Une histoire parallèle :
Photographie & IA
Brodbeck & De Barbuat
Curated by Yann Toma
Exhibition from December 18, 2023 to January 20, 2024
Brodbeck & de Barbuat offers a corpus of invented images that recreate a set of symbolic photographs from the history of photography through a machine learning program generating images from textual data. Formed in 2005 and awarded the national photographic commission Image 3.0 in 2021, the duo of artists explores here, thanks to their mastery of the photographic medium, the dialogue between man and machine. A parallel history is part of their study on photography as a means of retranscribing and altering the real, highlighting the necessity to constantly rethink our relationship with images and new technologies. Brodbeck & de Barbuat is represented by the gallery Papillon.
In "A parallel story", Brodbeck & de Barbuat propose a corpus of images that recreate an invented history of photography through a machine learning program generating images from textual data. This project studies the emergence of creative tools using artificial intelligence and their impact on Photography and its ability to make history, highlighting the need to constantly rethink our relationship with images as well as new technologies.
BRODBECK & DE BARBUAT form a duo of artists using mainly photography and video. Working together since 2005 in Paris, they are graduates of the Ecole nationale supérieure de la Photographie, and were residents of the Académie de France à Rome - Villa Médicis 2016-2017. Their large-format color works question the place and nature of the human being in his environment, while frequently questioning the language and history specific to photography.
Laureates in 2020 of the national photographic commission Image 3.0 in partnership with the national collections of the Jeu de Paume and the CNAP, they received the 2010 HSBC Prize for photography, the 2013 Young Creation Award, the Nestlé Prize at the festival Images Vevey 2010, and the 2009 Talent Grant Award.
Their works have been the subject of solo exhibitions at the Flyway Museum in Antwerp, at the Mep Maison européenne de la Photographie, at the Villa Médicis, at the Académie française in Rome, at the Institut français du Japon and at The Chimney, New York; and collective exhibitions at the Grand Palais, at the Kunsthalle in Munich, the Arsenale in Venice, the Rencontres de la Photographie in Arles, the Museum of Photography in Thessaloniki and the Images Vevey Festival, among others.
Their works are in private and public collections, notably at the National Center for Fine Arts, the National Library of France, the Municipal Fund of Contemporary Art, the Flyuseum Antwerpen, the Museum of Photography Thessaloniki, the Popular Pavilion, to the HSBC collection for photography, to the Nestlé collection, to the Cicrp Marseille, etc.
Le ciel, la terre,
et tout ce qu'ils
renferment
Véronique Ellena
Curated by Emmanuelle de l'Écotais
Exhibition from November 9th to December 3rd 2023
For Sorbonne Artgallery, as part of Photo Days 2023, Véronique Ellena offers a never-before-seen vision of Strasbourg Cathedral's Millennium Stained Glass Window, which she created in 2015, following a commission from the Direction Régionale des Affaires Culturelles Grand-Est. This work was created in close collaboration with master glassmaker Pierre-Alain Parot, who passed away this year.
In this exhibition, the artist presents a series of colorful, mysterious images never before seen. The photographs presented at Galerie Soufflot are the result of a patient process of image creation, collection and composition.
The nature photographs have been the subject of numerous shooting campaigns: in Strasbourg, in the Drome or in the Ain, and even in Rome at the Villa Medici, they are the result of research and observation.
As for the portraits, they are the faces of the Cathedral's faithful, inhabitants and lovers, photographed in St. Catherine's chapel. All these portraits were then included in Memling's Christ face, revealing Christ's humanity through light.
Véronique Ellena's team included Boris Tissot for artistic supervision and Zabou Carrière for graphic design.
Working with the master glassmaker and his workshop, the images were printed on glass, then reworked using an innovative enamel and lead process. Restored to near life-size, and visible up close for the first time, the photographs of the panels reveal the details that make up the stained glass, allowing us to better appreciate its extreme refinement and richness. The images as a whole are in close dialogue with the venue that houses them, Sorbonne Artgallery. As in the Cathedral, the slightly darkened space is conducive to contemplation and meditation. The colors burst forth, beckoning visitors to discover the subtlety of the compositions and details.
This exhibition also takes the form of a thank-you: it was conceived as a tribute to master glassmaker Pierre-Alain Parot, who passed away recently. It celebrates the prowess of his skills, as well as Véronique Ellena's long friendship and collaboration with him.
Véronique Ellena, visual artist and photographer, is attentive to everything that makes everyday life poetic and profound. The simple beauty of the world around us is at the heart of her preoccupations. Her work addresses a number of issues: man's place in society, the environment and its symbolism, and the relationship between art and spirituality. In her series, for example, she has taken as much interest in the small pleasures of everyday life as in still lifes and the homeless.
Trained at the École Nationale Supérieure des Arts Visuels de La Cambre in Brussels, in the photography studio of Gilbert Fastenaekens, she has received several public commissions (Centre National des Arts Plastiques, Musée André Malraux in Le Havre) and exhibited in France and abroad.
Winner of the Prix de Rome and resident at the Villa Médicis in 2007, she lived between Paris and Rome for several years.
In 2015, she created the Millennium stained glass window for Strasbourg Cathedral and won the Intelligence of the Hand Prize (Dialogue Category) from the Bettencourt Schuller Foundation with master glassmaker Pierre-Alain Parot.
In 2018 her work is the subject of a retrospective at the Musée Réattu, Arles.
In 2020, she exhibits her images in situ at the prestigious Parc Floral in Paris, and in 2021 Le Hangar in Brussels devotes a major exhibition to her, "Vivre sa vie".
In 2022, she was invited to take part in the event Campagne première, then returned to the Villa Medicis for the Florence and Damien Bachelot collection exhibition.
Her work can be found in numerous museum collections - Centre Georges Pompidou, Fonds national d'Art contemporain, Frac Île-de-France - and private collections - Florence & Damien Bachelot collection, Christian Lacroix collection.
Primordial
earth
Léonard Pongo
Curated by Clémence Houdart
Exhibition from September 26 to November 4, 2023
Primordial Earth explores the diversity of landscapes in the Democratic Republic of the Congo.
The artist Léonard Pongo offers us an allegorical imagery of the country. Imbued with a feeling of magical beauty and mystical power, the landscape becomes through his gaze a place of self-reconstruction, and the earth, the origin of an awareness from which emerge tradition, philosophy and conceptions of the universe. Because for him, it is a peregrination in the environment and sensory experience that emerges a vision of the world, it is by being at one with the landscape, that it is possible to consider life.
Inspired by Congolese traditions and Kasaian cultures, Primordial Earth presents the landscape as a character with his own will and power. This photographic series works like an open book that tells a certain story of humanity and the planet, whose center is located in Congo.
Primordial Earth was presented at the Biennale de Lubumbashi and at the Rencontres de Bamako where it was awarded the 'OIF Prize'. In 2021, he has a solo exhibition at Bozar Brussels. In 2022, he exhibited at the gallery 31 PROJECT during the exhibition 'I am myself the sun' curated by Liz Gomis. The same year, the Mu.Zee in Oostende in Belgium dedicates him a personal exhibition. He is also one of the participants in the Black Rock residence in Dakar (SN), founded by Kehinde Wiley.
Born in 1988 in Belgium. He lives and works between Brussels, Belgium, and Kinshasa, Congo (DRC).
Visual artist, Léonard Pongo is a photographer. He considers photography as a tool for reappropriating his Congolese culture and, with a project like Uncanny, documents the daily life of the large metropolises of Congo. This project has earned him several international awards.
It now focuses on exploring the diversity of the landscapes of the Congo and offers an allegorical imagery of the country, imbued with a feeling of magical beauty and mystical power. This long-term work unfolds with a series entitled Primordial Earth.
Léonard Pongo’s work has been published worldwide and presented in numerous exhibitions, notably at IncarNations at the Bozar Center for Fine Arts in Brussels (2019), organized by Kendell Geers and Sindika Dokolo, and the 3rd Beijing Photography Biennial at the CAFA Art Museum. He was chosen as one of PDN’s 30 emerging photographers to follow in 2016. He is a winner of the 2017 Visura Fellowship, the 2018 Getty Reportage Fellowship and participated in the 2018 Joop Swart Masterclass.
Primordial Earth, his latest project, was presented at the Biennale de Lubumbashi and at the Rencontres de Bamako where he was awarded the "OIF Prize". In 2021, he has a solo exhibition at Bozar Brussels. In 2022, he exhibited at the gallery 31 PROJECT during the exhibition 'I am myself the sun' curated by Liz Gomis. The same year, the Mu.Zee in Oostende in Belgium dedicates him a personal exhibition. He is also one of the participants in the Black Rock residence in Dakar (SN), founded by Kehinde Wiley.
In 2023, he published his first monographic catalogue 'The uncanny' with Gost editions and he participated in the exhibition 'A world in common : contemporary african photography' at the Tate modern in London.
Terra
Veronica Mecchia
Curated by Francesca Cominelli
Exhibition from June 19th to September 23rd 2023
Originally, it was Gaia, the earth, mother earth. Arid, exploited, impoverished, she continues to generate life, a flower. This succession of photographs immerses us in the intimate world of Veronica Mecchia, who becomes earth, water, stone, sun, tree. Her gaze rests, without judgment and with humility, on the immensity of nature, which observes and welcomes her. These are moments, self-portraits of eternity, that shelter the time that precedes us, that will follow us, and that leave us suspended in the only moment that counts: the present. It is here that everything becomes one, opposing forces reconciled, the majesty of the forest and its pillars revealed.
A piece of earth,
A sunflower,
A rock to seek
The illusion of shelter
An agave that flies away
Its destiny, imperturbable
A lake from which to re-emerge,
A tree to cling to
To rise again
An ancient thonaire
Its columns without capitals, without era
Reaching for the sky
Pillars become trees
The forest becomes a temple.
Distant words emerge.
"TERRA is a series of nine self-portraits through which we discover the work of photographer Veronica Mecchia. It is above all a personal journey. There is a 25-year gap between the first and last photographs. We are faced with a birth, a discovery, an awareness of a relationship with the world that passes through astonishment, concern, contemplation and acceptance.
TERRA is also a manifesto of the artist's work and her relationship with nature, which she shares with us and invites us to experience for ourselves. Veronica Mecchia unveils the poetry of the world, enjoining us to face the world, to be with the world. This relationship is made up of moments, destined to pass, while leaving traces and words.
TERRA is a call to the urgency of an intimate relationship with nature, its trees, its stones, its flowers, its waters, with the earth, Gaïa."
Francesca Cominelli
May 28, 2023
An Italian photographer born in Paris, Veronica Mecchia grew up in Milan, where she simultaneously studied art history and photography with Giuliana Traverso at the "Il Diaframma" Gallery in Milan. In 2003, she returned to Paris, where she continued her training in art history before devoting herself entirely to photography.
Her artistic filiation with the photographer Arno Rafael Minkkinen, whom she studied with in Italy (1997/1998), and whom she considers her mentor, is reflected in a compelling propensity to maintain an organic link with nature.
Her black & white photographic work explores the relationship between man and his environment in a personal version. Through assertive artistic choices (argentique, self-portraiture, black & white, nudity), she imprints her state of mind and reveals a unique identity with a universal character.
Poetically inscribing herself in the ephemeral, as if absorbed by the beauty of the things or places that move her, Veronica Mecchia's photographs encourage us to suspend time in gentle contemplation, leaving us with a light heart and the desire, like her, to poetically inhabit the world.
Presented in numerous solo and group exhibitions, her photographs and artist's books can be found in private collections in Italy, France, Belgium, Germany, Greece, the USA, Switzerland and Japan.
His artist's book "Fotografie" (Paris, May 2016) and two of his photographs are part of the "anti-Aufklärung 2019" collection and have been acquired by the Bibliothèque Kandinsky at the Centre Georges Pompidou (Paris).
In June and September 2023, Remèdes galerie will devote a solo exhibition to him in Paris, entitled Wild Flowers.
Nous sommes Lichen
Pascale Gadon Gonzalez
Curated by Jean-Marie Dallet
Exhibition from May 15 to June 17, 2023
Pascale Gadon’s research focuses on ecology, in the sense of oikos logos, a science of habitat and interactions of living beings with each other and with their environment. Which leads him to look at hidden worlds. For the artist considers, like many of his contemporaries, that what we perceive on a macroscopic scale becomes something else on the scale of nanotechnologies, even though we look at it with the same eye. What relationships can one then perceive in this passage from one world to another? According to Gadon, the molecular dimension would lead us to reconsider the notion of the individual. At the origin of terrestrial plant life and any organic form would therefore be a mutualistic process: symbiosis.
From the microcosm to the macrocosm, lichens send us back the image of an ontological coming and going, 'the other' is at the heart of what makes life.
ISEA 2023 is a major event on the global scene of digital creation, aims to strengthen the dialogue between artists, researchers, engineers, designers, entrepreneurs of cultural and creative industries. This 28th edition of ISEA has the theme of symbiosis. The exhibition by Pascale Gadon is part of this year’s satellite events.
"Since 1995, I have been using photographic processes to vividly represent lichens that I collect in series still under development. The lichen is a multiple being, it does not have a center, it results from the symbiotic association of partners, generally an alga and a fungus.
The symbiotic process of lichens simultaneously exposes two levels of organization. What is 'individual' in it? Process invisible to the neophyte but which nevertheless generates variations in structures that are perceptible (fruiting body separated from the fungus: apothecia). While the symbiosis is complete and the two structures are exposed separately under the microscope, nature allows each of the two individuals to reproduce separately, it presents only a unitary vision. Under these conditions 'one' has a complex identity (multiple and one at a time).
So can we consider the lichen as an in-between understood between "identity and otherness", as a metaphor of interdependence, as revealing a symbiotic ecosystem?
This new paradigm prompted me to see the living differently, to question the forms that such ecosystems can take. Symbiosis is above all an encounter, it is achieved through biological diversity as a potential novelty, it is in reciprocal exchange that this new form of the lichen is structured. Scanning or transmission electron microscopy allows us to observe the diversity of symbiotic postures in lichens. As a photographer, I wanted to capture these images of contacts, abuts, braces, arrangements, organization within the lichen world.
Symbiosis involves possibilities that are not predetermined or calculated. As Anna Lowenhaupt Tsing* points out in her book The Mushroom of the End of the World, "arrangements are always open gatherings. They allow us to question community effects without having to assume them. [...] Arrangements do not only bring together lifestyles; they make them.
Pascale Gadon-Gonzalez
De la pierre,
nous vous verrons marcher
Pierre Duval, Prix AMMA
Curated by Yann Toma
Exhibition from April 17 to May 13, 2023
"From stone, we will see you walking" is a photographic restitution of the work "To our Grandfathers".
'À nos Grands-Pères' is a work created over a period of three months from August to October 2021. The raw materials used are empty cans that come from my grandfather’s inheritance.
The latter died in the 90s and these boxes were waiting in the attic. Otherwise, I remember the exchanges with my paternal grandfather and our common taste for long walks in the forests. Long walks inspired me this pattern of the heap of leaves, piles formed by the work of the wind. On the other hand, an inheritance was left to me: crates of old cans, unused, belonging to my grandfather. Having more than 30 years of age, these cans allowed me to create a modular sculpture. Like stone becoming dust, the pile of leaf is doomed to decompose. One of the oxidation properties of tinplate is blackening over time, so this work is in some way destined to die symbolically. Through the use of this metal, the decomposition time is prolonged and allows to pay a final tribute to the memory of my departed grandfathers. The pile of leaves becomes a form of vanity between landscape and still life, echoing our own cycle. A work still alive.
Pierre Duval
Restitution of a memory tracking, "From stone, we will see you walking" is a silent tribute to both the grandfathers and this generation of students who will no longer leave the University. The work, preceded by the Saint Jacques hall which bears the names of students who died for France, is concretely part of the architecture dynamic of Sorbonne Art Gallery, making the passage a space of movement and transmission. Along the corridor stretches a carpet of metal sheets in nine photographs that refuse static contemplation in favor of reception through movement, necessary to appreciate its entirety.
The act of walking is accompanied by that of inheritance. Each leaf, singular in the work of its twists by the hand of the artist, represents an individuality, a metaphor behind the young people who preceded us in this historic place. This journey of tinplate forms, in fact, the foliage of a family tree with a temporality set by the photographic act. Indeed, if the destruction by the oxidation of metal is a characteristic of the original work, the photographic shot contradicts the course of the natural process. This interruption of the work by the image is as definitive as are the names engraved in the marble of the commemorative plaques. The spectator passes by and overtakes them, continuing the hindered act of the life on the run.
In a true dialogue with the site, the work of Pierre Duval restores form and composure to phantom identities, thus continuing his approach of work that revolves around the persistence in the phenomenon of the disappearance of things.
Amélie Boulin
Pierre DUVAL, born in 2000, is an artist, curator and stage designer. He lives and works in Paris. His poetic approach, of Still Life ("Still Living") is part of our unstable present and questions about extinction. Working with different mediums, such as video, drawing, performance, sculpture, the artist approaches it through vanity, still life and landscape. In his work, personal and collective memory is symbolized by the use of mediums or everyday objects, with a desire for "destruction" in the process. He transcribes spaces where works can dialogue and debate each other. His work poetically reflects the chaos facing our time, in the face of a complex past and a future bathed in uncertainty.
Horloge 1440 -
L'économie du temps libre
Hugo Kriegel
Curated by Yann Toma
Exhibition from March 27 - April 15, 2023
Dichotomy between free time and working time
If there are occasional doubts about the size of this project and the uncertainty of finishing it, it is by no means a waste of time. Hugo Kriegel, working exclusively in his free time, marks the dichotomy between free time and working time. This lifelong vision is all the more interesting as it perfectly embodies the artist's research theme. Here, the notion of work is intrinsically linked to the idea of production and remuneration. Free time, on the other hand, embodies for all of us the moment when we are allowed to act as we please, for our own well-being, without any notion of money. However, the boundary between free time and working time is not a binary separation, and seems to blur as the artist's site-specific interventions unfold. Hugo Kriegel thus questions the proportion and meaning of the time allotted to our lives, which brings us back to our own alienation from time.
The economy of free time Kriegel's work focuses particularly on the notion of the economy of free time, along two main lines: there are always costs behind free time, and there can be no pointless expenditure of time, because the value of effort is never in vain. While there is no question of remuneration in free time, this artistic work contrasts a humanistic dimension with the legal framework that governs the city. Thanks to the active participation of passers-by or participants in the work of art (accommodation, moral and financial support, suggestions of venues, etc.), Kriegel puts forward Bourriaud's idea of "relational aesthetics", according to which art should not simply be a visual or aesthetic experience, but rather a social experience that directly engages the participant. Thus, by pooling everyone's efforts in this project, the artist produces a veritable system that generates a value, a human symbolism.
However, the project's philosophy sometimes comes up against the harshness of arrests, resulting in the truly exceptional expense of fines and, above all, the loss of precious minutes turned into hours.
Time is an energy, a resource that is constantly disappearing and unrecoverable. Above all, we remember it, which means that time is a fundamental part of our life experience. It is therefore important to spend it in a meaningful way. Thus, the economy of free time, as experienced and proposed by Kriegel, encourages the viewer to spend time in the best possible way, instilling in it a precious value that the artist attempts to immortalize through his colossal and inspiring project: Clock 1440.
Visual artist Lives and works in Paris. A 2011 graduate of the Ecole Nationale Supérieure des Beaux-Arts and Paris 1 Sorbonne, he has built a series of works around the 3 themes of Time, Money and Value. The question of Work in relation to these 3 notions is at the heart of the artist's work. A long-time resident of places such as New York, La Réunion and Seoul, he has nourished his thinking by confronting various cultures, and in particular their relationship to Time. The synthesis of this research is by definition incomplete, the notion of leisure hypothetical and the use of work subjective, and Hugo Kriegel still has many time zones to cross. Documentary on artist Hugo Kriegel's Clock 1440 project. Trajectoire 1440 - film in progress https://vimeo.com/379595604/80e7daebfa Photography: Samuel Fleury and Hugo Kriegel Editing: Samuel Fleury
Guernica Ukraine
Jean Pierre Raynaud
Curated by Yann Toma
Exhibition from February 24 to April 24, 2023
"Painting is an instrument of offensive and defensive warfare against the enemy. Pablo Picasso Sorbonne Artgallery (Université Paris 1 Panthéon-Sorbonne), and Éditions Jannink, intend to make their mark by hosting a major work of art in the Cour d'Honneur of the Centre Panthéon with the unveiling of an unpublished work, a modern version of Picasso's Guernica, which artist Jean Pierre Raynaud will present to H.E. the Ukrainian Ambassador on Friday February 24, 2023. In support of the war effort, French conceptual artist Jean Pierre Raynaud has responded to a proposal from Jannink Editions to donate to the Ukrainian people a never-before-seen work, a modern counterpart to Picasso's Guernica. The piece will be unveiled at the Sorbonne on February 24, 2023, and then exhibited in the museum chosen by the Ukrainian authorities on the day itself. Nearly a year after the start of the Russian invasion, Jean Pierre Raynaud, Jannink Editions, Sorbonne Artgallery and all those who support them, intend to join the coalition of artists echoing this conflict around the world. Art, more than anything else, can encourage the uprising of a collective power and the refusal of all resignation. This initiative echoes President Volodymyr Zelensky's appeal, made at the Venice Biennale in April 2022, in which he urged European and international cultural and artistic players to support Ukraine.
The unveiling of this original work will take place on February 24, 2023 in the courtyard of the Centre Panthéon of the Université Paris 1 Panthéon-Sorbonne, a temple of knowledge and European youth, in the presence of H.E. Ambassador Vadym Omelchenko, Christine Neau-Leduc, President of the Université Paris 1 Panthéon-Sorbonne, and the artist himself. Guernica, painted in 1937, is the universal symbol of art's denunciation of the horrors of war. With this canvas, over seven meters long, Picasso not only paid vibrant tribute to the victims, but above all made the whole world witness to Nazi exactions. Today, Jean Pierre Raynaud has taken the exact dimensions (3.49 m x 7.76 m) of this emblematic canvas and created a modern version based on his own aesthetic codes. Closely associated with the French Nouveau Réalisme movement, Jean Pierre Raynaud is perfectly in tune with the approach initiated by Picasso almost a century earlier. Icy and distant, his work reveals the absurdities of our relationship with the world, presenting drama with an almost surgical distancing. Nothing is expressed, everything is shown.
Jean-Pierre Raynaud, a renowned French contemporary artist, is widely acclaimed for his contribution to sculpture, painting and installation art. His signature work, "Le Carré blanc sur fond blanc", is distinguished by the captivating simplicity of its white cubes, which transcend form to evoke purity and the exploration of conceptual emptiness. Raynaud cultivates an abiding fascination with the color white, a symbol of neutrality and universality. His architectural creations, particularly "La Maison", are milestones in conceptual art. Rooted in conceptualism and minimalism, his work deconstructs traditional artistic conventions in favor of conceptual reflection. Raynaud's performances and artistic events add an immersive dimension to his repertoire. His impact on contemporary art, both in France and abroad, lies in his ability to question and reinvent the foundations of art across the decades.
This initiative benefits from the kind permission of Picasso administration and the support of : Christine Neau-Leduc Yann Toma Cécile Debray La Reina Sofia Institut Ramon Llull - Paris H.E. Michal Fleischmann Mathieu Fournet Philippe Chancel Les sociétés Metropole, Marin Beaux-Arts, Graphius, Fedrigoni, a.p.r.e.s production et Frédéric Claudel Photogravure Les éditions Jannink
Une souris verte
qui ne court plus
du tout dans l'herbe
Pierre Petit
Curated by Isabelle de Maison Rouge
Exhibition from February 7 to March 24, 2023
Origin of the rebus
During my various trips abroad and particularly in China, few people spoke English and even less French. Also to express myself, I systematically used drawing. The drawing, which became an image, replaced words and made language barriers disappear, thus a universal language substituted for the language of the country. Following this experience, when I create my travel diaries I take written notes but I notice that during this action the images replace the words, so I create the drawing. There is no rupture, the story continues.
Pierre Petit
Today after yesterday
In my work, the most diverse memories mingle, the authentic with the pleasant, the imaginary with the real. It is a journey where the conscious navigates with the unconscious to weave daily life in cross-stitch. Stop, my son tells me, I no longer speak, I translate. In fact I speak as I work and I work as I speak, without counting, in a luxuriance of activity. The trash cans that yawn in the midday sun are full of good things to pick for those who know, as Queneau writes in Courir les rues, make up my daily life. Comfortable memories live with detestable memories to form a universe where the rules confuse reason. In my work, I do not engage in an intellectual exercise; it is a game of image association, a telescoping of ideas that destroys all censorship to highlight and invest the dream. A waking dream where desires are fulfilled, I invent a world where the impossible becomes possible thus weaving the web of my work, this is how the narrative develops. I scatter the stories, I weave a dense network where one distinguishes the narrative, the events of no apparent importance, what seems to be worth nothing unfolds to shape a poetic space. Like the poet, I look at the world with a magnifying glass, giving it perspective and adventure. I collect the most important moments of this world, I assemble them until the moment when the objective universe becomes poetry. The identifiable becomes an enigma; this enigma is constituted by the choice of forms, materials, objects, technique and codes, but it resists conventional analysis. This work is conducted like a game, but not a free game, I maintain the gap between reality and dream, the reasonable and the unreasonable. The systems oppose each other to build a flexible poetry that moves me away from confinement and leads me to the next journey.a
Pierre Petit
Visual artist close to the fluxus movement, Pierre Petit places his approach in the dialogue between objects. Since the eighties his work is based on objects resulting from globalization, of which he examines the effect of dispersion and anonymity, he talks about this subject of Object globe. This object serves as a medium for making symbolic, sometimes ironic, often political narratives. They get tangled and bounce between them. As the spectator is forced to zap from one image to another, he will travel to a world of which he becomes the storyteller, in turn inventing stories. By diverting objects and signs that belong to the collective memory, using them to rethink, explore History, that of human beings and art history, Pierre Petit offers us a path towards a recomposed memory, which captures the representations of modernity from their multiplicity.
La découverte
du monde,
Jeunesse et tourisme
IREST Prize 2022
Curated by Yann Toma
Exhibition from January 27 to February 4, 2023
Finalists:
IREST Prize winner: Antoine Versluys
Student Prize winner: Sudip Maiti
Montserrat Crivilliers, Magali Decome, Léo Delay, Sébastien Lavallee, Veronica Mechta, Yona Puccini and Marine Vileo.
The photo competition led to the awarding of a prize and an exhibition of the winners, presented at the Sorbonne Artgallery of Université Paris 1 Panthéon-Sorbonne on the occasion of the graduation ceremony for IREST students on January 27, 2023.
