Voyager, entre réalité et fiction
Prix IREST 2024,
Caroline Bourges
En partenariat avec l’Institut de Recherche et d'Études Supérieures du Tourisme (IREST)
Exposition du 24 janvier 2025 au 31 janvier 2025
Finalists :
Prix du jury : Caroline Bourges
Prix du public : Lila-Mai ROSSI
Vincenzo De Cunzo,
Diane Grimonet,
Javad Homayounfar,
Maria Belén Ibanez ,
Camille Leloup,
Lila-Mai ROSSI,
Sujan Shrestha,
Noame Toumiat
Jury :
Francesca Cominelli (MCF in Economics of cultural heritage, IREST-EIREST, Paris 1 Panthéon-Sorbonne)
Gianluigi Di Giangirolamo (Communication manager of l’IREST-EIREST, Paris 1 Panthéon-Sorbonne)
Veronica Mecchia (Photographer)
Elena Rudenko (Coordinator of Sorbonne Artgallery)
Michel Tiard (President d’AIDA-IREST)
Yann Toma (Professor and artist, Paris 1 Panthéon-Sorbonne, Director of Sorbonne Artgallery)
The IREST is a multidisciplinary institute within the University Paris 1 Panthéon-Sorbonne, specialized in research and training in the field of tourism. The objective of this competition is to promote photography as a means to foster knowledge and reflection on issues related to tourism. Each year, a theme is proposed to stimulate this reflection and encourage photographers to shed light on tourism practices, destinations, actors, changes and conflicts that interest this sector. With billions of photos posted on social networks every day, photography is one of the languages of contemporary society. It is certainly the most immediate and most popular medium for conveying emotions and a vision of the world. Practically since its invention, photography has also been one of the main activities of travelers around the world, capable of creating and circulating multiple imaginations. That is why IREST wants to encourage photographers to share their work, which reflects the transformations of the tourism sector and the issues and conflicts it raises. The inauguration will take place in the presence of the laureates as part of the Sorbonne Artgallery of the University Paris 1 Panthéon-Sorbonne and during the graduation ceremony for IREST students, on January 24, 2025.
Palimpsestum
Notre-Dame
Patrick Rimoux
Exhibition from September 30th to October 29th 2024
To access the catalog,
scan the QR code
The major fire that occurred at the Notre-Dame de Paris cathedral on April 15 and 16, 2019, transformed for nearly fifteen hours the most famous cathedral in France into a monumental blaze. The disaster having occurred at the end of the afternoon inside the framework quickly took on a disproportionate scale.
The flames completely destroy its spire, the roofs of the nave and transept as well as its framework. By collapsing, the arrow causes the collapse of the vault of the transept crossing, part of that of the north arm and that of a. Span of the nave. The belfry of the north tower is slightly touched and the staircase leading to the floor is burned. The intervention of hundreds of firefighters until daybreak allows to save the overall structure of the building and to spare the south tower, secured a few hours after the start of the fire, as well as the western facade, the treasury and most of the works of art of the cathedral. This is the largest disaster suffered by the cathedral since its construction. The fire is causing very strong emotion both in France and in the rest of the world, significant media coverage, as well as significant private and public financial donations. After debates on the construction of a more modern building on the site of the old spire designed by Eugène Viollet-le-Duc in 1859, it was finally decided to rebuild it identically.
Insatiable, curious, open-minded, and in love with history and cultures, Patrick Rimoux has been tasked with rethinking the lighting of this iconic monument. His project is to transform each ray of light into an instrument of life and revelation, amplifying the majesty and spirituality of the building. Its lighting concept, designed to exalt the mystical and architectural depth of Notre-Dame, includes 2175 light points and 1550 projectors. The variations in intensity and temperature of the light, ranging from a warm white of 2200K, recall the glow of a candle (bachelor flame of a candle). His installation offering the public 10 architectural scenarios, 30 liturgical scenarios and 10 concert scenarios offers a range of atmospheres adapted to every occasion, from solemn celebration to silent contemplation.
It is in this historical context that we have chosen to propose to the artist to intervene within the framework of the gallery Soufflot in order to bring us a part of the breath that he impulses within the framework of this renewal of the cathedral Notre Dame.
Artist-entrepreneur Patrick Rimoux is a light-sculptor. Light is his element, his substance, his work, he shapes it and captivates it. Because since childhood, he has been fascinated by forms, volumes and materials: he experimented with multiple before working on the art of light. Thus, after training as a professor in new technology, he turned to the Beaux-Arts de Paris, notably in the workshops of Claude Viseux and Piotr Kowalski. With them, Patrick Rimoux unleashes his creativity and launches into the passionate exploration of the fields of light: cinema, photography, architecture, painting, sculpture... Light is everywhere and essential. He therefore applies himself to making it alive, palpable, and a messenger of emotions.
L'art contre l'idéologie
Bernard Teyssèdre
Exhibition from September 30th to October 29th 2024
"The reigning ideas are the ideas of the ruling class"
Brecht
To present 'art against ideology' in this quintessential ideological place, a Parisian gallery, is either an imposture or an internal contradiction that must be explained.
How can one be an artist today? In three ways. There are those who perpetuate the "beautiful craft" of painting or sculpting, and they refine on the form, the color, the surface conditions, in the hope that the work will sell well, that it will worthily adorn a bourgeois salon. There are those who express their little
"Me", and it goes from splashing in the material to chewing madeleines, to asking for a personal salvation in the search for lost time or in the fight against death, and that is not nothing, we all have bodies, we will die, "expressing" is always a bit better than defecating in beauty.
Finally, there are those who wonder if, under the reign of Kapital, being an artist is still worth the trouble, they are not sure about it but they are not sure either that ceasing to be an artist would be much worse, they do not want to give up the field to the opponent, they are not unaware that the "beau métier" of some and the "Me" of all are the fallouts of a reigning ideology, nor that art is the product of the "artistic market", with its backshops, museum, gallery, Maison de la Culture, the lecturer, the critic; and then, this critic, he can make him want to drop his high fashion style, like ! 'Child Jesus when the Virgin Mary administered his spanking to him, the desire to appear with his face uncovered as he is, like a cog in the slot machine, like I support a promotion expected by the gallery quite cunning to allow him to rant against the system of galleries, by thereby giving itself a head start in its competitive struggle against other galleries ; and the artists who know that, who do not hide either the gallery’s calculations or the obscene power of the uncouth critic, these artists think that it is time for them to let go of their own nimbe lentive of sacrosanct beauty, that it is time and great time for the art of "telling the truth about art", this is called sociological art.
Sociological art: an artistic practice that tends to question art, on the one hand by relating it to its ideological, socio-economic and political context, on the other hand by drawing attention to its communication channels (or non-communication), to its dissemination circuits (or occultation), on their possible disruption and subversion.
Philosopher, writer, co-founder at the University Paris 1 Panthéon-Sorbonne of the UER of visual arts and sciences of art (today the School of arts of the Sorbonne), Bernard Teyssèdre has deployed his activity in several fields ranging from literary and artistic creation to aesthetic theory and history of art.
Nte bogo daga ye,
Je ne suis pas
une poterie
Fatoumata Diabaté
Exhibition from November 02 to 27, 2024
Born in 1980, Fatoumata Diabaté is a committed portrait artist who claims an identity art anchored in the culture of her country of origin, Mali. Questioning the notion of humanity and power relations, she wields powerful symbols in order to awaken consciences. Today internationally recognized, it focuses mainly on the representation of women and young generations between Mali and France.
For her carte blanche at Sorbonne Artgallery, Fatoumata Diabaté created a series in Mali during the summer of 2024. For about sixty years, and particularly since 2010, the country has been prey to geopolitical conflicts. With the project Nte logo saga ye – which means 'I am not pottery' in the Bambara language.
Fatoumata Diabaté pays tribute to the victims of abuses committed in Ogossagou, a village in the Dogon country destroyed on March 23, 2019, where the entire population was burned alive. Equipped with the only weapon she possesses, her art, Fatoumata Diabaté transports us into this "victim space" and testifies to the suffering linked to this massacre. Through the use of pottery, she confronts the durability of this everyday object, "burned" to be solidified, with the murder of the inhabitants, killed by fire. She approaches this series as a real testimony, thus expressing both violence and resistance.
Compléments
Sous Contraintes
Ou-X-Po
Exhibition from September 30th to October 29th 2024
Sorbonne Artgallery presents the collective exhibition of OU-X-PO, Compléments Sous Contraintes, which brings together works from different current branches of the historical literary movement Oulipo (Ouvroir de littérature potentielle). The exhibition highlights their artistic contributions, which extend to several mediums, such as photography, painting, comics, and potential typoesis, to name a few.
History of the OU X PO: from college to students:
Shortly after the Ouvroir de littérature potentielle (OuLiPo) was founded in 1960 by Raymond Queneau and François Le Lionnais, the latter considered extending the formula to other arts. The Lionese then conceived the notion of Ou-X-Po. For painting, he brings together a first Ou-Pein-Po, which did not last. For music, he tried to organize an Ou-Mu-Po; and for cinema, he wanted the creation of an Ou-Cine-Po. He even went so far as to imagine a potential Mathematical Ouvroir.
To make an Ou-X-Po, it is enough that at least two companions meet somewhere (the Ouvroir, the OU) with the intention of exploring in their discipline (the X) certain experimental rules or exercises. The result of their exploration is a creative possibility, or potential (the PO). Placed under the dual aegis of mathematics and "pataphysics", this game mixes rigor and imagination without any utilitarian intention. The rules and exercises explored are usually referred to as "constraints".
The Ou-X-Po presented here have chosen as their common constraint, the mathematical notion of the COMPLEMENT. Each participant has applied it in their own field. In mathematics, the complement is "what is not" – the complement of a set being what is not in that set.
The complement is thus the counterpart of negation. The YIN and the YANG in Chinese philosophy offer a visual illustration of this idea. The whole and its complement join together to form a whole.
In this exhibition, the complement is conjugated in various forms, sometimes implicitly, to the point of losing its initial strict meaning by giving way to a third option. Enough to make visitors' heads spin, each being free to imagine "their own complement" potential !
The artists exhibited are from the following groups:
Oulipo Ouvroir de Littérature Potentielle
Oupeinpo Ouvroir de Peinture Potentielle
Outrapo Ouvroir de Tragécomédie Potentielle
Oubapo Ouvroir de Bande dessinée Potentielle
Ouphopo Ouvroir de Photographie Potentielle
Oupolpot Ouvroir de Politique Potentielle
Ougrapo Ouvroir de Graphisme Potentiel
Oulipo Frankfurt Ouvroir d’Écriture Potentielle
Outranspo Ouvroir de Translation Potencial Oudropo Ouvroir de Droit Potentiel
Outypopo Ouvroir de Typoésie Potentielle
& in absentia : Oulipopo · Oumupo · Oucarpo · Oucipo · Oucuipo · Ougopo · Oplepo ·
Ourapo · Ou po…
communs
Corps
Sarah Roshem
Curated by Yann Toma
Exhibition from September 9 to 27, 2024
Sarah Roshem lives and works in Paris. After a doctorate in the relations between art and science at the University of Paris 1 Panthéon-Sorbonne, she oriented her activity as a visual artist towards useful art, so-called "useful" art, of a contextual nature, seeing the artist intervene in real life for concrete and productive purposes. She notably uses wax, which she declines into multiple objects of service, usable for personal and healing purposes. His practice is transformed over the course of experiences, in the sense of an increased relational intervention with the spectator. The latter becomes an active, integrated and functional element of the work, which defines itself both as an object and a service.
In her undeniably singular way, Sarah Roshem follows in the footsteps of Lygia Clark and Helio Oiticica, both passionate about the principle of bodily exchange and sensitive sharing. A work of art, for this founding artist of SR Labo (this initiative aims to make creation beneficial, positive, therapeutic), is above all a communicating element, an object that will animate the intervention of one spectator or several. Watching is not enough, active participation by the public, rather, is mandatory. Adept of the 'art medicine' and care, Sarah Roshem acts with a view to increasing the relationship with others, with 'autruis' in the plural, one might say, as her work Corps communs points out. This involves several stakeholders united jointly by flexible ties allowing them specific movements of the type "all for one, one for all". The artwork, for the occasion, leaves the chair rail (chair rail that it can find once its collective use is completed) and becomes an embodied object.
Sorbonne Artgallery presents Sarah Roshem’s exhibition Corps Communs which is a set of works designed to be hung on the wall, then detached to become an intermediary between two, four or ten bodies. The work then links people together through straps and elastics to allow an experience of a connected body and a common body. A body that does not stop at our own bodily boundaries, a body put in sharing and putting into play our interdependence. Paying attention to others and listening to sensations, allows one to find a rhythm in a flow of exchanges in which everyone participates in a common momentum.
Paul Ardenne, art historian, critic and curator
Imagine feeling both powerful. e and vulnerable, both taken. e in a whirlwind of intoxication and ancr.é.e in the ground by a sensitive gravity.
Imagine experiencing a feeling of protection that provokes both enthusiasm and deconcentration.
Imagine being connected. e to others, having fun, weaving connections and behaving in harmony with others. Imagine also feeling annoyance or frustration when your desire is not satisfied, when others take you where you did not want to go.
Imagine making you free through renunciation, imagine being common people.
This is what one can experience when participating in Corps communs de Sarah Roshem.
The artist defines them herself as "tuning facilitators, drivers of empathy..."
You could indeed live contradictory experiences there: emancipation and feverishness, tolerance and dissatisfaction, oscillation and suspension, lightness and anchorage, concordance and resistance, loss and cooperation.
As Judith Butler points out in The Force of Non-Violence "bodies assembled in public space exert a political force by virtue of their mere appearance".
This relationship to otherness challenges traditional notions of identity and individuality. It invites us to rethink aesthetics as a living and dynamic field, as an experience that possesses an intrinsically relational nature. This implies giving political force to art. Jacques Rancière in Le Partage du sensible had already insisted on the idea that sharing a common space is both a question of aesthetics and politics. Democracy and participation cannot be reduced to a prefiguration of unity (as in many concepts of 'community'), but refer to behaviours at the interstice of activity and passivity, of being moved and movement. Strong and vulnerable behaviors like those of the Common Forces
Butler, Judith. The Force of Non-Violence. Discovery, 2017.
Rancière, Jacques. Sharing the sensitive: aesthetics and politics. The Factory, 2000.
Roshem, Sarah. Corps Communs: une expérience esthétique du prendre soin, revue Plastik, n° 06, 2019
"The vulnerable force of bodies" by Barbara Formis, Associate Professor in Aesthetics and Philosophy of Art at the School of Arts of the University Paris 1
quickly
Life
Patrick Erouart
Curated by Yann Toma
Exhibition from June 24 to August 30, 2024.
At first glance, the notebooks of Patrick Erouart present a colorful and disjointed aspect. There is an appearance of accident in these layouts between profusion and bursting. These objects nevertheless tick all the boxes of the gender definition. There are travel stories, critical elements about literary and cultural life, and moral, autobiographical or political reflections. These are newspapers, following a tradition dating back to the end of the 17th century at the same time as Cardinal de Retz, Saint-Simon or Furetière were engaged in recording events of which they were contemporary. It is also a set of elements of everyday life taken on the spot. In the continuity of cubist collages, Patrick Erouart extracts from reality bits of magazines, transport tickets, receipts or business cards. He sticks these pieces of his existence, he juxtaposes, scribbles, comments, agents and puts into perspective a set of fragments. An agitated aesthetic arises from this impulsive work, testifying to the urgency and emotion contained in these small details.
Nine compositions from the notebooks that the artist has been keeping daily for many years will be exhibited. The opening will be held on Monday, June 24, 2024 from 6:30 PM to 9 PM, in the presence of the artist. Located in the heart of the university, in the Soufflot wing, Sorbonne Artgallery is accessible through the entrance at 12 place du Panthéon. We will be happy to have you among us for this event.
Recordar
Tatiana Da Silva Vaz, Prix AMMA 2023
Curated by Yann Toma and Elio Cuilleron
Exhibition from June 3 to 21, 2024
Multimedia artist and designer, Tatiana Da Silva Vaz is the winner of the 2023 AMMA Prize. After having been selected by the jury of this prize and having exhibited at the Bastille Design Center, she is today endowed with a personal exhibition at the contemporary art gallery of the university Paris 1, Panthéon-Sorbonne, Sorbonne Artgallery, a unique space created by Yann Toma in the heart of the 5th arrondissement. The AMMA Prize is a prize for young contemporary artists supported by the Panthéon-Assas law university. For 6 years, a partnership has linked this event to the gallery, allowing emerging creators to be rewarded with a solo show at its venues.
Born in Lisbon in 1998, Tatiana Da Silva Vaz graduated from the Ecole Nationale Supérieure des Arts Décoratifs de Paris (ENSAD) in 2023. She is today based in Paris. Her work addresses the themes of the body as an envelope and its metamorphoses. The plastic dimension of his work convokes a great plurality of mediums and materials (sculpture, photography, textile supports, latex...) while maintaining a deliberate formal simplicity. His relationship with craftsmanship and sometimes perishable materials testifies to a desire for reflection and retreat from the corporal norms prevalent in liberal powers based on a consumerist model. The artist aims for a resilient representation of oneself. She recently presented an exhibition at the Orion Tower, in Montreuil, under the title of ''Morfo©” ' exploring the skin motif.
The exhibition 'Recordar' presents a series of nine photographs that allow us to enter into the creative process of Tatiana Da Silva Vaz. Each of the images, taken with a film camera, offers a view of the productions, retracing his way of thinking and developing his works. Through close-ups or more classic framing, mostly with neutral, white backgrounds, the objects are shown in impassive and tranquil looks, while suggesting their sensitive history charged with affects.
Swoosh
Mia Enell
Curated by Yann Toma
Exhibition from April 22 to June 1, 2024
Mia Enell is a Swedish artist born in 1967. She graduated from the Nyckelvikskolan School of Art in Stockholm in 1987 and then from the Beaux-Arts de Paris in 1992. She has had several dozen solo exhibitions in Paris, London, New York but also in Albania, Spain, Geneva and Seattle. With the exhibition «Swoosh», the visual artist presents a series of nine compositions specially recreated to adapt to the location and format of Sorbonne Artgallery and thus enter into an almost choreographic logic with the surrounding historical architecture. This series of colorful works convoke a varied corpus ranging from Sonia Delaunay to Bridget Riley. The works correspond to the mathematical principle called simplicial complex. Their appearance oscillates between color, geometry and movement, making a musical and harmonious dynamic.
bascule
Point de
Sandra Matamoros
Curated by Benoît Pelletier
Exhibition from March 25 to April 20, 2024
Sandra Matamoros is a French visual photographer who graduated from the Ecole Nationale Supérieure des Arts Décoratifs (ENSAD) in Paris in 2000. Installation, video and photography are his favorite mediums. In her work, she explores the four elements in their aesthetic and philosophical dimension as in a direct confrontation with the environment. Thus, his universe is imbued with ancient thought, notably by Empedocles and the ecosophy of Félix Guattari.
In a quest for dialogue with nature, Sandra Matamores draws from the codes of land art and minimal art to initiate a reflection on the human footprint on the surrounding world and also to suggest new forms of exchange between animal, vegetable and mineral. This quest strangely combines the concrete with metaphysics and poetics in interactions between terrestrial elements, united by light.
Elio Cuilleron
Ears
Florence Giroux Gravel
Curated by Yann Toma
Exhibition from February 26 to March 23, 2024
Florence Giroux Gravel is a multidisciplinary artist who graduated from the University of Paris 1 Panthéon-Sorbonne in art sciences and visual arts (master’s degree) and from the New York University in studio art (certificate). She has exhibited in Canada, the United States, Iceland and France, notably at Carvalho Park, the Plural Fair, the Paper Fair, the Marius-Barbeau Museum, the AMF Gallery and the Galerie Bernard. His works are part of numerous private collections and the Claridge Inc. and Ubisoft collections. Florence is the recipient of three Première Ovation scholarships (Conseil des arts et des lettres du Québec, Manif d'art, Ville de Québec), one for Mentorat en art public (2020) and two in Création de projet (2022 and 2023). Florence is part of the File of artists of the Policy for the Integration of Arts in Architecture (1%) and of government and public sites in Quebec. Florence lives and works in Quebec (Canada).
Between minimalism and reconquest of the trace of corporality in the art object, the Ears series declines a multiplicity of possibilities. This also refers to a synesthetic dimension: the ears of Florence Giroux Gravel are glued on panels in the manner of paintings. But what happens when we observe an organ, itself listening to us? What is the noise of the viewer apprehending the work? The sensory and perceptual boundaries blur. To these questions is added the issue of space, of the sculptural aspect of these pieces which complicate the apparent flatness of the compositions. We are constantly lost between the frontal space of these and the tactile sensuality of the ears arranged in this way, similar to jewelry or heavenly dishes.
vingt-quatre heures
Neuf de
Chantalpetit
Curated by Juliette Laffon
Exhibition from January 30 to February 23, 2024
To access the catalog,
scan the QR code
Chantalpetit was born in Agadir in 1951. She spends her childhood between Morocco and France. From 1970 to 1972, she studied at the Decorative Arts, as well as at the Beaux-Arts de Paris. Between 1973 and 1979, she devoted herself to theatre, while pursuing a graphic work. She collaborates as an illustrator with various magazines and publishing houses (Gallimard, D'au éditeur, les nouvelles littéraires, Elle, Le fou parle, etc.). During these years, she was a member of the GEL group (free expression group), an experimental theatre company and also created several scenographies, notably for Roger Blin. At the same time, she met Roman Cieslewicz, Roland Topor and the members of the Panique group who invited her to participate in the Universal Panic exhibition, at the Maison de la Culture in Rennes in 1980. She then begins to paint and abandons the theater. From 1987 to 2019, she teaches at the Penninghen graphic arts school. From the 2000s, she integrated sculpture, video and performance into her practice.
His work is regularly presented in France and abroad, notably at the Jean Briance gallery (1984, 1988) at the Jacques Elbaz gallery (1995), at the Maison Rouge (2004, 2010, 2011, 2014, 2016), at the Gobelins Manufacture (2011), in Marseille-Provence 2013 (2013), at the Frac Picardie (2013, 2016, 2018), at the Bonnefantenmuseum in Maastricht (2015), at the Musée d'Art Moderne de Saint-
Lô (2018), at the Centrum Kultury Zamek in Poznan (2019), at the Museum of Grenoble (2019) and is part of many public and private collections (Fnac, Frac Picardie, Frac Île-de-France, National Museum of Modern Art, Ministry of Foreign Affairs, Stockholm Museum of Modern Art, agnès b. collection, Antoine de Galbert collection, etc.). She has just published her first Chantalpetit monograph – 19702023 at Éditions Dilecta.
Standing in a space, observing the movement of the sun, shadows and rays, incidences and accidents, then painting that. This: the optical vertigo caused by light when it breaks into a place, as common as it may be, and on the pupil, as singular as it may be. Goya and Van Gogh tried to see that, that sun in the face, that blaze which is sometimes a hallucination. In the middle of the 1980s, Chantalpetit tried his hand at exercise. She paints with light in a space of which I do not know what it is – the room of Arles or quinta del achever – but of which my eyes teach me that it is closed, and that I am enclosed in a box whose sixth partition is on my back. So I am locked in front of a trickle, facing the daylight at a certain time, an hour that gives its name to the paintings. (...)
We could have stopped there, at this diluvian paint contained in a Pandora’s box. We rarely return to the same room, except with our ears cut off, or in the house of the deaf, otherwise blinded. Except that little, she, tried the experiment. She returned to the box, in the bare room, in the camera obscura, she took her brushes but also, because time has passed and the palette has been enriched, with sequins and beads, pastel and acrylic, all the mess of the world – gold and night. Nothing holds her in check as long as poetry happens. She doesn’t care about purity. She wants to see, and say. It is not painting, but drawing, they say. But who still believes in this old typology thought for the cartels of thought? I only know that it is no longer canvas, but Figueras paper, velvety like silk, solid and tender like a skin. It’s ink. These are letters too, which she traps in the material. It’s writing, therefore. Thanks to chantalpetit, I see how painting is not mute poetry but spasmed prose, a haiku. A roll of the dice, a whip, a punch. A helping hand so that my eye can finally see. (...)
Colin Lemoine
In the autumn of 2010, I was discovering with astonishment the 'landscapes' of Chantalpetit, large canvases on the scale of the vast workshop she then occupied in Ivry. I had just joined the team of Marseille-Provence 2013 European Capital of Culture.
I was in charge of the exhibition that would be dedicated to him in La Ciotat in the summer of 2013. Since this first meeting, I have regularly visited him in Malakoff and am with an interest that does not fade, the development of a prolific work, demanding, which continues to renew itself. Attentive to his research, attentive to his polymorphic practice that enjoys venturing into new fields of experimentation and imaginary worlds, I have the privilege of being aware of his latest creations. Driven by an overflowing energy, chantalpetit always has a work in progress. Painting, sculpting, making a video, producing new pieces is for her an imperative. On vacation, far from the workshop, his notebooks take over.
Invited by Yann Toma to exhibit at the Sorbonne Artgallery, it is only once finalised the monograph that had totally monopolized her for several months, that she finds herself in the spring on the way to the studio and starts working towards the exhibition.
Sorbonne Artgallery unfolds in the Soufflot gallery of the Centre Panthéon-Sorbonne, a vast passageway crossed by students and professors.
It presents a succession of nine shallow wall showcases, with a metal frame from which the glasses have been removed and in which the works are usually presented. chantalpetit carries out first of all, without preparatory studies, four drawings which, as they are added, become large paper banners whose dimensions exceed those of the display cases. This choice testifies to his reluctance to enter the huts, his propensity to bend the rules, his inclination for short cuts. (...)
Juliette Laffon
du décor
L'envers
Prix IREST 2023
Curated by Francesca Cominelli
Exhibition from January 22 to 26, 2024
Finalists :
Cristiano Atticciati, Antoine Bonin, Aurore Dumont, Jeanne Hardy, Rebecca Le Milon, Sudip Maiti, Sebastian Schich, Orazio Sparano, Gabrielle Triestini
Jury :
Francesca Cominelli (MCF in Economics of cultural heritage, IREST-EIREST, Paris 1 Panthéon-Sorbonne)
Gianluigi Di Giangirolamo (Communication manager of IREST)
Sozita Goudouna (Curator, The Opening Gallery New York)
Michel Tiard (President of AIDA-IREST)
Yann Toma (Professor and artist, Paris 1 Panthéon-Sorbonne, Director of Sorbonne ArtGallery)
Theme of the contest : L'envers du décor
In 2021 and 2022, the IREST Prize invited photographers to reflect on the difficulties and conflicts of the tourism sector in the aftermath of the health crisis and then on its future. For this edition, the focus is on 'behind the scenes', trying to reveal what lies behind the 'staging' of tourism. Who are the people working behind the scenes of the system? What are the actors who contribute to shaping the tourist experience? What realities exist near the emblematic places? What are the dynamics and activities that go unnoticed by tourists? The objective is thus to explore the little-known and often overlooked facets of this industry, highlighting the actors, activities, conflicts that may escape the attention of visitors.
IREST
The Institute for Research and Higher Studies in Tourism (IREST) was created in 1961. It is a multidisciplinary institute within the University Paris 1 Panthéon-Sorbonne which offers a wide range of training, from the Professional License to Masters in the fields of tourist development, heritage enhancement, of hospitality and management of tourist activities, international tourism and sustainable tourism, in Paris and internationally. Research activities are structured within the EIREST (Interdisciplinary Team of REcherches on Tourism) which is composed of geographers, anthropologists, economists, researchers in management sciences, of historians, art historians and sociologists working on tourism in an interdisciplinary approach. IREST coordinates the activities of the UNESCO Chair "Culture, Tourism, Development" and the international network UNITWIN UNESCO composed of several universities located on five continents.
IREST Price
With billions of photos posted on social networks every day, photography is one of the languages of contemporary society. She is certainly the most immediate and most popular medium for conveying emotions and a vision of the world. Practically since its invention, photography has also been one of the main activities of travelers around the world, capable of creating and circulating multiple imaginations. That is why IREST wants to encourage photographers to share their work, which reflects the transformations of the tourism sector and the issues and conflicts it raises.
