Photographe et écrivaine d’origine espagnole, Françoise Evenou vit et travaille à Paris. Le questionnement de l’identité et de l’altérité est au coeur de sa recherche. Dans son approche de la photographie, elle tente, au coeur d’un monde traversé par la violence, l’injustice, la solitude et la mort, d’en révéler une indicible beauté, une trace du sacré. Sa démarche artistique relie l’image, la voix et l’écriture. Sa série, « Les Reines du Bois », a été exposée au Festival du Regard 2022, puis à Photo Doc en 2023 et à l’Atelier/Galerie Taylor à Paris.

Gilles Lipovetsky est un essayiste français et professeur agrégé
de philosophie à l’université de Grenoble. Il est également membre du Conseil d’analyse de la société et consultant de l’association Progrès du Management. Son nom reste associé à la pensée postmoderniste, de même qu’aux notions d’hypermodernité et d’hyperindividualisme. Son livre L’Ère du Vide est certainement le plus connu.

Diplômé de l’Escola d’art I Superior de Disseny à Valence, Eduardo Nave est titulaire d’un diplôme d’études supérieures en arts visuels et en design, spécialisé dans la photographie. En 2005, il a fondé avec 13 autres artistes le collectif de photographie contemporaine NOPHOTO qui, un an plus tard, a remporté le prix Arco et le prix de la révélation PHotoEspaña 2006. En 2014, avec 4 éditeurs, il a développé la publication DÚO et en 2016, il a créé et coordonné le projet EL DIARI INDULTAT. Depuis 2001, il collabore fréquemment avec les médias éditoriaux espagnols et internationaux, et les galeries Pilar Serra (Madrid) et Juan Silió (Santander) représentent son travail. Il a reçu plusieurs prix et soutiens pour ses projets et montre régulièrement son travail en Espagne et à l’étranger.

We have moved from a supply-driven economy to a demand-driven economy. The new world economy is not only defined by the sovereignty of a financial logic, it is inseparable from the weight that consumers represent. Consumption now works as a continuous and unceasing flow. Billboards installed in the landscape already belong to the past, to an analog era. Their materiality is replaced by electronic advertising devices that are now installed in the virtual fields of the Internet.

The work of the Spanish photographer Eduardo Nave has been to document these skeletons from a glorious past and make an inventory. These panels have become fallen totems that disintegrate, year after year, contaminating the environment and the visual landscape. It reveals an archeology of a consumer society from another century.

« Espacio disponible is the anti-Times Square: to the saturation of the urban space by the shining neon and LED signs follows the no man’s land of arid, depopulated, almost desert, only surmounted by fleshy structures in search of an unlikely buyer. The desolation after the brilliant, the emptiness after the excess, the boredom after the euphoria of advertising animation. This is the time of the disaffection of a great communication vector born at the beginning of industrial modernity. » Gilles Lipovetsky

We know very little about the life of Eugene Atget. Yannick Le Marec analysed the photographer’s production (thousands of photographs) taken between 1890 and 1920, as well as all his archives left to the BNF after his death (in particular press clippings and political newspapers). It is therefore a new approach that tells us a little more about this photographer, including his strong political commitments close to the anarchist circles of the time. The author focused on his photographic work around the Zone, this geographical era between the fortifications and the suburbs, a 300-meter wide ring that surrounds Paris beyond the abandoned Thiers fortifications. This is the area where ragmen gather to live and sort their loot. The parallel between the work of the current Greater Paris, the areas of concentration of migrants or drug addicts is also discussed.

Sylvain Gouraud est un artiste visuel né en 1979 et basé à Aouste-sur-Sye dans la Drôme. Il s’immerge dans des milieux aux enjeux sociaux délicats dans lesquels la question de la représentation joue
un rôle prépondérant. Après avoir travaillé en prison ou avec les patients d’hôpitaux psychiatriques, il se concentre depuis une dizaine d’années sur les enjeux de description de notre rapport à la nature par le prisme des pratiques agricoles.

Consisting of seventy black and white photographs, the series grouped under the title L’État des choses, contains both snapshots and studio shots. This photographic set was assembled to translate a desire to enter the thickness of the world, in its materiality, through the signs and phenomena it produces. Conceived in the form of sequences, the book operates by blocks of intensities through which not only a point of view is drawn, but also a variation of perspectives where only relations prevail. By considering the studio as a laboratory and the photographic snapshots as a capture, the resulting experimentation gives rise, over the course of the book, to a certain form of strangeness in beings and things. This book is accompanied by a short text by Patrice Blouin.

Pierre Antoine est artiste. Son travail s’articule autour de l’idée assez simple que le monde a quelque chose à lui apprendre et que cela en passe par l’image. Il réalise un grand nombre de photos, partout, tout le temps, ce qui forme ce que l’on pourrait appeler un « fonds » [photographique]. En l’alimentant sans cesse, en le consultant régulièrement et en le manipulant, des images s’agglomèrent et tracent différents « récits » qui prennent la forme de projets. C’est depuis ce fond que s’élaborent ses travaux. Il a exposé en France et à l’étranger, notamment au Centre national de la photographie à Paris, à l’ICC à Anvers, et plus récemment dans la seconde édition de la Triennale Art et industrie au Frac Grand Large à Dunkerque. Il est par ailleurs maître de conférence à l’École nationale supérieure d’architecture de Versailles où il enseigne les arts visuels.

The philosopher Gilles Tiberghien is known for his work on landscape and particularly for his research around Land Art, his writings and meetings with the greatest artists who have contributed to the diffusion in France of this important artistic movement born in the United States in the twentieth century. But for a long time, less known by his public, Gilles Tiberghien is interested in photography and writes regularly about contemporary photographers. Paysmages thus brings together a set of texts written over nearly twenty years. The selection of photographers that the author has decided to propose here highlights his reflections on the notion of landscape: “The question here is not how we picture landscapes, through photography, but rather how it crystallizes into these images something that we end up calling landscape.”

Essays on the works of Aurore Bagarry, Thibaut Cuisset, Suzanne Doppelt, Hamish Fulton, Mario Giacomelli, Lucie Jean, Josef Koudelka, Richard Long, Alex MacLean, Manuela Marques, Bernard Plossu, Claire Renier, Bertrand Stofleth and Bill Viola.

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.