"They remember only the photographs" is a publication - exhibition, resulting from the collaborative work of the research group “Photographing Modern and contemporary art” (Master 1) from the École du Louvre, and the Professional Master 2 in Cultural Policies from the University Paris Diderot - Paris 7, represented by five students from the association Politik’art. Entrusted to graphic designers François Havegeer and Sacha Léopold, known as Syndicat, the project focuses on scientific research and operates as a reflexive process in progress.
This exhibition aims to materialize a reflection on the circulation of the photographic document and its fluctuating status, through different supports. It raises questions concerning its elaboration, use and reception. In order to further explore these questions about the production, diffusion and interpretation of the photographic document, conferences are available to visitors on Saturday 21 and 28 September. The speakers, artists and university academics, will present their reflections on this subject, as developed in their work and research.
SATURDAY 21TH SEPTEMBER 2013, 5PM
Photographed art – between artwork, document and archive
Conference by Federico Tarragoni
Drawing on philosophy and sociology, this talk will aim to outline the ambivalent relationship between creation and reproduction in photographed art. We will take as a starting point the thoughts of W. Benjamin on the reproducibility of a work of art, the awakening of the modern work to the techniques of the avant-gardes (Futurism, Dadaism, Surrealism), and the enrichment of the aesthetic experience as seen by the spectator. With these philosophical and sociological reference points, we will try to examine the interface between the different objects of photographed art: an artist’s work, a reproducer’s photographed document and an art historian’s archive. How can we consider the relation between these three objects: artwork, document and archive? In order to answer this question, we will examine two different processes used in photographed art: on the one hand, the redoubling (or the mise en abîme) of the creative practice between original and photograph, and on the other, the extraction and then the archiving of what is known about the work itself.
Federico Tarragoni is a lecturer in sociology at the University Denis Diderot – Paris 7 and a researcher at CSPRP (Sociology center of political practices and representations). His research into the sociology of art and culture focuses on the concept of aesthetic emancipation and the links between artistic practice and political practice. Based on these questions, his research area falls into an interdisciplinary field, between aesthetic philosophy and sociology.
SATURDAY 28TH SEPTEMBER 2013, 5PM
Creative process, image production, the stakes of the transposed work and photographic use
Conference by Clément Rodzielski, Maxime Thieffine and Antoine Espinasseau
The work of a photographer such as Antoine Espinasseau and artists such as Clément Rodzielski and Maxime Thieffine, contributes to a new approach to photography, which no longer only exists for its documentary value. As André Rouillé notes, according to Foucault “In the period of flux, it would no longer be about, as it was for traditional historical disciplines, memorizing the monuments of the past by transforming them into documents, but the opposite, “transforming the documents into monuments" .”
How do we bring about this transition when the photographic image exists in a multitude of supports and different sizes? Can a book of photographs be exhibited? What does this change in format, which acts as a new filter for thought and image, imply?
Does the fact that photography can be used in an infinite number of ways signify a loss of function, or an attempt to extract essential information for research purposes? The exhibition thus becomes a space to reflect on the varied types of photography and the different ways they reveal information.
Clément Rodzielski (born in 1979) examines the conditions of the emergence of images, the shadow of their reproduction, and their circulation. In Paris, he is represented by the gallery Chantal Crousel and in London by the gallery Campoli Presti. By “making the best of” the spaces he exhibits in, Clément Rodzielski questions the constraints and the conventions of the exhibition space, a space where the meaning of an object can change, a space that reveals an aesthetic expression.
Clément Rodzielski however is not entirely removed, if his status as an author remains undefined - in order to question the quotation and appropriation of works - the discrepancies that he uses and the mirror effects that he creates, as well as his way of working, give the exhibition other uses and meanings.
Maxime Thieffine (born in 1973) works on editing and assembling images and objects, between their presence and their representation. His was given his own personal exhibition at Commissariat in Paris in 2009. More recently, his work has been displayed in a variety of collective exhibitions in France (La Galerie of Noisy-le-Sec, Emmanuel Hervé Gallery, Nathalie Obadia Gallery, Bertrand Grimont Gallery, Paul Frèches, etc) and in Europe (Tate Modern in London, Klemm’s in Berlin, etc). He has a degree in cinema, and subsequently studied at Fresnoy, after which he taught art history and aesthetics and Paris III, Sorbonne Nouvelle. He writes regularly, and created with Cécilia Bécanovic from 2006 to 2008, a curatorial program called L’Ambassade.
Antoine Espinasseau (born in 1986), a trained architect and graduate of the École Nationale Supérieure d’Architecture of Versailles, works both as an architect and an artist. His photographs, collages and sculptures have been exhibited at the Fondation d’entreprise Ricard, at the architecture center Arc en Rêve in Bordeaux, and in the galleries Florence Léoni and Air de Paris. Antoine Espinasseau also regularly contributes to Frog Magazine.
Symposium: EXHIBITIONS’ PHOTOGRAPHIC ARCHIVES
TUESDAY 17TH OCTOBER 2013 / 9.30am - 7pm
INHA, 2 rue Vivienne, 75002 Paris, France (in the Vasari room, 1st floor)
FRIDAY 18TH OCTOBER 2013 / 11am - 7pm
Centre Pompidou, Paris, France (in the “Petite Salle”)
Nowadays, exhibitions are one of many vectors of heritage in the field of contemporary art. Thus, Exhibitions’ views and Installation shots serve both as instrument and memory. This two days symposium is designed to bring the debate, not only at the level of practice and production of exhibitions, but also and above all, in regards to the archive,that is to say the uses, circulation and reception of such documentary photographs. The symposium is organised with the support of the LabEx “Création Art Patrimoine “ (CAP) [Creation, Art, Heritage]. Heritage is subject to strategies and became a research topic from the moment that we are interested in the discourse of those who make it. Hence the relevance of questioning not only the objects, but moreover the actors who take indirectly part in the production of this heritage and its subsequent inventory. This symposium will, amongst other, raise the question of the scientific and cultural definition of exhibition’s photographic archives and their ensuing legitimation.
More information on : http://histoiredesexpos.hypotheses.org/1472
SATURDAY 26TH OCTOBER 26, 2013
2pm-5pm: Exhibition tour They only remember the photographs by Remi Parcollet and the Ecole du Louvre students
5pm-7pm: Screening of Pierre Leguillon film : "Dominique Gonzalez-Foerster, Pierre Huyghe, Philippe Parreno", Arc, Musée d’Art moderne de la ville de Paris, 1999. Film inversible couleur 120
Pierre Leguillon is an artist, curator, and writer who has become known for transforming the slide-lecture format into an enlightening, poetic, and witty form of performance art. His “Diaporamas”—slideshows composed of the artist’s snapshots—suggest through juxtaposition unexpected connections and new classification systems. Leguillon also makes enigmatic assemblages and dioramas exploring the work and careers of artists such as Diane Arbus, Ad Reinhardt, George Ohr, and Jean Dubuffet. Leguillon’s work has been featured at institutions around the world, including at Moderna Museet (Malmö, Sweden, 2010), Musée du Louvre (Paris, 2009), and Artists Space (New York, 2009). He published the journalSommaire between 1991 and 1996, and his writing has appeared in publications such as Purple, Art Press, and Journal des Arts.
SATURDAY 9TH NOVEMBER 2013, 5PM-7PM
The archive and the document exhibition
Talk with Dominique Païni and Didier Schulmann
Dominique Païni (born in 1947), former director of the Cultural Department of the MNAM-CCI / Centre Pompidou in Paris and of the Cinémathèque française, essayist, film critic, curator, professor at the Ecole the Louvre. He developed a dynamic concept of the conservation and the film programming through the central idea of "editing" and the dialogue of the images. With this reflection he invested the exhibition and the links between cinema and the other arts. After Hitchcock, Cocteau and Godard, his last exhibition presented Antonioni work in Ferrare and then in Brussels.
Didier Schulmann (born in 1953), Heritage Curator, and Head of department of the Bibliothèque Kandinsky, center of documentation and research of the MNAM / CCI at the Centre Pompidou, one of the main places of acquisition, preservation, consultation, distribution and exhibition, in Europe, of sources, archives and rare publications about art, in the world, in the XXth and XXIth centuries. He is co-director of the research group "Modern and contemporary art photographed" at the Ecole de Louvre.
SATURDAY 16TH NOVEMBER 2013, 5PM-7PM
We remember Harry Shunk
- A selection of photographs by Shunk / Kender with commentary by Remi Parcollet
Harry Shunk (Leipzig 1924-New York 2006) is one of artists photographers with his works and exhibitions the most important in the second part of the XX century. He settles down in Paris in 1956 then in New York in 1967. Witness of the big artistic movements from 1960s to his death, he collaborated with the major artists of the avant-garde.
Remi Parcollet is art historian and an art critic member of the AICA. His research concerns mainly the photography of exhibitions, a topic on which he wrote his Ph. D dissertation (2009, Paris IV Sorbonne). Parcollet also holds a curatorial Master degree on "The Contemporary Art and its Exhibition" (Paris IV Sorbonne). In 2010, he created, together with Christophe Lemaitre and Aurélien Mole, Postdocument a publication focused on exhibition photography. Currently, Remi Parcollet is lecturing at the École du Louvre and his a Post-doctoral fellow at the Laboratoire d’Excellence Création, Art et Patrimoines in affiliation with the HICSA, Paris 1 and the MNAM-CCI / Centre Pompidou in Paris.
SATURDAY 23TH NOVEMBER 2013
1pm: taxi tram visit
5pm-7pm: Meeting with Syndicat (François Havegeer and Sacha Léopold) and Aurélien Mole around the exhibition and the catalogue They only remember the photographs
Sacha Léopold and François Havegeer work in Paris under the name of Syndicat. They invest interdisciplinary horizontal projects of design graphic orders where the practice of the image comes to confront with the installation and where the realisation of objects demonstrate a questioning of the techniques of printing. This interest as for the manufacturing and for the sensitive materials of the reproduction participates in building the identity of various editorial and curatorial projects.
Aurélien Mole was born in 1975 in Tehran. Receiving his degree in history of photography from the École du Louvre, he carried on his education at the École nationale supérieure de la photographie in Arles and concluded it with a course on curating led by Catherine Perret and Christian Bernard. His work has been used for personal exhibitions at the Galerie Lucile Corty in 2009 (En bonne intelligence), the Florence Loewy in 2010 (Le Catalogue), and at the Villa du Parc in 2012 (Sir Thomas Trope). He has participated in numerous collective exhibitions in France and Europe (Cargo Culte at la Vitrine ; Répétition dans l’épilogue, galerie Lucile Corty ; If I can’t Dance I don’t want to be part of your revolution, Van Abbe Museum ; Double Bind, Villa Arson). He has also published regularly in the magazine Art21, with contributions from critics with links to exhibiting alongside monographs on contemporary artists (Aurélien Froment, Guillaume Leblon, Gaël Pollin etc.). He has created exhibitions using various approaches as part of the collective Le Bureau (35h. at the Laboratoires d’Aubervilliers in 2004 ; P2P at the Casino, Luxembourg, in 2008) as well as in his own name (Relationship of Command, Galerie J in Genève in 2007 ; Sfumato in Sassari in Sardaigne in 2008).