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Fanny Lambert

A graduate of the École du Louvre, Fanny Lambert is an art critic, journalist, independent curator (CEA) and teacher. Specializing in contemporary art and photography. She is interested in the representation of body in the image and particularly in the Body Art of the 1970s. Her inclinations for the specifics of exhibition so-called ephemeral or performative productions intersect with the research she has nurtured for Michel Journiac. Since 2016, she has been in charge of developing a "Contemporary Art" section at the Gradiva gallery in Paris where she presented the work of Mathieu Bonardet, Agnès Geoffray, Stéphanie Solinas, and about thirty artists for the exhibition, which borrows from the title of Jacques Roubaud's collection, Quelque Chose Noir (Something Black). In addition to writing statements for artists, institutions or the specialized press (L'Oeil de la Photographie, Fine Arts, de l’air, Hors d'oeuvres etc.), she co-founded in 2016 an experimental online project a-m-o-r-c-e-s.fr and was part of the editorial board of the review "Possible". Particularly attentive to emerging creation, jury for diplomas or prizes, she endeavors to compare contemporary art and image in current practices. Since 2016, she has been teaching Art History from the 1960s to the present day at the University of Paris VIII-Saint Denis, reinvesting the critical approach to the image mixed with theoretical discourse on the notions of visibility and invisibility as well as how we perceive an art piece. The sound creations, the text in practices called plastics and the reflections of the image around the world, cross like motifs from one project to the other.

L'Antichambre project / Nuit - Intérieur / Nuit

Eric Rondepierre

Eric Rondepierre

Since the 1990s, Eric Rondepierre has been developing a photographic work from the cinema (Excesses, Announcements, Precis of decomposition, Suites, etc.). He multiplies exhibitions in France and abroad; these “revivals of views” of film photograms provoke purchases in prestigious public collections and a certain critical fortune. In parallel, from 1995, he published books (fictional and autobiographical) - fifteen to date. After documenting the fiction for 15 years (by simple sampling), he began, in the 2000s, to fictionalize the document (editing, reconstruction). The Loupe / dormeurs (2002) series bears witness to this turning point where an entire novel serves as a frame for the image and where cinema is mixed into the artist's daily life. His latest series derived from the 7th art, Background (still in progress), consists of interior views, hotel rooms (as in Loupe / sleepers) "still warm from the bodies that have stayed there, comfortable lounges, or, by contrast, abandoned, but keeping in the dark the debris of their past standing ”(C. Millet).