<\/p>\n
The Tilted Horizon Theory<\/strong> The Tilted Horizon Theory is a project inspired by flatist theories (according to which the Earth is flat). It is a question of questioning \u2013 not without humor and derision \u2013 the framing of the image as such as well as the evidentiary value attributed to the photographs. The whole thing begins like a fable: in 2019, Anne-Lou Buzot finds a cardboard box in the cellar of a family home. Inside, carefully recorded photographic documents. Most belong to a curious institution, The New Inclined Horizon Society. The photographer then opens a photographic investigation which allows us to retrace the history of this incongruous theory and these\u2026 stunning images.<\/p>\n Godmothers Autumn Flora, Impressions of a Wild Nature <\/strong> Flore d\u2019Automne is like a poem where nature awakens every day of autumn. Am\u00e9lie Chassary went to explore the forests of Bourgogne Franche Comt\u00e9 to glean the hues of these spectacular months, where nature passes from life to death in a drape of ever-changing colors. Branches, mushrooms and berries are captured in the workshop under the light of day, the brushes then come to tickle the leaves of the trees. From the outside to the intimate, from photography to painting, Am\u00e9lie Chassary humbly reminds us of the enchanting power of this familiar nature<\/p>\n Godmothers FIRE)(SCAPES<\/strong> The planet is burning spectacularly. The bush and those who inhabit the forests of Victoria went up in smoke in 2019, and the images taken by Juliette-And\u00e9a Elie just three years earlier on these territories too quickly became the archives of a vanished world. Without giving in to the temptation of nostalgic evocation, the photographer seizes this state of affairs to plastically question this tragic shift. The images are colonized with scientific data, duplicate and overlap to evoke the overlapping and fragility of our ecosystems. A veritable constellation of singular photographic objects that weave poetic paths between the beginning of disasters and the fertility of life.<\/p>\n Godmothers Camille Gharbi<\/strong> This photographic work highlights the perpetrators of violent acts within couples, who are engaged in a process of reflection on taking responsibility for the acts they have committed. Through these people, our entire society faces its own violence. Violent spouses are not monsters living on the margins, but individuals who are most often very well integrated into the world in which they live. Their actions, due to their systemic aspect, speak to us about our world, its brutality, its injustice. This series is the second part of a long-term project that Camille Gharbi devotes to domestic violence, initiated with \u201cPreuves d\u2019amour\u201d. The extracts from this series were produced with inmates from the Vivonne penitentiary center, in the Vienne, in spring 2021, thanks to the support of SPIP86.<\/p>\n Godmothers Les D\u00e9sob\u00e9issances<\/strong>
\nAnne-Lou Buzot<\/strong><\/p>\n
\nRapha\u00eble Bertho, Lecturer in Arts, Exhibition Curator
\nEmilia Genuardi, Founder of salon A PPR OC HE & Director of CCR OC HE \/ Cultural Conten<\/strong>t<\/p>\n
\nAm\u00e9lie Chassary<\/strong><\/p>\n
\nJulie Champin, Cultural projects coordination \u2013 Art purchase \/ Regard Suspendu
\nCl\u00e9mentine de la F\u00e9ronni\u00e8re, Gallerist and publisher, Cl\u00e9mentine de la F\u00e9ronni\u00e8re gallery \/ Maison CF<\/em><\/p>\n
\nJuliette-Andr\u00e9a Elie<\/strong><\/p>\n
\nVal\u00e9rie Henry, Artist Agent
\nCaroline Stein, Patronage Manager \/ Neuflize OBC Bank<\/em><\/p>\n
\n Monsters don’t exist <\/strong><\/p>\n
\nCorinna Schack, Photographers Agent \/ PHOM
\nV\u00e9ronique Prugnaud, Editorial and Development Director \/ The Eyes and The Eyes +<\/em><\/p>\n
\nLes D\u00e9sob\u00e9issances (the disobediences) presents itself in the form of a photographic ecosystem which unfolds around the idea of \u200b\u200becofeminism – the thought that the oppression of women and the oppression of Nature find their source in the same causes, and that the liberation of each of them can only function if the other is liberated at the same time, as well as of all other types of oppression that govern the world. A complex set of relationships that the photographer attempts to map and then highlight in installations. An essay which constitutes a form of breeding ground, rich in paths which will take root or remain in seed form. The Brands, one of the first parts of the work, establishes a parallel between the control of life by giant seed seller and the control of women’s bodies in media and advertising imagery.
\nHere free seeds (or country seeds), prohibited for sale in many countries because they are considered \u201cheterogeneous and unpredictable\u201d, are put in relation to these smooth skins of glossy paper. As it grows, the plant colonizes these faces which find defects, cracks and wrinkles again, as well as the possibility of the random and the unexpected.<\/p>\n