FRUTESCENS
FUTURES is a photography platform dedicated to the emerging European photography community. It pools resources and programs dedicated to young photography from cultural institutions throughout Europe in order to support new talent. After 4 years of existence, it renews its project: the Centre photographique Rouen Normandie becomes the French representative within it.
Each year, the members of FUTURES designate a group of artists to join the platform. Each photographer selected by the members has access to a network of professionals and audiences, as well as a multitude of resources and curatorial expertise. Futures organizes a series of events across Europe in each of its member countries, online activities for professional and artistic development, workshops, portfolio readings, exhibitions…
As part of this partnership, the Rouen Normandy Photographic Center is creating FRUTESCENS, a program dedicated to young French photographic creation. Four artists (who have entered photography in the last ten years) are selected and then brought together for a week of workshops and meetings in Normandy. These artists join the FUTURES platform and as such benefit from the European network offered by the platform and its members.
Discover the 4 artists selected in 2023 below:
As part of its participation in the FUTURES platform, the Centre photographique Rouen Normandie has set up the Frutescens programme. Dedicated to the French photography scene, it aims to support its authors and increase the circulation of their work on a European scale. They are selected on the basis of nominations made by leading figures from the world of photography, chosen for their complementary views and perspectives on photographic creation. Working in France in the fields of galleries, publishing, fairs and exhibitions, and still photographers (previous winners were themselves invited to nominate artists), they have in-depth knowledge of the artists and issues involved in contemporary photography. The consistency and maturity of their work, as well as the timeliness of the moment in their careers, guided our choices and led us to select Hélène Bellenger, Rebekka Deubner, Léonie Pondevie and Rebecca Topakian this year.
When you meet them, the rigour of their work – understood in the sense of the work that each of them develops as much as in the sense of the constant labour that they put in to make it happen – is striking. For each of them, the time spent on research and its maturation, on encounters and the unexpected, is the foundation of their creation. Constructed by protocol and method, their works are nonetheless porous and flexible. They allow themselves to be blown through by the winds of doubt, sometimes to the point of losing the plan only to return to it later. Personal experience is central and always transformed: In Léonie Pondevie’s work, a father’s interest in meteorology becomes the starting point for an exploration of our relationship with the measurement of climate; in Rebecca Topakian’s work, a fragmented family history is the point of contact with the past and present of a collective trauma; In Rebekka Deubner’s work, the body – her own and those of loved ones – is the point where representations of loss, desire, femininity and masculinity rest and regenerate; in Hélène Bellenger’s work, the collection and recycling of archive images and out-of-use materials are the anchor for a re-interpretation of our visual culture. While the materials and techniques used differ, what each artist patiently and solidly constructs are buildings of memory, which they invite us to visit.
Discover the 4 artists selected for 2024 below:
HÉLÈNE BELLENGER
Si un outil était à associer au travail d’Hélène Bellenger, ce serait non l’appareil photographique mais un de ces instruments fins et précis du légiste, tant l’artiste s’applique au fil de ses travaux à disséquer les ressorts d’une imagerie de la beauté parfaite et de ses paradis artificiels. Préférant l’acte de collecte et de transformation à celui de prise de vue, elle s’approche d’images inertes, hors d’usage. Pour Dazzled project, elle recueille sur le net un ensemble de visages oblitérés par un éclair —forme désormais fameuse du selfie au flash dans le miroir—, formant une sorte de soleil numérique qui contamine l’image et empêche le portrait. Autre collection, celle de publicités pour anxiolytiques et antidépresseurs issues de revues spécialisées, qu’elle assemble en frise pour exposer la litanie de visages crispés et de slogans en forme d’injonctions au bonheur. Plus tôt, dans Right color, elle détourne un ensemble de revues, affiches et photogrammes issus de bobines de films des années 1920 à 1950 figurant des actrices et vient ranimer le maquillage qui leur était appliqué pour reconstruire leur visage et modifier sa plastique pour l’écran noir et blanc de l’époque. Avec son récent Bianco ordinario, ses torses d’Apollon et bustes de Vénus, elle poursuit son archéologie des canons de la beauté. Elle relie, par un jeu de superposition de formes et de supports, le temps géologique des carrières de marbre de Carrare, son extraction au temps de l’Antiquité pour la sculpture et l’extraction contemporaine massive de la poudre de marbre pour blanchir notamment les emballages de nos produits de cosmétique et d’entretien. L’ensemble décline une collection de cartons d’emballages dépliés sur laquelle l’artiste imprime images de bustes antiques et paysages des carrières. Elles seront elles-mêmes vouées, en retour, à être extraites de leur support par l’acidité de la poudre de marbre contenue dans le carton, lavant « plus blanc que blanc ». L’histoire et la fortune du concept occidental de blanchité sont au cœur du travail que l’artiste développe actuellement dans le bassin méditerranéen.
Hélène Bellenger (1989) vit et travaille entre Marseille et Paris. Après des études en droit et en histoire de l’art, elle se spécialise en photographie et sort diplômée de l’École Nationale Supérieure de la Photographie d’Arles en 2016.
If Hélène Bellenger‘s work could be associated with a single tool, it would not be a camera, but one of those fine, precise instruments of the forensic scientist, so diligent is the artist in dissecting the workings of an imagery of perfect beauty and its artificial paradises. Preferring the act of collecting and transforming to that of shooting, she approaches images that are inert and out of use. For the Dazzled project, she collected a series of faces on the internet that had been obliterated by a flash of light – the now famous form of the selfie with the flash in the mirror – forming a kind of digital sun that contaminates the image and prevents the portrait. Another collection is that of advertisements for anxiolytics and antidepressants taken from specialist magazines, which she assembles into a frieze to display the litany of tense faces and slogans in the form of injunctions to happiness. Earlier, in Right color, she diverted a collection of magazines, posters and photograms from reels of films featuring actresses from the 1920s to the 1950s, reviving the make-up that was applied to them to reconstruct their faces and modify their plasticity for the black-and-white screen of the time. With her recent Bianco ordinario, her torsos of Apollo and busts of Venus, she continues her archaeology of the canons of beauty. Through a play of superimposed forms and supports, she links the geological time of the Carrara marble quarries, its extraction in Antiquity for sculpture, and today’s massive extraction of marble powder to whiten the packaging of our cosmetics and cleaning products. The ensemble consists of a collection of unfolded packaging cartons on which the artist prints images of antique busts and quarry landscapes. In turn, the images themselves will be extracted from their support by the acidity of the marble powder contained in the cardboard, washing them ‘whiter than white’. The history and fortunes of the Western concept of whiteness are at the heart of the work the artist is currently developing in the Mediterranean basin.
Hélène Bellenger (1989) lives and works between Marseille and Paris. After studying law and art history, she specialised in photography and graduated from the École Nationale Supérieure de la Photographie d’Arles in 2016.
Bianco Ordinario was supported by Aide à la Création 2021 from the Drac PACA and produced at the Centre Photographique Ile-de-France as part of the 2022-2023 research and post-production residency.
The artist would like to thank Isabelle Carta, Roland Carta, Centre Photographique d’Ile-de-France, Nathalie Giraudeau, galerie Marguerite Milin and Francesco Biasi.
REBEKKA DEUBNER
Rebekka Deubner’s work is full of narratives of metamorphosis, as close as possible to the earth and the bodies it carries. From the prefecture of Fukushima, where she made her first visit in 2014 and will return on several occasions, she has brought back indexical images, faces taken from encounters, seaweed and other living organisms she came across while wandering on the edge of the forbidden zone. Scattered into fragments by the catastrophe, they are traversed by the same palpable quivering, exuding signs of persistent vitality. The material of these bodies, the fluids that emanate from them and that they exchange, framed as closely as possible, are at the heart of the work entitled En surface, la peau, produced in the intimacy of the artist’s love life. The act of photographing retains desire, counters its volatility, and ward off its loss. From this intimate exploration of the body and its profound movements, she moves on to the body as political territory, with Les saisons thermiques, an ensemble dedicated to male contraception. Here we find her way of slowly approaching the body and restoring its tender plasticity. In these bodies standing close to her, an alternative representation of masculinity is embodied. Framing and squeezing again with Strip, a work in progress made up of photograms and videos in which the artist attempts to become one with her late mother. Dressing her clothes and underwear, like counter-forms that still carry within them the latent trace of the body and epidermis that inhabited them, slipping into them and, in video performances, tying them up, patching them up and covering herself in them. Alongside these short films, Rebekka Deubner combines a collection of photograms of clothing, also fragmented, which, reassembled on the wall, sketch out the contours of a vast, warm body.
Rebekka Deubner (1989), based in the Paris region, graduated in 2013 from the École de l’image Les Gobelins, Paris. She combines her personal practice with press and commercial photography, and teaches photography at ENSBA in Lyon.
LÉONIE PONDEVIE
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 on the wall like evidence of an ongoing investigation into complex and evolving realities. In Un point bleu pâle, Léonie Pondevie contemplates the sky and observes the weather. In the same way that her father would obsessively record rainfall levels and temperatures in small notebooks, she assembles particle images, waiting to be analysed. She subjects these images to a kind of poetic decantation: her father’s notebooks and his measurements from another age, archive images of the village where he was born, press cuttings from the 1970s, the clouds in front of us at sea, a hand caressing an antediluvian granite and raindrops on the hood of a relative. The stratospheric and the extremely close, immensity and intimacy, impassive geological time and climatic urgency, it’s all there, under the same sky. Placing her observation post at the heart of her family history, Léonie Pondevie eludes the Manichean demonstration: the photographic project, though wide-ranging, does not claim to elucidate anything, but sets itself up as a humble hypothesis. What Un point bleu pâle portrays is the act of human experience; not the thing, the climate, but the ways in which we take it into consideration, from the observer who guesses at its insignificance and modestly records the life of the clouds in little notebooks to the way they are boxed up by geo-engineers, neo-demiurges. From these decanted images, the reflection of a distant land, with which we have lost contact, rises. The simultaneous and paradoxical measure of our insignificance and our power to cause harm.
Léonie Pondevie (1996) graduated from the École européenne supérieure d’art de Bretagne in Lorient in 2020. She is a member of the Collectif Nouveau Document and is based in Lorient.
REBECCA TOPAKIAN
Photographic investigation has become, by force of circumstance and events, the form that Rebecca Topakian has adopted. As far back as 2014, in Jericho, she was documenting the mystery of the city known as the oldest in the world; in response to ancestral tales, she amassed photographic clues, temporal ellipses bringing together within the frame of the image the symbolic and the trivial, immemorial times and the present of the encounter. Since then, she has set out to tell a more personal story: that of her Armenian family, exiled from Turkey as a result of persecution. To tackle the dense, traumatic material of this long-silenced family history, she first turned to fiction. With Dame Gulizar And Other Love Stories (2017-2019), her starting point is the love story of her grandparents. From the knightly features of the story as it came to her, she drew the main lines of a narrative borrowing from mythology, the form of which already combines family archives and shots taken in Armenia. In 2021, the artist began Il faut que les braises de Constantinople s’envolent jusqu’en Europe, this time embracing the whole of her family history. With a single artistic gesture, she gathered together the scattered snippets – rare documents and sparse accounts – and took them there to perhaps, if not repair the family history, at least repair its narrative and by extension contribute to restoring the narrative of the Armenian genocide. Her genealogical research takes her to Istanbul, Talas in Anatolia, in the traces of her family’s village, and leads her to cross paths with Armenians in present-day Turkey. The photographs are accompanied by short texts that, like the photographs themselves, are devoid of pathos and focus on the reality that is there, on what persists: the youth, a stele engraved in a cemetery, and despite history, racist flags and tags in the streets and on the walls of villages that have already been devastated. Patiently, the artist continues his work, recording, assembling and maintaining the embers of memory.
After studying philosophy and geography, Rebecca Topakian (1989) turned to photography. A 2015 graduate of the École Nationale Supérieure de la Photographie d’Arles, she is based in Paris and a resident of the Poush! Manifesto workshops.
As part of its participation in the FUTURES platform, the Centre photographique has developed the Frutescens program, dedicated to the French photographic scene. For this 2023 edition, we have chosen to surround ourselves with personalities from the photographic world, chosen for their complementary views and perspectives on photographic creation. With Nathalie Giraudeau (Centre photographique d’Ile-de-France, Pontault-Combault), Emilia Genuardi (a ppr oc he, Paris), Marie Magnier (Les Filles du Calvaire, Paris), Jordan Alves (Éditions Xavier Barral, Paris), Julia Gelezova and Angel Luis Gonzalez (PhotoIreland, Dublin), Françoise Paviot (galerie Françoise Paviot, Paris) and Baptiste Rabichon (photographer, Paris), we have selected four photographers who are active in France: Arno Brignon, Damien Caccia, Marc-Antoine Garnier and Nina Medioni.
Looking for the common thread between authors with diverse backgrounds and views, we often get lost in simplifying the singularities and asperities of each of the works presented tend to be polished by dint of generalities. Let us risk the exercise with the four artists selected here and let us simply observe: they share, with us, a world held in uncertain balance of which the precarious condition is reminded us at each moment. It is on this slight thread that these artists move forward and build individually a work woven of troubles. Thus each in his own way, impregnated with this context of shared fragility, reconsiders the technical and relational processes at work in photography. In Arno Brignon’s work, uncertainty is lodged at the heart of the raw material by recycling outdated silver film; in Damien Caccia’s work, the permanence of the medium is thwarted by the systematic alteration of the recorded image; in Marc-Antoine Garnier’s work, the photographic dimension is perpetually put at risk, and in Nina Medioni’s work, the relationship between the photographed and the photographer is constantly reassessed.
Discover the 4 artists selected in 2023 below:
ARNO BRIGNON
From his experience as an educator on the edges of Toulouse, Arno Brignon (1976), keeps an appeal for works built in a collaborative way, often within the framework of workshop and residency projects rooted in urban or rural contexts.Invited to Aussillon (South of France), he works in a housing area undergoing rehabilitation and occupies an apartment in one of the deserted buildings to live, photograph and arrange meals; the practice of portraiture becomes one of the ways in which he recreates, with the inhabitants, the memory of the place. In Valparaiso, he employs the calotype process to express the alteration of memory and the disappearance of the social bond. Gradually, the photographer moves towards an assumed onirism, embracing the random, seeking the accident. Recently, he went on a photographic trip to the United States with his family in the form of a road movie (Us, 2018-2022) in which photography serves as a link, both with strangers he met along the way and with members of his family. His use of outdated analogue films, products of a past industry, entrusts his photographic act to the erosion of the film, leaving room for the work of time.
DAMIEN CACCIA
Damien Caccia’s (1989) photography fits into a pictorial practice. His painting, initially figurative at the end of his studies, becomes more and more abstract. The figuration of the matter becomes little by little its theme, and the painter scrapes so much and more until preserving only the trace of the gesture which affixed the color. The canvas becomes the place of a former action of which is preserved only a mark more and more evanescent, altered. It is for its quality of residual imprint that the painter seizes photography. At one time he undertook to record with a portable scanner the entirety of a garden in order to restore it in the form of a large roll of paper, via fax. Later still, it is the screen of the telephone whose memory he comes to probe, seeking beyond the screen saver to find the ghostly image that this one comes to dissimulate. With Tears (2015-2022), he creates an attention-grabbing set: tiny details, insignificant moments held, somehow, on small surfaces (fine drops of glue) similar to damaged lenses.
MARC-ANTOINE GARNIER
Folding, assembling, piercing, braiding paper: the work of Marc-Antoine Garnier (1989) thwarts the two dimensions of the photographic cliché. Is it photography? The act of taking a picture is only a preliminary, the existence of the future image is played out in other gestures, subsequent, which come to build a space of paper surfaces. Large rolls of sunsets arranged in a blank room recreate a colored harmony, a dappled blue sky sees the course of its clouds replayed by the cutting of the framed image into several wavy strips. At the beginning, there is thus Marc-Antoine Garnier who photographs not so much “on the motif” as the pattern itself, sensing the gestures, often multiple, that will accompany it to put it back into space. His pattern is always natural; his basic material is the infinity of the great elements. Recently, he plunged into the vegetal infinity, the lens in a jungle of branches or a forest of petals, to go and look for, on the surface of their image, the perceived form still contained in the thickness of the paper: the long and fine foliage are braided and find their indocility and the speckles of bunches of flowers, by scraping, to resurface.
NINA MEDIONI
At the heart of Nina Medioni’s (1991) photographic form lies the encounter and the long time. The photographer invests places sometimes linked to her personal history, sometimes unknown. In her survey, the camera becomes a tool: a box to record the territory through which she passes. She often chooses the summer time, dilated, without any apparent event, indolent. The event then, the one by which the image will come about, is the encounter. To bring it about, there is the presence, unusual in these environments, of the camera and the spoken word. It is not surprising then that we often find in her photographic projects, series of images, portraits and gestures taken in the same time-space. None of the portraits in the same shot take priority over the other, she explains. She places them on the page, careful not to cut their speech; it is then up to us to read the transcript of the words exchanged with this young boy from Prépaou, a small residential town in the South of France. Recently, she realized in Israel, The Veil (2019-2022), a photographic project of greater scale. There she surveys a distant, unfamiliar family territory and seeks through photography and portraiture to weave a heretofore non-existent link. The camera is then a limit-space, where to try to meet the members of a part of her family that she does not know, belonging to an orthodox Jewish community. The photographic image will record here the attempt of confrontation, the elusive success or the failure. The photographic surface then embodies the threshold on which the photographer and the photographed stand. Recently, she directed Le Chalet (2022), a short film about a mysterious house in the 19th arrondissement of Paris, inhabited by her uncle. The meetings with the residents, young and old, of the neighborhood, the brief or recurring dialogues make emerge the contours of a “chalet” planted on the boulevard, which she will always make sure to leave in the background. In Nina Medioni’s work, the photographer’s taking of the image and the person being photographed’s taking of the words are definitely linked.
Discover below the 4 artists selected in 2022:
ANAÏS BOILEAU
Anaïs Boileau’s first works freely associated Mediterranean architectures with frank geometries and portraits of women receiving the sun. Between the two, a strange resonance could be heard, that created by the reverberation of the sun on the photographed surfaces: skin, facades, glasses and other tanning accessories… The flatness of the abandoned bodies echoed that of the colored walls. The photograph, although well and truly figurative, was filled with the silence of forms, the play of their surfaces, their colors. This Plein Soleil, which made her known, is in retrospect a preamble to the experiments recently carried out by the photographer. Still in the South of France, she now composes in her garden. The means are simple: a few sheets of paper, gathered for the palette of specific textures and colors they deploy, here and there accessories and garden materials and then, the effect of the sun on their surfaces. The artist and the sun compose together and enjoy the play of shadows, and in places, the paint and its transparency make their appearance and add to the confusion of the image.
From the reality of the garden, of the farmyard, however present, this small open-air studio manages to gradually abstract itself to take us with it, in a plastic ecstasy, similar to the dizziness that the sun provides.
Anaïs Boileau was born in 1992 in Nîmes. She is a photographic artist who works by exploring Mediterranean cultures as a constant source of inspiration in her projects. She graduated from the art school of Lausanne, ECAL. She lives in the south of France where she alternates between photographic commissions and her artistic projects. Her work is presented in various group exhibitions and selected in several international festivals. In September 2017, she joins a master year at Central Saint Martins School in London in photography. Since her first collaboration for M le magazine du Monde in 2015, she works regularly for the French and international press. Her work can be found in magazines and newspapers such as Le Monde, M le magazine du Monde, The Wall Street Journal, The Financial Time or Vanity Fair.
COLINE JOURDAN
On the banks of the Rio Tinto in Spain or on the outskirts of the old arsenic mine in Salsigne, Coline Jourdan undertakes an archaeology of toxicity. If toxicity is generally not perceived, what could photography do at the place of its figuration? How could she claim to represent it? To make an image of it, Coline Jourdan combines documentary investigation and plastic experimentation. She gathers documents and testimonies, recently, on the occasion of Raising the Dust, a series dedicated to the former gold and arsenic mine of Salsigne, she enlists the collaboration of scientists, from whom she records research processes and testimonies, consults the archives of the department, digs into the iconographies of the past glory of the site. In the image of these collections of information, her photography becomes a collection of traces. One discovers here a collection of small stones, there some plant specimens, and suddenly, on what one recognizes as a slag heap, the emergence of points of incandescence on the surface of the image. Her photography sometimes literally becomes a means of taking samples of the terrain explored: for example, she occasionally dips her films in the water of the nearby river. What the territory contains is then symbolically revealed in the thickness of the photographic material, until it exudes.
Coline Jourdan, born in 1993, lives and works in Rouen, Normandy. She graduated from the École nationale supérieure d’art de Dijon in 2017. Her work has been presented in group and solo exhibitions (Musée Nicéphore Niepce as part of the Ateliers Vortex Photographic Print Prize in 2019; Festival de La Gacilly, Baden, Austria, 2021; Artefacts, (Residency 1+2), Chapelle des Cordeliers, Toulouse, 2020; Les noirceurs du fleuve rouge, Galerie Full B1, Rouen, 2019). In 2021, she received the Support for Contemporary Documentary Photography from the CNAP, as well as individual support for creation from the Normandy Region. The same year, she is the laureate of the 50CC Air de Normandie artist grant.
NOLWENN BROD
It is a phenomenological photography that Nolwenn Brod constructs, one that places at the heart of the creative process, the experience of the encounter. It all began in Ireland in the footsteps of her father (Va-t’en me perdre où tu voudras, 2015 – Poursuite Editions) and then in cities with an industrial or port history, affected by the war: Lodz, Warsaw, Gdansk in Poland, Beirut in Lebanon and more recently Brest in Brittany. It is often a question of the representation of an inner struggle, of a duel, of the forms created by the forces in conflict. Each portrait, each individual case, is political; the bodies make society. The meticulous observation of the significant gestures of daily life, the micro-sensation, the micro-event, the volatility of the moment, of the presence of beings, nourish her work.
With, on, under, through, would be as many conjunctions to apprehend the environment and the inhabitants in and with which she is brought to work. The projects are nourished by literary companionship: the structuralism of Witold Gombrowicz’s street accompanies her in Poland during the realization of Time of immaturity (2018 – in progress); in Creuse, on the lines of Gilles Deleuze, she composes the photographs of La Ritournelle (2015-16); more recently, Jean-Luc Nancy, Charles S. Peirce or Tanguy Viel inspire Les Hautes solitudes in Brest (2021 – in progress).
Nolwenn Brod is a French artist based in Paris. She studied humanities and social sciences, and trained in photography in London and at the Gobelins school in Paris. She is a member of Agence Vu and represented by the eponymous gallery in Paris since 2016.
She develops her projects most often in the context of creative residencies in France and Europe where she mixes photography and video; and responds to commissions for the press and institutions. Her works are regularly exhibited in France and Europe and are part of the collections of the Bnf, the Cnap, the Musée Nicéphore Niépce, the Musée de Bretagne, the Villa Noailles, the Agnès b. collection, the Neuflize OBC Foundation, art libraries and private collections. Her first book was published by Poursuite in 2015, the second is in preparation.
PAULINE HISBACQ
Pauline Hisbacq’s work, in photography or through the manipulation of archival images (collages, montages), evokes in a poetic way the questions of youth, desire, rites of passage and resistance. She searches for feelings in forms and figures. She explores today what links the intimate and the political, the myth and the contemporary.
The project Songs for women and birds is a set of collages made from archival images of the Greenham Common Women’s Peace Camp (1981-2000). There, ordinary women peacefully fought, solo, against the installation of nuclear missiles by the United States, right here in England, which contributed to the terror of the Cold War. They sang in resistance to the police, and more generally to the world of domination, for the preservation of future generations, the hope of peace, the protection of humanity, and respect for nature.
The collages focus on the way women inscribe their bodies in a gesture of resistance that is the antithesis of current demonstrations. The first challenge to communicate their revolt was to be always peaceful, even in the face of police repression. It was thus necessary to weld the bodies, in the tenderness, to make face with the domination which they denounced and which attacked them. Scissor cuts are made on archival images of the protest, to show the specific body language of the women of Greenham.
Pauline Hisbacq was born in 1980 in Toulouse, France and lives and works in Paris. After a master’s degree in philosophy, she entered the ENSP of Arles from which she graduated in 2011. She continued the same year with a post-graduate degree at the ICP in New York. Since then, her work has been presented at the Rencontres de la Jeune photographie Internationale de Niort (2014), at the Ecureuil Foundation for Contemporary Art in Toulouse (2019), at the Image Satellite in Nice (2018), at the friche belle de Mai in Marseille (2017), at the Paris Saint Germain Photo Festival (2017), at the Bal (2019), at the Rouen Normandie Photographic Center (2021). She published Natalya at 7 Editions (2016), Le feu at September books (2017), Amour adolescente (chants d’amour) at Rayon Vert edition (2019), Cadavre Exquis, fanzine co-edited by Le Bal Books and September Books (2021), Songs for women and birds at September books (2021). In 2017, she was awarded the CNAP’s Soutien à la photographie documentaire contemporaine grant for the project La fête et les cendres. In 2021, she received the Aide Individuelle à la Création from the Drac Ile de France for the project Rimorso. She is also the winner of the national commission Les Regards du Grand Paris initiated by the CNAP and the Ateliers Médicis, with the project Pastorale. She is currently a photographer at the Rodin Museum and editor at Septembre Books.
Discover more about FUTURES and its members :