Contrary to what certain people think, this exhibition is not about the history of the photographed object, that is to say, following the opinion of what could be qualified as “stil lie”. Instead, the reference is made to the “photographic object”. Which is to say that it is photography (the printed photograph) that is the precise “object”. A definition that imposes itself a bit more every year considering the research and the historic discoveries.

Anne Cartier-Bresson, curator of the exhibition and Director of ARCP (Atelier de Restauration et de Conservation de la Ville de Paris), reminds us that the support of the photographic image is an object that deserves urgent preoccupation.

“The upcoming generations are starting to know less and less about the existence of film, so it must be known the way in which these images were obtained, what was the process of creation through time and history. Least of all to know the way in which to restore them. This proves, if there was any need, that these evolving techniques that do in fact degrade and deteriorate, are truly ‘objects’ ”.

These basic thoughts have helped Anne Cartier-Bresson imagine the conception of this exhibition. They have also motivated the “Photography Technical Vocabulary” (Marval/Paris-Musées 2008), a work of reference in the matter, also under the direction of the exhibition curator. She has faced a double constraint: to show the old processes but only insofar as they have been used by contemporary creators that contribute to preserve memory. And equally so as to show that all new processes have had an influence on the visual aspect of images and that technical innovation and photo creation are often intimately linked.

The 185 images displayed in the exhibition mark the path through three main chapters: The photographic device, Monochromatic photography and The color processes. The pictures have been obtained from numerous institutions, the Maison Européenne de la Photographie, naturally, but also the Musée Carnavalet, the Musée Bourdelle, the Musée d’Art moderne de la Ville de Paris, the Maison de Victor Hugo, the Bibliothèque historique de la Ville de Paris, the Société Française de Photographie, the Musée national d’Histoire naturelle and the Institut de France… or simply straight from the artists. The visitor will find all along the visit a large number of texts explaining the processes and the techniques used.

I. The Photographic Device

This first part concerns the objects caught directly by the device: contact stills, pinhole through “camera obscurs” with or without a lense. Each of these devices generate negatives.

The exhibition opens with a large print of the entry door window of the second floor of the MEP, taking its place. It was taken by Claire Chevrier, juxtaposing it over the subject itself and occupying the cover of the Photo Poche editions.

The contact stills feature two works by Anna Atkins (1789-1871) faced with a large still by Nancy Wilson-Pajic. We also find naturally the first essays by William Henry Fox Talbot linked with the last luminograms (made with moonlight) by Ilan Wolff. Or even a luminograph by Man Ray or the contemporary pinholes (negative and positive) by Ian Paterson.

On Thursday May 26th at 6 PM the exhibition presentation by Anne Cartier-Bresson, exhibition curator, accompanied by a keynote speaker.
 
References

“L’objet photographique, une invention permanente”
Actes Sud Editions, “Photo Poche” Collection Text by Anne Cartier-Bresson and Françoise Ploye, 208 pages. On sale end of April 2011.
 
“Le vocabulaire Technique de la Photographie” under the direction of Anne Cartier-Bresson Marval/Paris-Musées,  496 pages 245×290mm
 
Bernard Perrine
Bernard.Perrine1@orange.fr
 
  
“L’Objet Photographique, Une invention permanente”
April 20 – June 19, 2011
Maison Européenne de la Photographie
5-7 rue de Fourcy
75004 Paris