The term "tangible" allows us to reconnect with has a fundamental question of the history of photography : what link does the photographic image (still) maintain with reality? The challenge is to see how this issue arises today in the field of art, in particular with the advent of digital tools and practices. Thus, can we always speak of a photograph understood as a faithful reproduction of reality, which would restore its very essence or truth, and which would appear as a "tangible" trace or unmistakable proof of what has been captured? by the device?
Or does photography weave more complex relationships with the world, in its way of restoring it, modifying it and transforming it, as soon as it takes hold of it? The choice of artists and works presented during the Tangible Image Biennale attempts to shed various light on these hot topical questions, in the digital age, of visual flows from Google Image and social networks. , fake news and Google Earth views… While anchoring itself in the history of the medium, and more particularly in the wake of experimental analogical processes that enrich photography with an expressive vocation, and a myriad of artistic gestures , retouching and artifice, going well beyond the simple document value to which it is commonly reduced.
The Tangible Image Biennale thus shows that photography includes a multitude of practices and functions. For example: capturing reality without a device; appropriate archives or images from the Internet; reshape history, our memory, and our perception of the world from these data; reactivate old chemical and silver know-how; work the image or its physical medium manually; volume up the image, project it, deliver it from its flatness and instantaneity; use algorithms or artificial intelligence to reconstruct reality from views recorded by the device; probe the data conveyed by the images circulating on the web, stored in our smartphones and captured by surveillance cameras; question the processes of appearance, disappearance, diffusion and reception of images, etc.
Thus, the Tangible Image Biennial opens up to numerous artistic experiments and is located at the intersection of different disciplines (photography, contemporary art, printing techniques, digital tools, video sequences, in situ work, etc.) discuss the status that can be attributed to photography in each proposal. In short, it is a question of highlighting the creative capacities of the photo, and of seeing in what it transforms, models or reveals the real - rather than confining it to a layer, to an objective imprint of things, that is to say to a simple process of mechanical reproduction.
The projects exhibited in the Tangible Image Biennial therefore take photography as the very object of their approach. And are anchored in "the spirit of the times" to reflect on the modes of production by which the photo and new technologies are part of our lives. So, how do these tools end up shaping our looks and impacting our behavior in a "tangible" way?, in an urbanized consumerist society, surrounded by cameras and saturated with personal data?
Artist, curator and manager of the platform venue, initiator of the BIT20 project, curator and organizer of the SPACE ODDITY Exhibition (Month of Photography of Greater Paris 2017) and many other projects related to contemporary art and new forms of creation . Graduated from the Multimedia School of Paris.
Photographer, commissioner and active member of Platform, photoLens'Art Photographic 2017 and teacher of photography.
Photographer, co-founder of Plateforme and the association L'entreprise, co-founder of Générale en Manufacture, curator of the Flander Center gallery in Osaka (2004-2005).
Art critic AICA member and assistant treasurer of the AICA France office, journalist, philosopher, teacher in the photography department of Paris 8 University. Contributed since 2012 to French and international publications (including Le Quotidien of Art currently), and works as an artistic advisor for the agency Artstorming.
Graduated in Fine Arts from Nantes, History of art and Management of culture, specialist in contemporary Chinese art. After two years of experience at the Galerie Paris-Beijing, joined the team of Doors 门 艺, an agency for the production and promotion of cultural projects based in Beijing and Paris.
Photographer artist, active member of the Platform place. Philippe Calandre initially chose the photographic medium for its expressive immediacy, its ease of use, when there was no other particular attraction between them. Using the camera as a reproductive tool that he has not stopped taking on the wrong foot, he mischievously replaces an anti thesis, pushing the experience of its use to the limits of definition. This will lead to the very erasure of the subject as a photogenic element.
A graduate of the Beaux-Arts de Paris from the Patrick Tosani workshop, continued her career by following the post-diploma “Artist and exhibition professions” alongside Thierry Leviez and Jean de Loisy. Photographer and exhibition curator, also directs the Premiers Films festival.
Valentine of Gobbi
Platform is an independent structure. A space for dissemination, creation and resource for contemporary art, it functions as a shared and unifying space in which artists come together in the will of a synergy of imaginative potentials.
Each month, Platform presents an exhibition of about three weeks followed by a more eventful programming (performances, screenings, etc.) focused mainly on experimentation and research. The selection is oriented towards demanding artistic practices. It proposes projects of confirmed national and international artists and also has the mission to actively show the young creation.
Platform is part of the city as a bridge that can bring together disciplines and forms to build, through encounters and discoveries, exchanges essential to an artistic and social experience intellectually and humanly stimulating.
This project of exchange place between artists, curators and public is carried by the company, Parisian structure which gathers about fifty international artists.