Duographie retraces ten years of the creation of the artist duo Pétrel I Roumagnac (duo), formed by Aurélie Pétrel and Vincent Roumagnac. At the crossroads of visual arts and theatre, their work explores the dialogue between photography and staging through installations with reactivation protocols and photostage pieces. Since 2013, they have been designing creations that evolve in accordance with their exhibition environment, questioning the conventions of the visibility of works, both in space and time. Each of the pieces presented by the duo is constantly moving in its exhibition space, evolving between latency time, reserve space and redistribution in space, according to successive rearrangements of photographic objects and other materials that make up them. The result is hybrid installations, a contemporary object theatre with blurred temporalities, a mixture of still images, body traces and performative sculpture in perpetual movement. The book takes the position of focusing visually on de rêves, d’Astérion, and de l’Ekumen, the trilogy of photoscenic pieces created by the duo between 2016 and 2023, each offering an immersive dive into their abundant floating universe. The duophonic play in nine scenes reproduces, in a theatre format, interviews between the two protagonists, which, together with friends passing through the course of their discussion, take place throughout the work played in and for the book, and illuminating, at the heart of the words inside, the ten years of this unique work in duo.

La pratique photographique d’Aurélie Pétrel interroge le statut de l’image, son utilisation ainsi que les mécanismes de sa production. Ancrées dans la durée, ses recherches visent à ramener la prise de vue au centre de la réflexion multisensorielle à l’aide de dispositifs spatiaux. Aurélie Pétrel pose la question de la mutation-mutabilité d’une image, son potentiel de fractalisation, non seulement en soi mais aussi dans ce qu’elle peut provoquer comme trouble en son expérience de pluriperception. Pour elle, une prise de vue génère une multitude de prises de point de vue. Les temps et les espaces ne cessent de se superposer, tout en ne cessant pas de se disjointer. L’image mouvante se redistribue et ses métamorphoses consécutives viennent ainsi déjouer son absorption consensuelle, sa perception une et définitive, son moment et sa position décisifs. Mettant en oeuvre les outils formels et les processus intellectuels tant des artistes que des chercheurs, Pétrel associe une démarche plasticienne et conceptuelle dans une suite programmatique de mises en situation, où le format exposition rejoue à chaque fois différemment, la dimension interprétative de toute partition, de toute photographie en latence, de toute forme en attente de métamorphose. Son travail fait partie de la collection du Musée de l’Élysée de Lausanne (CH) ; du Centre National d’Art Moderne (MNAM)–Centre Georges Pompidou, Paris, du Centre National des Arts Plastiques (CNAP), du FRAC Normandie Rouen et du FRAC Occitanie Montpellier…

Jean Luc Tartarin borrows images from the history of photography, which he reproduces in a file he calls “premier”, from which he can experiment with different interventions until he achieves the work he deems to be the best.
When he takes an old silver photograph, once scanned, it becomes like a negative. The raw file, of a particular nature, enables Jean Luc Tartarin to undertake the work of constructing a new image in a kind of digital alchemy. After this long process of invention, combining pleasure and struggle with virtual matter, the final file is embodied in the materiality of a print on chromogenic paper. The book is organized around three main iconographic themes: figures, flowers and forests. Forests have always been an important subject in the artist’s photographic research, which he has been pursuing for over fifty years.

Jean Luc Tartarin borrows from the history of photography images that he will reproduce in a file which he calls «first» and from which he can experiment with different interventions until obtaining the works he considers to be finished.
When he grabs an old photograph, of argentic nature, once scanned, it becomes like a negative. The raw file, of a particular nature, allows Jean Luc Tartarin to undertake a work of construction of a new image in a kind of digital alchemy. 
After this long work of invention, mixing pleasure and struggle with virtual matter, the final file will be embodied in the materiality of a print on chromogenic paper.
In its work process, the table must not allow to perceive the pixels of which the image is made. Only materials, such as a painted painting, must be visible.
The book is organized around three great iconographic sets: figures, flowers and forests. The latter subject has always been important in the photographic research that the artist has been conducting for more than fifty years.

Cameroon, Mali, Niger, Burkina Faso, Nigeria, Algeria… In this deeply personal work, Jean-Christophe Béchet looks back thirty-five years on his first steps as a young photographer. This long-term work (three years of immersion), which he affectionately calls “my African years”, should have been his first book, but his personal and photographic life decided otherwise.

Few images circulated, the majority having remained in archive boxes all these years. Today, he has reworked his selection, seeking to find a new rhythm. He notes: “As we age, images change their status, some memories fade, others take over, some images take on greater force, others become repetitive and a little ‘cliché’. You have to be able to navigate between a kind of nostalgia (inevitable, since photography is also the art of the past) and a desire to build a contemporary work with photographs that are more than 35 years old”.

Most of the territories featured in African Memories are no longer accessible to French or European visitors. Mali, Niger and Burkina Faso, the countries that welcomed him so warmly with his backpack, are now closed places. This book is a vibrant tribute to Africa from a passionate photographer.

In 2003, in the singular setting of the ghost town of Cook, Australia, Laurent Mulot “implanted” the first Middle of Nowhere Contemporary Art Center with the only two inhabitants of this small town. This book is a monograph looking back on more than 20 years of research and encounters around the world, which gradually enabled the author to collaborate with astrophysicists on the notion of the “Middle of Nowhere”.

The work was analyzed by contemporary art historian and critic Paul Ardenne.

This boxed set includes 8 items (books, leporello, posters) for an exceptional experience at the crossroads of contemporary art and archaeology. In 2014, artist Mirela Popa began a project based on the archaeological excavations carried out in Ivry Confluence, notably on the grounds of the former BHV depots, and the preventive excavation campaigns organized on sites dating from the Neolithic period, doomed to disappear due to the necessities of urban expansion. Working in close collaboration with archaeologists, the artist’s work was thus marked by an extensible chronology: from one changing territory to another, from the Neolithic to the contemporary period.

« In the tireless quest of capturing the ephemeral, Franck London takes us through a photographic journey across a whirlpool of images, as so many fragments of truth fixed in eternity. IN-TIME, this feverish continuation of his previous book EX-TIME, plunges the lector in a universe where the past and the present crash into a perpetuons chaos. Just like an archeologist of the moment, he searches the depths of human soul, digging up fragments of emotions and intimacy. In his book, IN-TIME, Franck Landron invites the lector to an introspective trip through photographic decades, where each photographs is a burst of the memory, vibrating to the rhythm of fainted emotions […]. Franck Landron transcends the frontiers of photography to gift us a deep sensorial, artistic and emotional experience. Each photograph is at the same time a wound and a redemption, scar on the cloth of time that invites one to plunge into the depths of one’s consciousness, to explore the mysteries of the existence through an artistic prism. Each scene tells a universal story. And while IN-TIME’s pages turn, we cling to the hope that the final chapter of this photographic saga still holds many revelations in store. » (Sandra Mercoeur) 

Running away into you is the first photographic book by Portuguese director Mário Macedo. In the form of an intimate testimony, this book narrates an amorous wandering that lasted almost ten years, smoky encounters and parties between Zagreb, Berlin, Copenhagen or Lisboa, like snapshots from an European youth trying to slow down the rhythm of our capitalist societies. 

This photographic work is a testimony to American gang culture that glorifies easy money, mistrust towards authorities and wild flirt. Through the months that Souhayl A spend in Florida, he tried to document and decipher from within the daily life of Sex, Money, Murder, one of the world most violent gang.