A renewed gaze on the matter of photography
When contemporary photography captures the landscape, it is less about making a direct representation than about a sensitive transcription. Mario Giacomelli (1925-2000) is one of its undisputed masters: he continuously roamed the territory of the Italian Marches to better grasp all its graphic power. Eva-Maria Raab and Ella Bats extend such an approach: the cyanotype images of the former are made from the swaying of the wheat ears they represent; the colored experiments of the latter from the very pigments of the landscape. Not to mention the paradoxical chaos of Renato D'Agostin or Nicholas Floch. With Emmanuelle Benjamin and Pierre & Florent, everything is a matter of gazes that, like those of animals, infiltrate closely to things. This is what Olga Caldas pursues to the point of embracing the trunks on which she lies down. If with Magali Asselin and Rosa Frei this relationship with nature becomes graphic purity, with Apollinariia Ilina and Daniel Nassoy, it becomes a symbolic (re)birth of the human. For photography allows, more than any other art, to play with the illusions of the real and the imaginary: that of a classic bouquet of flowers for Yasuo Kiyonaga, a fragment of landscape for Maya Inès Touam, the drawing of a hairstyle against a backdrop of traditional clothing for Thandiwe Muriu, or a nearly mythological landscape with Gaspard de Gouges.