For ten years, Galerie Binome has been exploring new forms and limits of photography. For its second participation in Art Rotterdam, Galerie Binome proposes “Between two”, a group exhibition of four artists Laurence Aëgerter, Anaïs Boudot, Thibault Brunet and Marie Clerel. The selection of works revisited the landscape approach in photography, shaking up all the traditional markers of the medium. Between the real and the virtual, representation and abstraction, the visitor is no longer certain whether it is real or fictional. The importance of works on textiles (tapestry, sheet) or glass, their volume in space (photogrammetry, sculpture) or their sequential development (calendar, video) allows us to think about contemporary photography in a very current way What can be a dual movement of repurposing old processes or extrapolating new technologies in the field of photography.
Longo May, 2013 – 2020
The Longo Maï series originates from the web and is based on a dozen digital images collected by the artist. They are anonymous, low-resolution photographs that Laurence Aëgerter transformed into ornate jacquard tapestries using the art of displacement.
The name Longo Maï is an expression from Occitany, the region of origin for the artist who grew up in Marseille. This Provencal phrase, used to raise a glass to say: “May your happiness last forever”. Laurence Aëgerter, in turn, avoids this delicate balance by turning simple holiday photos lost in the depths of the web into monuments to the joy of the moment.
Laurence Aëgerter’s Longo Maï is an ode to life that weaves a little story of photography in metaphorical form. It turned out that it was the latent image that was waiting for the light to bring the memory to the surface.
Un rayon dans cette mer sur une lune, 2019
The title of the series, Un rayon dans cette mer sur une lune (A ray in this sea on a moon), borrowed from Rainer Maria Rilke’s poem Into the Night (1916), evokes the movement of our gaze into the world, our uncertainty. The stones of the Basque coast, eroded by tides and winds, have recreated the map with their currents, riverbeds, mountains and craters, with a rough and shiny materiality. One can see aerial photographs of distant planets or moons, can travel through their twists and turns by imagination, and can read graphic symbols drawn by the elements. Whether microscopic or macroscopic, these territories can only be inhabited by our projections… In short, they are ephemeral objects on our imagined journeys.
Midi (Noon), 2017-19
For the Midi series, Marie Clerel has a date with the sun. Every day at noon, she exposes a sheet of UV-sensitized photographic paper using a blue-type chemical for the same given time. In these everyday gestures, every subtle change in the material – the roughness of the paper, any manual application – resonates with the changing weather. Referencing the classic French monthly calendar format, each piece consists of 29, 30 or 31 prints in blues, with shades of blue alluding to the sky, clouds, mist, airplane trails or bright night.
Untitled (Ciels ‘Skys’), 2016-20
With another series of blue prints, Untitled (Ciels), which began in 2016, Marie Clerel developed a set of protocols, like the ritual of encountering the sun when she travels. The large cotton sheets she soaked in the chemical bath before departure were thrown in a suitcase before being exposed to the sky: this unique piece was taken from this place and time.
Territoires circonscits (restricted area), 2016-18
The « Territoires Circonscits » project, launched in 2015, is a study inspired by the photographic missions of the last century (FSA, DATAR). On the French coastline, Thibault Brunet is equipped with a 3D scanner to capture 360-degree panoramas of its surroundings, producing images that are almost 3D models. By exploiting these landscapes in virtual reality, he exploits the ambiguity of the image’s location to reveal its narrative potential. Far from reality, these areas are pretty much the backdrop of a movie scene.
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