Artist
Rebekka Deubner
Léonie Pondevie's photographic form is composite, arranged by the aggregation of clues: contemporary shots, collected archive images and shared personal documents sit side by side like evidence of an ongoing investigation into complex and evolving realities. In Un point bleu pâle, she follows in her meteorologist father's footsteps and contemplates the clouds, assembling everything from particle images to archival documents and new photographs.
If Hélène Bellenger's work could be associated with a single tool, it would not be a camera, but rather a fine, precise instrument of the forensic scientist, so diligent is the artist in dissecting the workings of an imagery of perfect beauty and its artificial paradises. Most recently, she uses the images of Apollo torsos and Venus busts to continues her archaeology of the canons of beauty.
Photographic investigation became, by force of circumstance, the form that Rebecca Topakian adopted. In 2021, she set out to tell the personal story of her Armenian family, exiled from Turkey as a result of persecution. In the project Il faut que les braises de Constantinople s'envolent jusqu'en Europe, the artist continues recording, assembling and maintaining the embers of memory through photographs and text.
Rebekka Deubner's work is full of narratives of metamorphosis. From intimate exploration of the body and its movements in her early work, Deubner later moved on to exploring the body as political territory, with Les saisons thermiques - an ensemble dedicated to male contraception. Here, we find her slowly approaching the body and restoring its tender plasticity, an alternative representation of masculinity embodied.