• They remember only the photographs
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    Events

    "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.

    Remi Parcollet

    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).