EN
FR 
BEYOND THE FRAME
image in action
17 octobre – 15 novembre 2020
VERNISSAGE
©Hiie Saumaa
PRÉSENTATION
Du 17 octobre au 15 novembre 2020
Mémoire de l’Avenir – Humanities, Arts and Society
accueillera une exposition
de
Intitulée
image in action –
Barbara Boissevain – USA
Cara Coombe – GB /Australia
Yong Hee Kim – Korea /USA
Candice Inc – USA
Chris Lashbrook – Canada
Una Laurencic – Serbia
Chris Lee – GB
Valerie Smith – USA
Peggy Stevenson – Philippines /USA
Sofyan Syamsul – Indonesia
An exhibition that brings together 10 international photographers, in partnership with the’AiR ARTS residency, presented at Memoire de l’Avenir from October 17 to November 15, 2020. The 10 artists were selected by a committee for an international residency in Paris hosted by The AiR ARTS. L’exposition is the fruit of’a collaboration between artists, L’AiR Arts and the’ curatorial team of Memory of the Future – Humanities, Arts and Society. The project is supported by the City of Paris
Beyond its space of presentation and representation, the’exposition questions the’image and its power of’action. As a language, as a signifier, the’image moves the gaze, jostles the perception of reality, captures and engages consciences in its apprehension of political, societal, intimate issues. In fact, it also questions the position of the’artist who, not limited to his status as’, is a real actor in our societies.
L’image is also an agent of meetings [1] and dialogue. Its reading does not depend only on the person who produces it, it also engages the’ interpretation of the person who looks at it. Through this remote dialogue the’image opens up a multitude of possibilities in the field of’experience, thought and reflection.
In seeking to solve the enigmas that surround them or that inhabit them, the artists presented in this exhibition offer us narrative or experimental processes that come to testify, on the one hand, to environmental, social transformations or even contemporary struggles. To highlight, on the other hand, the links that bring together the human’ and nature or to question on a technical or sensitive level the perception of physical or psychic movements.
Barbara Boissevain in his project Salt Pond worked on the salt ponds of Ravenswood (California). She has produced quasi-conceptual images with striking bi or trichromas through which she develops a significant discourse on the management of the environment and the’ ecosystem of this region.
Through his series Self PortraitCara Coombe questions the’image of the body and the monster that our societies produce and investigates the states of’anxiety that result.
In Tokyo Train, Kim Yong Hee worked around the’ recording of natural phenomena, and in particular on the interactions between light and speed, in a journey aboard a train from the suburbs of Tokyo. Candice Inc proposes with In betweens a dive into images of’archives of her childhood, presented in distortion or projected, through which she seeks to articulate her experience of the emotional ends of bipolarity.
Chris Lashbrook by summoning the’ spirit of’evocation of’El Duende, engages a conversation between colors and natural forms, manufactured, and produced by light.
Una Laurencic worked around abandoned castles in Estonia. The images, created analogously and printed on microfiber, question the uncertain fate of places of power.
Chris Lee’s presents part of his project Fake Paris in which he juxtaposes urban and natural scenes that begin to shape the whole of Paris. The series is the result of’ a questioning around emptiness and fullness, and the shifting link between environment, urbanism and inhabitants.
By summoning music and dance in his project Counterpoint, Valerie Smith makes natural landscapes and forms interact with dance choreographies and questions the influence of our gaze as much as that of nature on human creations.
Peggy Stevenson’s she has been documenting her city of Chicago since 2008 through a practice of color and black and white photography, in which she seeks to capture the energy of this city as much as its diversity and struggles.
In The Waves Below Sofyan Syamsul reflects on sustainability and threats to the environment, exploring the depths of the oceans troubled by human waste.
As an instrument of research or documentation, photography informs, but, being not constrained by the physical limits of the « real », like any other medium, it allows artists, as much as’aux spectators, to move in poetic and singular areas of oneself.
Passed through the filter of the subjective vision of their authors, images can mean beyond their representation. This possibility of transcending what is represented to bring the viewer to the field of the sensitive and the sign makes the’image a powerful tool of awareness and’engagement.
Marie-Cecile Berdaguer – Margalit Berriet
exhibition curators
In collaboration with Mila Ovchinnikova
Director and founder of The AiR Arts
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