This collective exhibition explores the third dimension of the image, its hidden face, its folds and hollows, real or symbolic; an off-camera still/already there, which could escape representation and which contains information, unsuspected fictional or plastic potentials. The collected works shake the fixity of the point of view, the posture of observation, and propose to upset the order of things; nothing is fixed, like a beat.

While, in common use, photographs most often end up in a “dematerialized” form (stored as encrypted data in files, they are rarely updated beyond the perimeter of the screen), the artists invited by the CPIF consider the photographic print not as a simple surface, but question the photographic image and its support as an object.

From several generations, these artists go back, displace the processes, procedures and accepted attitudes of image production, and shake up reception habits. Their research enriches reflexive approaches to the medium, while in the field of theoretical research, the definitions of “the” photography are constantly evolving.

With works by:
Juliana Borinski, Delphine Burtin, Pascal Convert, Marina Gadonneix, Mark Geffriaud, Agnès Geoffray, Isabelle Giovacchini, Nicolas Giraud, Isabelle Le Minh, Mathieu Mercier, Aurélien Mole, Constance Nouvel, Silvana Reggiardo, Clare Strand, and Maxime Thieffine.
Nicolas Giraud's proposal includes works by Victor Kane, Ayako Kiyosawa and Charlotte Moth.
And for the record, the facsimile of Hippolyte Bayard, Self-portrait as a drowned man (1840)