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…

Psychorama compiles more than 200 photographs taken by Patrick Weidmann over the last twenty years. His gaze has always focused on a world made of objects, consumption-devoted spaces, waiting rooms, all shimmering with lights and mirrors and striped of human presence… As if the artist transported his reader beyond an advertising screen, into a world where nothing is left of humanity but its commercial imprint and vanity. The book’s layout reinforces this projection into a familiar yet dystopian universe, where overconsumption has taken over.