1 - Christoph Sillem, Sempervirens
Presented by Pauline Martin
2 - Martin Parr, Singapore Portraits
3 - Ludovic Burel, Border
Presented by Véronique Terrier Hermann
4 - Albert Hasselwander, Une Danse macabre anatomique
Presented by Christoph Schifferli
5 - Marc Renaud, Security in Blue
Presented by Daniel Girardin
6 - Type A Trigger
Presented by Kevin Moore
7 - Luciano Rigolini, L’Effacement du réel
Presented by Sam Stourdzé
8 - Anonyme, La Vie en bleu
Presented by Martin Crawl
9 - Mabe Bethônico, Invisibilidade Mineral
Presented by Joerg Bader
10 - Roland Penrose, The Road is Wider than Long
Presented by Antony Penrose
11 - Alain Baczynsky, Naufrages
Presented by Clément Chéroux
12 - Heike Bollig, Errors in Production
Presented by Erik Kessels
13 - Roger Dambron, Le Jeu des photos-robot
Presented by Clément Chéroux
14 - Eric Baudelaire, Of Signs and Senses
Presented by Véronique Terrier Hermann
Having shifted from the documentary status to that of a work of art, and as its format has increasingly been enlarged to reach that of paintings, what can be said about photography today? Clearly, the renewal is no longer in the realm of aesthetics. It is not photography in itself that is changing so much as the way we have come to look at it.
Now that its Institutional recognition has been established, the time has come for a deconstruction of the reference models; a task clearly assumed by ELSE in claiming that not only should photography be looked at frontally, but it should also be considered sideways.
Since along side Photography stands the other photography. A gigantic collection of images ready to be stimulated: scratched photography (Eric Baudelaire), collected photography (Ludovic Burrel or Martin Parr), cut-out photography (Dambron), target-photography (Type A), printed photography (Danse Macabre), painted photography (Luciano Rigolini)… This ordinary photography reaches the pages of ELSE because it carries a power of fascination for what it has been, and a power of attraction for what it can become; as utilitarian images liberate their poetry within the movement of disruption operated by all those who take hold of them.
A few decades ago already, photography was highly controversial in stating that the act of looking was creating, but nowadays, identifying, appropriating, seeing, is also creating. Thus is defined the Elsean dialectic, one issue after the other, praising along side those who do, the gaze of those who see.
Director of the Musée de l'Elysée (2010-2014)
Born in Zurich in 1955, lives and works in Geneva. Director of the Centre de la photographie Genève, curator, art critic, professor at HEART in Perpignan and artist, his work has been exhibited in Paris, Antwerp and São Paulo. He has written about very different artists such as Georg Aerni, Luc Andrié, Balthasar Burkhard, Orlan and Tom Wood.
Photography Curator at the Centre Pompidou – Musée national d'art moderne. A Photography Historian and Doctor in Art History, he runs the magazine Etudes photographiques. He curated the exhibitions Mémoire des camps: photographies des camps de concentration et d’extermination nazis, 1933-1999 (2001), Le Troisième oeil: la photographie et l’occulte (2004), La Subversion des images: surréalisme, photographie, film (2009), Shoot! La photographie existentielle (2010), Edvard Munch: l’oeil moderne (2011), Derrière le rideau, l’esthétique Photomaton (2012).
Artist born (1967) in the United States, he lives and works in Paris. He recently published En rêvant à partir/After (coll. No Picture Available, Musée de l’Elysée, June 2011). The series Where to be when the past is over was shown in Arles, as part of the exhibition From Here On (2011). The series Portrait of the Artist as a Daring Young American was exhibited at Paris Photo (2011). He has also published a text in the catalogue released on the occasion of the exhibition Derrière le rideau, l’esthétique Photomaton (2012).
An art historian and Head Curator at the Musée de l’Elysée, he has curated a number of exhibitions and authored several books on photography, including Alexandre Rodtchenko, La femme enjeu (1997), Controverses, Une Histoire juridique et éthique de la photographie, with Christian Pirker (2008), Hans Steiner, Chronique de la vie moderne, with Christophe Blaser (2011).
Creative Director at KesselsKramer, an independent international communication agency located in Amsterdam and London. Kessels (1966) published several books of vernacular photography through KesselsKramer Publishing, including the In almost every picture series. He is one of the editors for the alternative photography magazine Useful Photography, along with Hans Aarsman, Claudie de Cleen, Julian Germain and Hans van der Meer. Kessels was granted the Amsterdam Award for the Arts in 2010.
In charge of Special Projects at the Musée de l’Elysée, where she is also Chief Curator for the Nuit des Images. She has authored several articles on photography and recently published L’OEil photographique de Daniel Arasse - Théories et pratiques d’un regard (Fage éditions, 2012).
Independent curator and scholar, living in New York. His recent exhibitions include Real to Real: Photographs from the Traina Collection (de Young Museum, San Fransciso, 2012) and Starburst: Color Photography in America 1970–1980 (Cincinnati Art Museum, 2010). He is also the author of Jacques Henri Lartigue: The Invention of an Artist (2004; 2012 for the French edition), as well as contributing author to L’Art de la photographie: 1839 à nos jours (2007) and Robert Heinecken (2012).
Photographer, curator and editor. He has published over 50 books.
Son of Lee Miller and Roland Penrose, Antony Penrose is the director of the Lee Miller Archives and The Penrose Collection. He has written numerous books (including The Lives of Lee Miller, 1985), articles, and two plays about his parents and their associates. He lectures widely worldwide to museums and photographic societies and is accredited by NADFAS.
Born 1950 in Zurich, he studied Sinology and Economic History in Paris; in 1980, he undertakes research in Asia, and works in various positions in publishing and technology sectors. Since 1983, he’s mostly focused on multimedia and Internet. Christoph Schifferli collects photography and artists’ books since the 1980s.
Director of the Musée de l’Elysée and Chief Editor for ELSE from 2011 to 2014. For many years now, he studies the mechanisms at work in the dissemination of images, with a focus on the links between photography, art and cinema. He has published several books and curated many exhibitions, including Le cliché-verre de Corot à Man Ray, the retrospectives Dorothea Lange and Tina Modotti, Chaplin et les images and Fellini, La Grande parade.
Véronique Terrier Hermann
A Doctor in Art History and Professor at the Ecole supérieure des beaux-arts in Nantes, she focuses more specifically on how contemporary art interplays with cinema and documentary.