A PPR OC HE: The picture is out of the frame!
We were curious to see this second edition of A PPR OC HE, the latest of the photography fairs. It confirms a pioneer’s bias.
A small living room, certainly, but which conceals some nuggets. His main strength is a plastic photographer without borders, a laboratory that does not forbid itself any support and the photography goes out of the frame. Here we can see a portrait delicately printed on a sheet, silos or factories on aluminium plates as a contemporary version or a vibrant tribute to the photos of Bernd and Hilla Becher
In this former house that lives Molière in these walls, the photography is cut under the cutter of the Franco-Japanese duo composed of Thomas Sauvin and Kensuke Koike. The artists offer us a reinterpretation of old black & white portraits by cutting out shapes that are replaced according to a particular geometry. In this period of commemoration of the centenary of the end of the First World War, these portraits of smashed faces resonate in an incredible way
Photography is also done sculpture or sewing under the fingers of Marianne Csáky which, presented by the Inda Gallery, offers astonishing works. She gives her images a whole new narrative with flattened fabrics sewn on these images, or with a whole colorimetric work on negatives under glass embedded on metal structures, or even on, other works, with a set of intersecting polygons reinforcing in all these cases a certain dramaturgy.
She’s instantaneous with the Polaroïdioties of the sculptor Erik Dietman. The Papillon gallery presents a series of Polaroids on the borderline of abstraction. A work less known to this artist who nevertheless had a real talent as a photographer.
It still looks like archaeological remains with the work of Vittoria Gerardi which offers us a visual and mental experience of the landscape. The young Italian photographer presents her own perception of the landscape of the Valley of Death, a desert, arid and warm place. The photographer uses parts of the negative as fragments of landscapes to build symbolic boundaries between matter and time, between space and light, as well as to better mark the landscape with a scar, that of an imaginary horizon. It also features white plaster cubes from which emerges a ribbon of photographs of this desert, inviting us to imagine the remains of a distant mineral time.
It is formal and poetic under the work Marie Clerel represented by the Binomial gallery. Indeed, the photographer proposes a calendar in the form of a series of cyanotypes that were revealed in daylight at noon. These small rectangles mounted like a calendar show a symbolic and poetic vision of the sky every day and over a month. The summer months can easily be distinguished from the winter months by the intensity of the bruises. Quite astonishing works which, through an extremely rigid protocol, manage to soften us up.
A salon that, as its name suggests, reveals another approach to photography, a photography free of dogmatic thoughts.
A PPR OC HE
40 rue de Richelieu
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