Launch of the book Photo Against The Machine by Ann Massal

For three months, the MEP welcomed designer and photographer Ann Massal for a research residency on a publishing project combining the museum’s collections and artificial intelligence. This research is at the crossroads of creative writing, photography and artificial intelligence.

During her three-month residency, from 5 January to 20 April 2024, the artist was given full access to the MEP collection database. In a fictitious conversation, she asked an artificial intelligence a series of questions about 25 photographers from the collection who have left their mark on history. The questions addressed ranged from the art market and the photographic medium to more philosophical endeavours.

The project has led to the production of a book in collaboration with JBE Books. Part philosophical essay, part art criticism of one of the world’s most emblematic photographic collections, this photo book sheds new light on the world of photography from the perspective of the language of artificial intelligence.

A round table organised at the MEP on Thursday 26 September 2024 will provide an opportunity to find out about the various stages in the project’s development, including discussions with the artists and rights holders, as well as the publishing work carried out in close collaboration with the editorial board of JBE Books and the MEP collection team. Esther Ferrer, one of the photographers selected for the MEP Collection by Ann Massal, will also be taking part in the discussion. This meeting will be followed by a signing by Ann Massal from 8pm, in the MEP bookshop.

The artist

© Gilles Dacquin

Ann Massal

Born and working in Paris, after having lived in New York City and London, Ann Massal is a creative thinker and photographer who works in both the beauty and fine art worlds. She learned photography at St Martins School and also alongside JH Engström. Her work consistently conveys ambiguity, distorting our traditional perception of photography. She has been widely exhibited including Tribowl Incheon, CENTQUATRE Paris, Helsinki Photo Festival, Cadaques Photo Festival and more. His first book, The Eye of The Cyclops (Kehrer Verlag), won the silver medal for German Conceptual Book of the Year (2019), and his latest project On Love, Violence & The Lack of It was a finalist for the Prix Fisheye 2023 and exhibited in 2023 at the CENTQUATRE Paris as part of the Circulations Festival.

© Gilles Dacquin

JBE Books

Founded in 2011 in Paris, France and directed by David Desrimais, JBE Books (Jean Boîte Éditions) publishes books in the digital age, in the fields of arts, humanities and poetics with international artists and authors.

Document to download

Discover the next exhibitions Season at the MEP!

The MEP is proud to present Science/Fiction – A Non-History of Plants, from 16 October 2024 to 19 January 2025. In development since 2020, this exhibition retraces the visual history of plants through art, technology, and science from the nineteenth century to the present day. Bringing together over 40 artists from different periods and nationalities, this exhibition juxtaposes historic photographic works such as Anna Atkins’ cyanotypes, Karl Blossfeldt’s inventory of plant forms and Laure Albin Guillot’s microscope experiments with creations by contemporary artists such as Jochen Lempert, Pierre Joseph, Angelica Mesiti, Agnieszka Polska, and Sam Falls.

Galeries

Anna Atkins, Asplenium angustifolium,
Tirage cyanotype, 33 x 23 cm, c.1852
Courtesy Wilson Centre for Photography

Divided into six chapters, this exhibition’s structure is inspired by science fiction novels: Starting from the idea of a stable and identifiable world, it gradually descends into uncertain and unexpected landscapes. The first two chapters, entitled ‘The Agency of Plants’ and ‘Symbiosis and Contamination’ respectively, are devoted to so-called objective approaches connected to science. The following chapter, entitled ‘Beyond the Real’, is devoted to transcending the visible. The last three chapters, ‘Plants are Watching You’, ‘Plants and Political Fiction’ and ‘Speculative Fictions’, explore the links between science and science fiction, two fields that have used flora as a field for experimentation. Transcending the normative divisions between fiction and reality, science and art, the artists in this exhibition go beyond rigid categories to capture the complexity of plant life and our relationship with plants.

This exhibition offers an opportunity to explore the special relationship between photography and video, two techniques for capturing images that were first used for scientific research, and plants. Paradoxically, instead of creating a distance between us and the natural world, these photographic and cinematic processes have highlighted plants’ subjectivity, intelligence, and expressive capacity, compensating for our ‘anthropocentric myopia’.

By questioning our projections and representations of plants, this exhibition integrates narratives from science and science fiction as a means of creating new imaginary worlds. These narratives are not centred on the idea of progress and modernity, but rather are conceived in terms of the planet’s limits. These emancipatory stories go beyond an anthropocentric vision of the world, giving plants a place and a voice. They thus become a space for repairing our relationship with the natural world. To think about environmental change, we need to consider the political power of the imagination, to accept our hopes and explore our innermost fears, so that together we can continue to write a common future.

Anna Atkins, Asplenium angustifolium,
Tirage cyanotype, 33 x 23 cm, c.1852
Courtesy Wilson Centre for Photography

Studio

Poster, 2024 © Ludovic Sauvage

Du 16 octobre 2024 au 1er décembre 2024

Ludovic Sauvage — Late Show

The MEP Studio, a space dedicated to emerging art, will be presenting Late Show by French artist Ludovic Sauvage. On the edge of a liminal space-time, visitors will discover images in which poetry and science fiction coexist. By working with projected images, Sauvage questions our relationship with representation, space, and time.

Image from CORTEX, 2024
© María Silvia Esteve

Du 5 décembre 2024 au 19 janvier 2025

María Silvia Esteve — CORTEX

In the second half of the Season, the MEP Studio presents the first solo exhibition in France by the Argentine filmmaker María Silvia Esteve, whose immersive installation CORTEX deals with our relationship with memory and the subconscious.

  • Press release

    Available soon.

    Download
  • Visuals

    You will need a password to download the visuals. To obtain it, please contact us by email at the address above.

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Contact press

Contact MEP
presse@mep-fr.org
+33 (0)1 44 78 75 08

Agence Relations Media
Catherine Philippot
cathphilippot@relations-media.com
+33 (0)1 40 47 63 42

Discover the next exhibitions Season at the MEP!

The MEP is proud to present Science/Fiction – A Non-History of Plants, from 16 October 2024 to 19 January 2025. In development since 2020, this exhibition retraces the visual history of plants through art, technology, and science from the nineteenth century to the present day. Bringing together over 40 artists from different periods and nationalities, this exhibition juxtaposes historic photographic works such as Anna Atkins’ cyanotypes, Karl Blossfeldt’s inventory of plant forms and Laure Albin Guillot’s microscope experiments with creations by contemporary artists such as Jochen Lempert, Pierre Joseph, Angelica Mesiti, Agnieszka Polska, and Sam Falls.

Galeries

Anna Atkins, Asplenium angustifolium,
Tirage cyanotype, 33 x 23 cm, c.1852
Courtesy Wilson Centre for Photography

Divided into six chapters, this exhibition’s structure is inspired by science fiction novels: Starting from the idea of a stable and identifiable world, it gradually descends into uncertain and unexpected landscapes. The first two chapters, entitled ‘The Agency of Plants’ and ‘Symbiosis and Contamination’ respectively, are devoted to so-called objective approaches connected to science. The following chapter, entitled ‘Beyond the Real’, is devoted to transcending the visible. The last three chapters, ‘Plants are Watching You’, ‘Plants and Political Fiction’ and ‘Speculative Fictions’, explore the links between science and science fiction, two fields that have used flora as a field for experimentation. Transcending the normative divisions between fiction and reality, science and art, the artists in this exhibition go beyond rigid categories to capture the complexity of plant life and our relationship with plants.

This exhibition offers an opportunity to explore the special relationship between photography and video, two techniques for capturing images that were first used for scientific research, and plants. Paradoxically, instead of creating a distance between us and the natural world, these photographic and cinematic processes have highlighted plants’ subjectivity, intelligence, and expressive capacity, compensating for our ‘anthropocentric myopia’.

By questioning our projections and representations of plants, this exhibition integrates narratives from science and science fiction as a means of creating new imaginary worlds. These narratives are not centred on the idea of progress and modernity, but rather are conceived in terms of the planet’s limits. These emancipatory stories go beyond an anthropocentric vision of the world, giving plants a place and a voice. They thus become a space for repairing our relationship with the natural world. To think about environmental change, we need to consider the political power of the imagination, to accept our hopes and explore our innermost fears, so that together we can continue to write a common future.

Anna Atkins, Asplenium angustifolium,
Tirage cyanotype, 33 x 23 cm, c.1852
Courtesy Wilson Centre for Photography

Studio

Poster, 2024 © Ludovic Sauvage

Du 16 octobre 2024 au 1er décembre 2024

Ludovic Sauvage — Late Show

The MEP Studio, a space dedicated to emerging art, will be presenting Late Show by French artist Ludovic Sauvage. On the edge of a liminal space-time, visitors will discover images in which poetry and science fiction coexist. By working with projected images, Sauvage questions our relationship with representation, space, and time.

Image from CORTEX, 2024
© María Silvia Esteve

Du 5 décembre 2024 au 19 janvier 2025

María Silvia Esteve — CORTEX

In the second half of the Season, the MEP Studio presents the first solo exhibition in France by the Argentine filmmaker María Silvia Esteve, whose immersive installation CORTEX deals with our relationship with memory and the subconscious.

The MEP collection travels to the Espace Musées at Charles de Gaulle airport!

From 26 June to 08 December 2024, discover the Portrait of a Collection exhibition, in the Espace Musées, located in the heart of Gate M, Terminal 2E at Paris Charles de Gaulle airport.

The MEP has a rich programme of events devoted to showcasing the very best in contemporary photography. It also promotes the presentation of its collection by organising numerous exhibitions in-house, in France and abroad. The MEP’s collection is representative of international photography from the 1950s to the present day. It is devoted to the three major means of disseminating photography: the exhibition print, the printed page and film.

The collection of photographic works and artist’s videos comprises almost 25,000 works to date. It is presented in temporary exhibitions at the MEP and elsewhere. The collection of books and printed works comprises 36,000 items that can be consulted in the library, where 700 films by photographers or about photography can also be viewed.

For the Portraits of a Collection exhibition, aimed at the airport travelling public, the MEP has chosen to present a selection of its collections through the prism of three major themes: Paris, Fashion and Portraiture. These themes from the history of photography allow us to present the work of renowned photographers such as Richard Avedon, Valérie Belin, Brassaï, Hiro, William Klein, Sarah Moon, Bettina Rheims, and others.

Tatjana Danneberg on show at the MEP Studio

In the second half of the Season, the MEP Studio presents the first solo exhibition in France of Austrian artist Tatjana Danneberg, whose work combines photography and painting.

By experimenting with materials and processes for transferring images to canvas, Tatjana Danneberg transforms her candid analogue photographs into expressive paintings. Using point-and-shoot cameras, the artist seeks to prolong occasional memories by depicting relatives, acquaintances, and everyday objects in familiar and often intimate shots. Her technique for making the transition from photography to painting is fairly complex. The images are first enlarged and printed by inkjet onto sheets of plastic foil. They are then painted with gesso, left to dry and wetted again, before finally being separated from the foil and transferred to canvas. The final result is only known once the sheet is removed from the canvas. Revealing fragments of objects, everyday actions, or even a total absence of action, these images akin to amateur snapshots are transformed into a powerful pictorial gesture. The brushstrokes applied by the artist intuitively follow the composition of the photograph, adding movement while obscuring part of the image.

Tatjana Danneberg’s floor-to-ceiling works in the Studio are reminiscent of the torn posters found in urban space. Enlarged and superimposed on solid blocks of colour, the artist achieves a distancing effect from these intimate images. They become autonomous, creating a kind of paradox between two modes of vision—the meticulous and prolonged observation of the things that surround us and the passing curiosity provoked by advertising images that impose themselves on our gaze despite ourselves. By manipulating and deconstructing images, the artist questions the nature and status of photography, the way it is distributed and the value we attribute to it.

Image : Almost Grown, 2024 © Tatjana Danneberg

The artist

Tatjana Danneberg © Marcin Zarzeka

Tatjana Danneberg

Tatjana Danneberg was born in 1991 and lives and works in Vienna. She is a graduate of the Technical University in Vienna, the Academy of Fine Arts in Vienna and the Staatliche Hochschule für Bildende Künste in Frankfurt. Her work has been the subject of solo exhibitions at Salzburger Kunstverein (2021) and La Maison de Rendez-Vous, Brussels (2020), as well as the galleries Galeria LambdaLambdaLambda, Prishtina, and Dawid Radziszewski, Warsaw.

Tatjana Danneberg © Marcin Zarzeka

Something Happened, 2024 Pigment print, gesso, acrylics, pigments, glue on canvas 210x140 cm © Tatjana Danneberg

Gravitacja, 2024 Pigment print, gesso, acrylics, pigments, glue on canvas 105x70 cm © Tatjana Danneberg

Be Original, 2023, Pigment print, gesso, acrylics, pigments, glue on canvas 60x90 cm © Tatjana Danneberg

Private Geheimsache, 2024 Pigment print, gesso, acrylics, pigments, glue on canvas 210x140 cm © Tatjana Danneberg

Fiebertraum, 2024 Pigment print, gesso, acrylics, pigments, glue on canvas 100x150 cm © Tatjana Danneberg

Almost Grown, 2024 Pigment print, gesso, acrylics, pigments, glue on canvas 60x40 cm © Tatjana Danneberg

Partners

The exhibition is organised with the support of

This exhibition has the Paris 2024 label

Press

Tatjana Danneberg on show at the MEP Studio

In the second half of the Season, the MEP Studio presents the first solo exhibition in France of Austrian artist Tatjana Danneberg, whose work combines photography and painting.

By experimenting with materials and processes for transferring images to canvas, Tatjana Danneberg transforms her candid analogue photographs into expressive paintings. Using point-and-shoot cameras, the artist seeks to prolong occasional memories by depicting relatives, acquaintances, and everyday objects in familiar and often intimate shots. Her technique for making the transition from photography to painting is fairly complex. The images are first enlarged and printed by inkjet onto sheets of plastic foil. They are then painted with gesso, left to dry and wetted again, before finally being separated from the foil and transferred to canvas. The final result is only known once the sheet is removed from the canvas. Revealing fragments of objects, everyday actions, or even a total absence of action, these images akin to amateur snapshots are transformed into a powerful pictorial gesture. The brushstrokes applied by the artist intuitively follow the composition of the photograph, adding movement while obscuring part of the image.

Tatjana Danneberg’s floor-to-ceiling works in the Studio are reminiscent of the torn posters found in urban space. Enlarged and superimposed on solid blocks of colour, the artist achieves a distancing effect from these intimate images. They become autonomous, creating a kind of paradox between two modes of vision—the meticulous and prolonged observation of the things that surround us and the passing curiosity provoked by advertising images that impose themselves on our gaze despite ourselves. By manipulating and deconstructing images, the artist questions the nature and status of photography, the way it is distributed and the value we attribute to it.

____________________

Tatjana Danneberg

Tatjana Danneberg was born in 1991 and lives and works in Vienna. She is a graduate of the Technical University in Vienna, the Academy of Fine Arts in Vienna and the Staatliche Hochschule für Bildende Künste in Frankfurt. Her work has been the subject of solo exhibitions at Salzburger Kunstverein (2021) and La Maison de Rendez-Vous, Brussels (2020), as well as the galleries Galeria LambdaLambdaLambda, Prishtina, and Dawid Radziszewski, Warsaw.

Image : Almost Grown, 2024 © Tatjana Danneberg

Something Happened, 2024 Pigment print, gesso, acrylics, pigments, glue on canvas 210x140 cm © Tatjana Danneberg

Private Geheimsache, 2024 Pigment print, gesso, acrylics, pigments, glue on canvas 210x140 cm © Tatjana Danneberg

Be Original, 2023, Pigment print, gesso, acrylics, pigments, glue on canvas 60x90 cm © Tatjana Danneberg

Gravitacja, 2024 Pigment print, gesso, acrylics, pigments, glue on canvas 105x70 cm © Tatjana Danneberg

Almost Grown, 2024 Pigment print, gesso, acrylics, pigments, glue on canvas 60x40 cm © Tatjana Danneberg

Fiebertraum, 2024 Pigment print, gesso, acrylics, pigments, glue on canvas 100x150 cm © Tatjana Danneberg

Partners

The exhibition is organised with the support of

This exhibition has the Paris 2024 label

The MEP is organising a Super Lottery!

A Super Lottery will be held throughout the Season around Thomas Mailaender’s exhibition — Les Belles Images!

Based on an original idea by Thomas Mailaender, every thousandth visitor will receive a surprise: a print extract from the “Fail Anthology” series, stamped by the artist.

Thanks to a digital counter, the lucky winners will be rewarded as soon as they arrive at the MEP!

So, will you be going home with a surprise?

The "Fail Anthology" series

De la série « Fail Anthology » © Thomas Mailaender

De la série « Fail Anthology » © Thomas Mailaender

De la série « Fail Anthology » © Thomas Mailaender

De la série « Fail Anthology » © Thomas Mailaender

De la série « Fail Anthology » © Thomas Mailaender

De la série « Fail Anthology » © Thomas Mailaender

De la série « Fail Anthology » © Thomas Mailaender

Discover the new Season of exhibitions around Thomas Mailaender’s Carte Blanche

This summer, French multimedia artist Thomas Mailaender is taking over the two floors of the MEP’s Galleries for a Carte Blanche that aims to push the boundaries of photographic experimentation by exploring a wide variety of media. This exhibition is the artist’s first major retrospective in Paris.

Featured image : from the series « Les Belles Images », 2010 © Thomas Mailaender
From the series « Extrem Tourism », 2011
© Thomas Mailaender

From 12 June to 29 September 2024

Thomas Mailaender — Les Belles Images

Based in Marseille, Mailaender undertakes a wide range of obsessive and passionate visual research through the use of different photographic source material and techniques, deploying highly unusual materials and installations in an institutional context. Situated at the intersection of several disciplines, Mailaender’s artistic practice questions the role and primary function of the image through a diverse multidisciplinary approach to photography, and its associated archival tendencies.

This Carte Blanche will feel a little like an experimental photographic laboratory, the diversity of the visual proposals questioning our relationships with images and the daily consequences of their circulation and consumption. Led by the artist’s interventions, the exhibition will put the legitimacy of creative processes at the centre of its concerns and by moving away from the traditional frameworks of visual display, Les Belles Images represents a major innovative approach for the MEP as a photography museum.

The exhibition will bring together a vast array of pieces with work specially designed for the show, such as “Fail Anthology”, “Extreme Retouch” and the “Chemical Room”, for example, which will be covered with photographs exposed directly onto the walls. Spread over the two floors of the MEP, the exhibition will include “Les Belles Images”, the eponymous series in which the artist redeploys press agency photographs with ceramic frames, as well as his major series “Extreme Tourism”, “Gone Fishing”, and “Illustrated People”. Finally, the “Life and Adventures of a Silver Woman on Planet earth” revisits the life and commitment of Rosemary Jacobs, an American activist who was a victim of the ravages of silver nitrate, using photography to document her story and denounce the use of this compound for medical purposes.

From the series « Extrem Tourism », 2011
© Thomas Mailaender

At the Studio

Les enfants du palais sous la mer, le gant, 2024 © Anne-Lise Seusse

From 06.12.2024 to 07.14.2024

Anne-Lise Seusse — Les enfants du palais sous la mer (Children of the Palace Under the Sea)

Conceived based on an invitation by the sociologist and lecturer-researcher Amélie Nicoles, this exhibition focuses on two issues linked to the Vendée region: the fate of former holiday camps along the coast and the threat posed by global warming and rising sea levels. Anne-Lise Seusse focuses on one of these colonies, abandoned in 2018, and connects several stories. From the memory of the buildings to the past cult of outdoor leisure activities and the wild reappropriation of the site by illicit night-time activities, “Les enfants du palais sous la mer” thus evokes a dystopian world in which human civilisation ends up irretrievably submerged underwater.

Discover the new Season of exhibitions around Thomas Mailaender’s Carte Blanche

This summer, French multimedia artist Thomas Mailaender is taking over the two floors of the MEP’s Galleries for a Carte Blanche that aims to push the boundaries of photographic experimentation by exploring a wide variety of media. This exhibition is the artist’s first major retrospective in Paris.

De la série « Sponsoring », 2011 © Thomas Mailaender

From 12 June to 29 September 2024

Thomas Mailaender — Les Belles Images

Based in Marseille, Mailaender undertakes a wide range of obsessive and passionate visual research through the use of different photographic source material and techniques, deploying highly unusual materials and installations in an institutional context. Situated at the intersection of several disciplines, Mailaender’s artistic practice questions the role and primary function of the image through a diverse multidisciplinary approach to photography, and its associated archival tendencies.

This Carte Blanche will feel a little like an experimental photographic laboratory, the diversity of the visual proposals questioning our relationships with images and the daily consequences of their circulation and consumption. Led by the artist’s interventions, the exhibition will put the legitimacy of creative processes at the centre of its concerns and by moving away from the traditional frameworks of visual display, Les Belles Images represents a major innovative approach for the MEP as a photography museum.

The exhibition will bring together a vast array of pieces with work specially designed for the show, such as “Fail Anthology”, “Extreme Retouch” and the “Chemical Room”, for example, which will be covered with photographs exposed directly onto the walls. Spread over the two floors of the MEP, the exhibition will include “Les Belles Images”, the eponymous series in which the artist redeploys press agency photographs with ceramic frames, as well as his major series “Extreme Tourism”, “Gone Fishing”, and “Illustrated People”. Finally, the “Life and Adventures of a Silver Woman on Planet earth” revisits the life and commitment of Rosemary Jacobs, an American activist who was a victim of the ravages of silver nitrate, using photography to document her story and denounce the use of this compound for medical purposes.

De la série « Sponsoring », 2011 © Thomas Mailaender

At the Studio

Les enfants du palais sous la mer, le gant, 2024 © Anne-Lise Seusse

From 06.12.2024 to 07.14.2024

Anne-Lise Seusse — Les enfants du palais sous la mer (Children of the Palace Under the Sea)

Conceived based on an invitation by the sociologist and lecturer-researcher Amélie Nicoles, this exhibition focuses on two issues linked to the Vendée region: the fate of former holiday camps along the coast and the threat posed by global warming and rising sea levels. Anne-Lise Seusse focuses on one of these colonies, abandoned in 2018, and connects several stories. From the memory of the buildings to the past cult of outdoor leisure activities and the wild reappropriation of the site by illicit night-time activities, “Les enfants du palais sous la mer” thus evokes a dystopian world in which human civilisation ends up irretrievably submerged underwater.

Fiebertraum, 2024,
Pigment print, gesso, acrylics, pigments, glue on canvas
100 x 150 cm

From 27.07.2024 to 29.09.2024

Tatjana Danneberg — Something Happened

By experimenting with materials and processes for transferring images to canvas, Tatjana Danneberg transforms her candid analogue photographs into expressive paintings. Using inexpensive cameras, the artist seeks to prolong occasional memories by depicting The exhibition also includes objects, everyday actions in familiar and often intimate shots. These images akin to amateur snapshots are transformed into a powerful pictorial gesture. By manipulating images, the artist questions the nature and status of photography, the way it is deployed and the value we attribute to it.

  • Press release Download
  • Visuals

    You will need a password to download the visuals. To obtain it, please contact us by email at the address above.

    Download

Contact press

Contact MEP
presse@mep-fr.org
+33 (0)1 44 78 75 08

Agence Relations Media
Catherine Philippot
cathphilippot@relations-media.com
+33 (0)1 40 47 63 42

Live from Kyiv: visit of the Essential Goods exhibition

In solidarity with Ukrainian photographers, the MEP is partner of the exhibition Essential Goods, presented at the Pavilion of Culture in Kiev, and invites you to inaugurate the exhibition from afar on Tuesday 23 May, at 6pm.
Meet the artists and curators, take a virtual tour of the exhibition… experience a special evening live from Kiev with the presence of Boris Mikhaïlov and Juergen Teller, special guests of the event.

The Pavilion of Culture is opening its Essential Goods exhibition in Kyiv, in which the MEP is partner, showcasing the work of over twenty young artists who are shaping the Ukrainian photographic landscape today.

Conceived by Isabella van Marle and Sonya Kvasha, the exhibition’s curators, this unique event brings together renowned artists and young creative talents to bring the international cultural scene together, despite a tense and uncertain geopolitical context, in the Auditorium of the MEP.

The event will be held in English.
_______

Reservation is compulsory via the online ticketing service – events section.
Tickets for the event also give access to the exhibitions.

Programme

6pm

Introduction by Vita et Boris Mikhaïlov (zoom – live from Berlin)

6:10 pm

Meeting between photographer Juergen Teller (zoom – live from Barcelona) and Simon Baker, Director of the MEP
Followed by a discussion with the public

6:45 pm

Presentation and virtual tour of the Essential Goods exhibition (zoom – live from Kiev)

7pm

Meeting with artists from the Essential Goods exhibition (zoom – live from Kiev) moderated by artist Olivier Frank Chanarin
Followed by a discussion with the public

Speakers

© Nobuyoshi Araki

Vita & Boris Mikaïlov 

Born in 1938 in Kharkiv, Ukraine, and trained as an engineer, Boris Mikhailov is a self-taught photographer. Early in his career, he was given a camera in order to document the state-owned factory where he was employed; he used it to take nude photographs of his wife. He developed them in the factory’s laboratory, and was fired after they were found by KGB agents. Today seen as one of Eastern Europe’s most important photographers, he has received numerous awards, including the 2015 Goslar Kaiserring Award, the 2001 Citibank Private Bank Photography Prize (now the Deutsche Börse Photography Foundation Award) and the Hasselblad Award in 2000. He represented Ukraine at the Venice Biennale in 2007, and again in 2017. He lives between Berlin and Kharkiv with his wife, Vita. In 2022, the MEP presented the most important retrospective devoted to the artist, Boris Mikhailov – Ukrainian Diary.

Juergen Teller, self-portrait (detail), London 2018. © Juergen Teller

Juergen Teller

Juergen Teller was born in 1964 in Erlangen, Germany, and lives and works in London. He studied photography in Munich. Ever since the start of his career in the late 1980s, Teller has moved seamlessly between the world of art and the world of fashion photography. He makes no distinction between paid commissions and his own work, photographing all his subjects – members of his family, celebrities and himself – in the same natural and spontaneous manner, that of a highly sophisticated snapshot. His aesthetic seeks to underline the “imperfect beauty” of things. He shoots from unflattering and surprising angles and never retouches the results. For the past few years Juergen Teller has regularly produced self-portraits which border on the grotesque.

© Helena Guasch

Olivier Frank Chanarin

Born in 1971 in London, UK, Oliver Frank Chanarin is an artist working primarily with photography. His wide-ranging practice is characterised by an openness to experimentation and collaboration. His work, though borne out of photography and a critical appropriation of photojournalism, culminates in different media including books, installation, sculpture and photography. Chanarin studied Artificial Intelligence as an undergraduate and held the position of professor of photography at the Hochschule für bildende Künste (HFBK) in Hamburg (2016-2022). Chanarin is also a founding member of the masters programme in photography at The Royal Academy of Art (KABK) in The Netherlands. He is one half of the duo Broomberg & Chanarin, whose work is held in major public and private collections including Pompidou, Tate, MoMA, Yale, Stedelijk, Jumex in Mexico DF, Victoria and Albert Museum in London, The Eye Amsterdam, the Art Gallery of Ontario, Cleveland Museum of Art and Baltimore Museum of Art. Awards include the ICP Infinity Award (2014) for Holy Bible, and the Deutsche Börse Photography Prize (2013) for War Primer 2; the Arles Photo Text Award (2018).

© Marguerite Bornhauser

Simon Baker

Simon Baker has been Director of the MEP (Maison Européenne de la Photographie, Paris) since May 2018. He was formerly Senior Curator of International Art (Photography) at Tate, London, having been appointed Tate’s first curator of photography in 2009. Prior to this, he was an Associate Professor of Art History at Nottingham University. He has published widely on both photography and the history of art.

© Maxime van Namen

Isabella van Marle 

Isabella van Marle is an Amsterdam-based curator and creative consultant. She is the co-founder of Pictures for Purpose, a foundation that aims to platform important social issues whilst simultaneously raising funds for charities through the medium of photography. Her work spans curating, photo editing and concept development in the cultural sector. She has worked for Foam, Louis Vuitton Editions and the Dutch National Opera & Ballet, among others. Between 2017 and 2019 she was the fair curator of Unseen and for the second time she is curating Foto Tallinn.

© Alex Mader

Sonya Kvasha

Sonya Kvasha born in 1993, in Dnipro, Ukraine, is a creative director and producer based between Kyiv and Paris. She’s a co-founder at Baby Prod – a creative studio that works on making ideas reality across fashion and culture; and tripolar.ua — a series of pop-up events showcasing multiple angles of contemporary Ukrainian art and design in Paris.