and works in Paris.

"The Observatory" restores in real time, by a set of color gradients, the position of the moon and the sun.

At a time T, in a specific place, thanks to a series of astronomical calculations, the computer program determines the position of the moon and the sun with 2 coordinates. These coordinates are then plotted on a chromatic circle and make it possible to assign a color to each of the stars. These two colors, depending on where the work is viewed and the time of day, are used to create a linear gradient that is displayed on a circular screen. 

"The Observatory" was born from the desire to plunge the spectator into a meditative state, to put him back in the long time of the perpetual dance of the moon and the sun. and to offer him a unique and non-reproducible color scheme outside their own space-time.

One of the peculiarities of this work is its infinite character: the program performs a real-time update of the positions of our stars. The color gradient will evolve very slowly and allow the viewer to see the phases of the moon over the seasons.


Camille Sauer
Born in 1993 in Deauville.
Lives and works in Paris

Artistic Industry is an audiovisual opera project that questions the role of the artist within society through animation and music. In an alternative world with dystopian environments inspired by a form of architectural and industrial hyper-planning, the artist finds himself immersed in a productivist industry to the enrichment of which he participates through his work, provoking the creation of new imaginations. These narratives are accompanied by reflections on the place of the artist within our cultural systems, on the contexts of creation, on the conditions of subsistence and display. All of these works are found in this audiovisual opera project, which shows the inner journey of the artist, a solitary adventure within an ambiguous industry.  

Each of the scenes of the opera is thought of as an autonomous pastille, integrated into a general narration. The sets therefore change, as well as the atmospheres, the sensations provoked and the thoughts discussed, in a cinematographic universe inspired in particular by the Hong Kong director Wong Kar-wai. The piece stages an avatar in my image, which constitutes my alter ego. I have been working for several months on the creation of this other me, which little by little becomes the public spokesperson for my research.  

This avatar is a virtual character created by a computer that operates at the heart of the artistic industry. He is the protagonist of an audiovisual opera, a work that explores the limits of artistic creation and our connection with technology. The viewer finds himself thus immersed in the head and thoughts of a fictitious artist with very real questions, and of great symbolic significance - as always in my work, the colors, the architectures and the staging all carry meaning and accompany the awareness of the viewer. The border between reality and virtuality blurs as we identify with our doubts and approaches, listen to them, observe them, create bridges between artistic disciplines, try to find their place. , to forge one's identity, between personal research and constant injunctions from one's environment.


Jan A. Staiger & Malte Uchtmann
Jan A. Staiger was born in 1995 in Nuremberg.

Lives and works in Brussels.
Malte Uchtmann was born in 1996 in Hamburg.
Lives and works in Leipzig,

The Perfect Crime: Concerning the Murder of Reality

Germany is a country of detective fiction. There are more than 238 crime series available on Germany's six biggest broadcast channels, resulting in fictional murders far exceeding the number of real cases. This over-representation marks the starting point for our examination of the effects of detective fiction on our perception and behavior and the correlation between fiction and reality. In a two-channel video installation, various actors recite background information about their roles as victims and perpetrators in German crime dramas. Reflecting on the use of artificial intelligence as part of surveillance techniques and the creation of ghost images in modern police work, various appearance alterations are applied to the actors' faces as they speak. By creating new versions of themselves, the original portrayal of the actors is no longer clearly identifiable, thus irritating viewers' perception, avoiding clear categorization. The work questions the methodologies of historical and modern police work, referring to the use of "identity shots" for the categorization and stereotyping of suspected criminals through their physiognomic characteristics, what has been done to capture and pathologies what was considered criminal behavior, and These underlying assumptions about physiognomy form one of the foundations of contemporary AI image training sets, reinforcing human categorization based on visual bias.


Opening hours
from Tuesday to Saturday
from 13AM to 00PM


47 rue Charlot, 75003 Paris

Metro: Daughters of Calvary
Tel: +01 42 76 02 67