La photographie à l'épreuve de l'abstraction

20 - 27 November 2020
  • with Marina GADONNEIX, Isabelle LE MINH and Hannah WHITAKER.


    In partnership with the Fonds Régional d’Art Contemporain (Frac) Normandie Rouen and Micro Onde - Centre d’Art de l’Onde, the Centre Photographique d’Île-de-France (CPIF) has produced an exceptional three-exhibition programme that will be presented simultaneously in the three venues. This collective exhibition focuses on the question of abstraction in the field of contemporary photography. 

    La Photographie à l’épreuve de l’abstraction invites visitors to explore the strong new ties between photography and abstraction. The exhibition’s four complementary sections address this flourishing current of abstraction, which informs a multitude of approaches and which is closely linked to the evolving status of the image and the rapid rise of new technologies since the 80s. 

    The CPIF has opted for a formalist approach that uses color to immerse visitors in the exhibition. 
    The exhibition at Micro Onde - Centre d’art de l’Onde focuses on a resolutely experimental and materials-based approach to photography.
    Frac Normandie Rouen explores three aspects with a first section that considers an almost archaeological approach to photography. Conversely, the second section brings together artists whose quest for abstraction is above all dependent on technological process that can be complex in nature. 

    Curators : 
    Nathalie Giraudeau, Director of the CPIF
    Audrey Illouz, Responsable of the Onde - Centre d’art de l’Onde
    Véronique Souben, Director of the Frac Normandie Rouen 

    Extract from the press release of the exhibition.

  • Marina Gadonneix was born in 1977 in Paris, where she lives and works.

    A graduate of the École nationale supérieure de la photographie d’Arles, Marina Gadonneix got NIÉPCE award in 2020, HSBC Photography award in  2006 and Dummy Book award from Luma Foundation and the Rencontres d’Arles in 2018. Her work has been exhibited in many institutions in Europe and the United States, particularly at the Centre Photographique d’Île-de-France, the Rencontres photographiques d'Arles, the Kunsthalle of Tübingen, the Point du Jour, in Cherbourg, and MOMENTA | Biennale de l’image at the Musée de Joliette, Canada. Her press review includes le Monde, Liberation, Telerama, Artpress, le Journal des arts, Etudes photographiques, Canadian Art,...

    "A photographer passionate about the “flipsides” of photographic images, or more exactly, by their implicit and “hidden” apparatus, which invites a given representation over another, the artist has eluded documentary photography. Instead of photographing artworks, she shows us their invisible frameworks (bases, backing canvases, etc.) – which disappear just as soon as the “expected” photograph will be made. Inlay backgrounds from film studios become blue or green monochrome landscapes, perceptual spaces akin to the immateriality of the immersive light works of James Turrell. Materiality and immateriality, colourful lights and spectrums, but also presence and ab- sence, reality and fiction are recurrent photographic dualities found in After the Image and that will reach their artistic maturity in the Phénomènes series; images of that which appears, but also of that which can hypnotise the gaze and sharpen the imagination, both through the incomprehension of sight and the conceivable of the unknown. Thus these latest images derived from research undertaken at scientific la- boratories that reconstitute the operations of natural phenomenon become these spaces of projection, as poetic as the names of the “scientific objects” for which they represent the theaters of our imaginations... supernova, black matter, or vortex..."


    Michelle Debat.

    • Marina Gadonneix, Untitled (Northern lights #8), 2016
      Marina Gadonneix, Untitled (Northern lights #8), 2016
    • Marina Gadonneix, Untitled (Northern Lights), 2016
      Marina Gadonneix, Untitled (Northern Lights), 2016
    • Marina Gadonneix, Untitled (Landslide) #2, 2016
      Marina Gadonneix, Untitled (Landslide) #2, 2016
    • Marina Gadonneix, Rock and sand, 2012
      Marina Gadonneix, Rock and sand, 2012
    • Marina Gadonneix, Nightlights, 2012
      Marina Gadonneix, Nightlights, 2012
    • Marina Gadonneix, Untitled (gravity), 2016
      Marina Gadonneix, Untitled (gravity), 2016
  • Isabelle Le Minh is a French artist born in Bad Salzuflen-Schötmar (DE) in 1965.
    She lives and works in Nogent-sur-Marne (FR).

    After working as a patent engineer in Berlin, ILM found her way to photography. Graduated from the Ecole Nationale Supérieure de la Photographie in Arles in 1996, Isabelle Le Minh is also curator and professor of photography at the Haute Ecole des Arts du Rhin in Strasbourg.

    Winner of the Prix Révélation livre d'artiste of the ADAGP in 2016, she notably has exhibited on the occasion of the Mois de la photo in Montréal, the Goethe Institut, Paris, Les Rencontres d'Arles, Paris Photo, the Centre photographique d'île de France, La Maison Rouge, the FRAC Normandie Rouen, the Musée des beaux arts de Mulhouse, and the MOCAK in Krakow. From the end of 2019 until March 2020, Isabelle Le Minh has exhibited at the CRP - Centre régional de la photographie hauts-de-france as well.

    Her work on the Alfred Ehrhardt (1901-1984) 's work, a notable representative of the German photographic avant-garde, presented as part of the exhibition Cristal Réel at the Goethe Institute in Paris, will be exhibited at the Alfred Ehrhardt Stiftung Berlin in 2020. That same year ILM's work After Photography will be shown at the Grand Palais as part of the exhibition Noir et Blanc: une esthétique de la photographie.

    Isabelle Le Minh explores the essence and limits of photography, reactivating its history, techniques and theories. Through a protéiforme and polysemic work, she questions the nature of the medium but also the notion of originality in a world dominated by the image.

    Using citation or diversion, her works play with words, signs and cultural codes, in a resolutely conceptual vein. Tributes and references to artists and art theorists, chemical processes, photographic equipment and new technological supports are all milestones that punctuate this photographic exploration.

    • Isabelle Le Minh, Darkroomscapes, after Hiroshi Sugimoto | D52, 2012
      Isabelle Le Minh, Darkroomscapes, after Hiroshi Sugimoto | D52, 2012
    • Isabelle Le Minh, Darkroomscapes, after Hiroshi Sugimoto | Dupont 57D, 2012
      Isabelle Le Minh, Darkroomscapes, after Hiroshi Sugimoto | Dupont 57D, 2012
    • Isabelle Le Minh, Darkroomscapes, after Hiroshi Sugimoto | Formule ID62, 2012
      Isabelle Le Minh, Darkroomscapes, after Hiroshi Sugimoto | Formule ID62, 2012
    • Isabelle Le Minh, Ipad 3, 2015
      Isabelle Le Minh, Ipad 3, 2015
    • Isabelle Le Minh, Ipad 1, 2015
      Isabelle Le Minh, Ipad 1, 2015
    • Isabelle Le Minh, Objektiv, 2015
      Isabelle Le Minh, Objektiv, 2015
  • Born in 1980 in Washington D.C (US), Hannah Whitaker is based in New York.

    Interested in structural limitations, she makes photographs by layering exposures onto 4×5 film through hand-cut paper screens. This accumulation of coded imagery allows the photographs to participate in various systems (linguistic, numerical, musical, and digital) and to form networks through shared vocabularies of signs. She holds a BA from Yale University and an MFA from the ICP/Bard College. Selected exhibitions include those at M+B, Los Angeles, Thierry Goldberg, New York; Galerie Xippas, Paris; Cincinnati Art Museum, Ohio; George Lawson Gallery, San Francisco; Tokyo Institute of Photography; Cherry and Martin, Los Angeles; and Rencontres d'Arles in France, where she was nominated for the Discovery Prize. Her work was recently selected for inclusion in the prestigious photography exhibition Foam Talent (2014) (traveling, Amsterdam, Paris and Dubai). She co-edited issue 45 of Blind Spot magazine and co-curated its accompanying show, The Crystal Chain, at Invisible Exports in New York. Selected press includes Frieze, Modern Painters, Los Angeles Times, Hotshoe, Libération, and Art Review, artpress, IMA, among others. Peer to Peer, Whitaker's first monograph, was published by Mörel Books.

    • Hannah Whitaker, Turf, 2015
      Hannah Whitaker, Turf, 2015
    • Hannah Whitaker, Welcome, 2015
      Hannah Whitaker, Welcome, 2015
    • Hannah Whitaker, Curtain Glitch, 2015
      Hannah Whitaker, Curtain Glitch, 2015
    • Hannah Whitaker, Cardholder, 2014
      Hannah Whitaker, Cardholder, 2014
    • Hannah Whitaker, Purple Paper, 2014
      Hannah Whitaker, Purple Paper, 2014
    • Hannah Whitaker, Limonene 23, 2013
      Hannah Whitaker, Limonene 23, 2013
    • Hannah Whitaker, Limonene 26, 2013
      Hannah Whitaker, Limonene 26, 2013