Cover: Olivier Culmann, The Others, 2013


1 - Joana Hadjithomas et Khalil Joreige, Archéologie de notre regard: Les fils éléctriques, 1988-1998
Presented by Véronique Terrier Hermann

2 - Tommaso Bonaventura, If I Were Mao
Presented by Sam Stourdzé

3 - Henryk Mierzecki, The Working Hand, Photographs by Janina Mierzecka
Presented by Karolina Ziebinska-Lewandowska

4 - Un Dimanche après-midi
Presented by Anne Lacoste et Caroline Aubert-Neulas

5 - Jean-Marie Donat, Série #12 – Rorschach
Presented by Véronique Terrier Hermann

6 - Thirty-six Polaroids 
Presented by Joachim Schmid

7 - Olivier Culmann, The Others
Presented by Clément Chéroux

8 - Some Balloons by Jens Klein
Presented by Sebastian Hau

9 - Martina Kubelk, Une Vie rêvée de femme
Presented by Sam Stourdzé

10 - Peter Miller, Photuris
Presented by Clément Chéroux

11 - Danièle Laurent, L’Unique apparition d’un lointain aussi proche soit-il
Presented by Clément Chéroux

12 - Simon Rimaz, Unusual View of Unknown Subjects
Presented by Pauline Martin

New Ways to Consider Photography

Photography is everywhere. It is exhibited both in museums of Contemporary Art or of Ethnography, and artists themselves eschew categorization using a variety of media for what they are. Within a few decades, photography found its place in the field of Art.

Yet, that same question arises again: “Why photography?” Yesterday, the interrogation highlighted the doubts raised about it by Art History; today, it questions the interest of its autonomy, and encourages it to bridge gaps.

The History of Photography has become a field of its own; it explores new territories while new approaches support research. Photography is not painting; it now claims its transversality. Photography is no longer displayed as a selection of masterpieces, but for what it can convey as cultural object. Its history is one of aesthetics, but it is also visual, cultural, social, technical… No longer an object of contemplation, photography is being reconsidered within its production or distribution contexts.

Photography today reinvents itself, and ELSE simply exposes it.

Sam Stourdzé
Director of the Musée de l'Elysée (2010-2014)


Caroline Aubert-Neulas
Caroline Aubert-Neulas is an architect and has been involved in photography since 1990. Among other issues, sh focuses on the representation of women in various fields and genres. Her series on similar issues are distinctively ironic or poetic.

Clément Chéroux
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).

Erik Kessels
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.

Sebastian Hau
Sebastian Hau (1976) works as the artistic director of LE BAL Books in Paris. Together with Yellow Magic Books, he has worked on book objects with Daido Moriyama, Susan Meiselas and Sylvain Couzinet-Jacques. With Olivier Cablat, he organizes a production-driven event during the professional week of the Rencontres d'Arles, under the title Cosmos for the 2014 edition. He has published reviews in Foam, IMA, Photo-Eye, and other magazines.

Anne Lacoste
Anne Lacoste is curator at Musée de l'Elysée. Holding a PhD in Art History, with a focus on 19th century photographic practices in archeology in the East, she initiated her curating career in 2005 at the J. Paul Getty Museum in Los Angeles. She has worked on a number of exhibitions and publications covering the history of photography: Paul Strand; American Contemporary Photography; Luc Delahaye; The Portrait; Irving Penn; Felice Beato; Sky; Photomaton; Private collections; and Philippe Halsman.

Joachim Schmid
Joachim Schmid (1955) is a Berlin-based artist who has been working with found photographs since the early 80s. His work has been exhibited internationally and is included in numerous collections. In 2007, Photoworks and Steidl published a comprehensive monograph, Joachim Schmid: Photoworks 1982–2007, on the occasion of his first retrospective exhibition.

Sam Stourdzé
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.

Karolina Ziebinska-Lewandowska
Karolina Ziebinska-Lewandowska, PhD (1975), is curator and art historian specialized in the history of photography. She is co-founder and head of the Foundation for the Archeology of Photography-the first NGO in Poland dedicated to the conservation of photographic archives. From 1999 to 2010, she worked as curator at the Zacheta National Gallery of Art, developing a remarkable program of photo-exhibitions. Since March 2014, she is curator at the Photography department at the Centre Pompidou in Paris.

Other issues

ELSE Magazine previous issues, since June 2011.

Read more