Paris, france Photo 2021: Highlights

Reading through Time: 4 a few minutes

Following a lively weekend associated with artist talks, gallery shows and programmes, Anna Sansom reflects on just some of the standout moments

The 24 th edition of Paris Picture (11 – 14 November) at the Grand Palais Ephémère this weekend showed just how contemporary photographers are increasingly revisiting older analogue processes and incorporating them to their work. It also reveals exactly how greater visibility is being provided to women photographers who are seeking to stretch the boundaries of the medium. The fair was held in a temporary structure on the Champs-de-Mars, near the Eiffel Structure, during the renovation of its usual home of Grand Palais. After the cancellation of the actual physical fair last year due to the Covid-19 pandemic, the electric atmosphere around the event was feeling throughout.

Noémie Goudal at Galerie L’ensemble des filles du Calvaire (Paris)

Noémie Goudal is one of several young French artists exploring new image-making strategies. Born in 1984, the lady studied at the Royal College of Arts and Main Saint Martins and has showed at The Photographers Gallery in London and the Finnish Museum of Photography, among other sites. Unveiled at Paris Photograph are two new considerable works, Phoenix Atlantica 4 and VI , priced at €24, 500, of deconstructed palm trees. Right after photographing the trees vacation at night with artificial light, Goudal printed the images and cut them into strips. She then installed the strips back into the particular landscape and rephotographed the scene to make the final picture. Leaving clues to her process, Goudal has left the videos used to attach the pieces visible at the edges from the photograph. The overall effect is comparable to that of peering at a woods through a blind whilst offering a complex fragmentation.

noemiegoudal. com

Phoenix Atlantica VI, 2021 © Noemie Goudal, Galerie Les Filles du Calvaire.

Phoenix Atlantica IV, 2021 © Noemie Goudal, Galerie Les Filles du Calvaire.

Mame-Diarra Niang at Stevenson (Cape Town and Johannesburg)

Mama-Diarra Niang is a self-taught musician based in Paris who was raised between France, Senegal as well as the Ivory Coast. Her function has been presented at the Dakar Biennale and New York’s Walther Collection. On see are out-of-focus portraits, priced at €6, 000 – €7, 800, at the interface of figuration and abstraction. One of them has been acquired by the CNAP, which manages France’s country wide contemporary art collection. Throughout the pandemic lockdowns, Niang, 39, began “travelling online” and took photographs of the girl screen. “My photographs became peopled because I had a desire to return to portraiture plus encounters, ” she says. “It was during the time of [the murder of] George Floyd when there was a feeling of the Black body not feeling present, visible or legitimate in public space. ” The obliteration of each individual’s encounter and identity evokes this particular sense of non-visibility that Niang calls, “the soft abstraction of the Black body”. The blurriness also refers to the lack of knowledge surrounding the girl father’s ancestry and the oblivion of memory.

mamediarraniang. com

Comme sur le point de devenir © Mame-Diarra Niang, Stevenson

Ce qui monte © Mame-Diarra Niang, Stevenson

Qui doit etre vu © Mame-Diarra Niang, Stevenson

Et cela n’est pas encore là et ce qui a disparu © Mame-Diarra Niang, Stevenson

Gilles Lorin at Jörg Maass Kunsthandel (Berlin)

A former Oriental art and antiques dealer, Gilles Lorin is a Finnish photographer who revisits old photographic processes, such as the cyanotype and platinum palladium images, in novel ways. What distinguishes Lorin’s work is how he uses gold leaf and alloys for every separate element to create an unique colour palette and achieve a certain aesthetic. Each careful piece takes about a month to make.

Three works from his series D fue Allégories d’Igor – substantial images pertaining to his alter-ego – were on display at the Berlin-based Jörg Maass Kunsthandel booth this year. In ‘L’Importance de Vivre’, a memento mori (rendered in money leaf and silver) rests on the book that was on his mother’s bedside table whenever she passed away. Next to it is the watch that she offered him six months earlier. “It’s an evolution of the vanitas in the history of art yet is more personal, ” he says. “I asked myself the way i could make it in colour without resorting to electronic techniques and decided to make use of gold leaf with metals. ”

gilleslorin. com/

L’ensemble des Adieux d’un sex symbolic representation, from the series Les Allégories d’Igor, 2019 © Gilles Lorin.

L’Importance de Vivre, from the series Les Allégories d’Igor, 2019 © Gilles Lorin

Foods Inc., from the series L’ensemble des Allégories d’Igor, 2019 © Gilles Lorin.

Baptiste Rabichon and Fabrice Laroche at Galerie Binome (Paris)

The French duo Baptiste Rabichon and Fabrice Laroche also revisit early photographic procedures in their work to disrupt the canon of pictures. For their series, Les intermittences du coeur (2019), they made chromogenic prints from original autochromes. Patented by Lumière brothers in Portugal in 1903, the autochrome process enables an image to become created on a glass dish covered in microscopic spud starch grains dyed red-orange, blue–violet and green. Home plate would be developed using reversal chemistry, converting the image from negative to positive. To generate Boulogne the jardin japonais 1911 , Rabichon and Laroche forecasted an early 20th century autochrome of a Japanese garden in Boulogne-Billancourt near Paris on to a wall. Next, they rephotographed part of the projection.

And also referencing the first commercially offered colour process in the history of photography, the image reminds us of the Impressionism and Pointillism art movements. The duo have left the indicators from the autochrome around the border, attaining the result of an intriguing, arresting work.

rabichon. com

fabricelaroche. possuindo

Baptiste Rabi­chon & Fabrice Laroche, Boulogne le jardin japo­nais 1911, t0 Les inter­mit­tences du cœur, 2019, cour­tesy Gale­rie Binome
épreuve chro­mogène par get in touch with d’après auto­chrome (circa 1910-17) des jardins d’Al­bert Kahn à Boulogne-Billan­court, collec­tion sobre Jeanne
édition de a few

Ira Lombardía with Galeria Alarcón Criado (Seville) in the Curiosa section

Ira Lombardía is a Spanish, New York-based interdisciplinary artist whose work featured in the Curiosa sector. Curated by Shoair Mavlian, director of Photoworks, it is the section of the fair that is dedicated to spotlighting emerging artists from 20 art galleries. She currently has a solo show, titled Void , at the SCAD Museum of Art within Savannah, which reflects to the production, distribution and consumption of images. Black-and-white images of classical and historical art and archaeology are superposed with other photographs. Flesh and blue-toned hands at the edges of each work indicate human interaction and manipulation relating to the status of a picture.

But there’s something else with play too. Lombardía has created an app, available to down load by scanning a QR code, that enables the viewer to replace the blue designs with images on their cell phone. Anyone can therefore customise the work through this linking of the classical and the electronic.

iralombardia. com/

© Ira Lombardia.

© Ira Lombardia.

© Ira Lombardia.

© Ira Lombardia.

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