Presentation

Since I both graduated as a photographer and a typographer, my practice of photography is therefore peculiar, eager to simultaneously follow paths of graphic design, drawing and writing; looking through this hybridization to generate a kind of photographic literature, questioning the link between photography and artist books and trying to bring an unusual research in the display design of each one of my exhibition. My series all have in common a narrative framework, given by a text or novel I have read. I do not tend to illustrate, but it's as a reader that I confront the world, and the experience of photography often merges with the exceptional experience of reading. I think that I may honestly say that what initiated and still launches the creative act for me is the experience of reading. Finally, isn't it each image I produce the transcription of a more or less old disturbance forged by my readings? Places which I photography haven't been read before being actually seen. As if, while taking pictures, I was moving forward inside my vision, like proceeding in the reading of a book, in a kind of acuity similar to a hypnotic state, as if I was diving, submerged by the world. This is why I quickly got into photography without any artifice, often feeling fighting against the current or feeling very isolated in the field of contemporary photography. I have chosen a very modest mechanically controlled camera and a 50 mm lens in order to give a large contribution to sight. I'm still an analog photography user, to be closer to the film, this sensitive strip where is written, imprinted the image. In this fragment of time of full darkness, lies the fantasy, rather quirky, that when the mirror flips up, not only the light is reflected but also the thought of the photographer, or both at the same time. The camera like a prosthesis. The black and white was chosen because of the color of the text, something like gray matter, as if each dot of the paper print was a letter, a font, like a watermark, invisible to a naked eye, reminiscence, archeology of the text. I have chosen a heavy camera, which determines my gestures, slow gestures. I had quickly understood that my goal would not be to capture action, but its background. I chose still images rather than motion pictures, because I consider I had to set myself into motion, because motion lies in the viewer movements inside the exhibition room, but also when browsing pages of a book. Precisely, contemplate silence as a goal, tend to a thinking form rather than a form of thinking, it was and still is "paint not the form but the effect it produces" (Mallarmé). The economy of the Less contributes to this slowing down; an image should remain scarce, it is rare. I believe like Hervé Guibert, critic and photographer, that the practice of photography has no particular interest for me apart from the resistance I feel towards this practice. My practice is therefore restrained and cautious. My interest for this practice is also motivated, by a permanent dialog it can maintain with the other arts. Movie editing (montage) is borrowed to cinema to create the internal rhythmof a book, but it could also be the "fast-cut" or the "long take". I think of the cineast Robert Bresson, in his Notes on Cinematography: "An image should transform itself through contact with other images, like a color in contact with other  colors". Eventually, isn't it the "in-between images" what I really care for Thus I give spectators the freedom to compose with the combination of forms I offer him, like an established set where he could inhabit. Believing that an image can still reveal itself under his eye, "an image belongs to who looks at it" (Marcel Duchamp).

My practice of photography which I have been conducting for 12 years, in the actual geography of art and inside my generation, is difficult to maintain because of its quietness and delicacy; it refers to a distant realness, difficult to apprehend, respected, only catching signs of places, and their mysteries. Very far from spectacular and narrative compositions often found in contemporary photography.

Anne-Lise Broyer

Agenda

28.11.2015 - 28.11.2015

Biography

Born the 6th of april 1975. She lives and works in Paris.

 

EDUCATION

 

- Edition-Presse at l'ENSAD

- Atelier National de Recherche Typographique, scolarship from the culture ministry

- Graduation at l'ENSAD

 

PUBLICATIONS

 

2018

- book: « Journal de l'oeil (Les Globes oculaires), unpublished texts by Muriel Pic, Yannick Haenel and Léa Bismuth, Loco/Nonpareilles.

 

2016
- book: Du Monde vers le Monde (Escale à Valparaiso), with René Tanguy, text by Jean-Luc Germain (éditions Nonpareilles).

 

2013
- book: Regards de l'égaré (Fragments d'une saison pluvieuse), text by Bernard Noël (éditions Nonpareilles).

 

2012
- book: Fragment d'une saison pluvieuse, black and white photographs and drawings (éditions Nonpareilles-Domaine d'Abbadia).
- book: Vermillon, text by Pierre Michon (éditions Verdier-Nonpareilles).

 

2011
- publishment of a painted-paper: « Au Roi du bois » (Musée de la Roche-sur-Yon).

- book: publishment of Carnet d'A. (elles), black and white photographs (Musée de la Roche-sur-Yon).

- book: publishment of Leçon de Sainte-Victoire, black and white photographs and drawings (Musée de la Roche-sur-Yon).

 

2008

- book: publishment of Au Roi du bois, chapitre II, 47 black and white photographs (Filigranes Éditions-Conseil général de l'Essonne et le Centre culturel Maurice Eliot d'Épinay-sous-Sénart).

 

2007

- book: publishment of Le Ciel gris s'élevant (paraissait plus grand), 23 black and white photographs, text by Jean-Luc Nancy (Filigranes Éditions-Maison d'art Bernard Anthonioz).

 

2006

- book: publishment of Fading (Tentative de reconstitution d'un plan sentimental de Prague), 25 black and white photographs mixed with photographs by Nicolas Comment (Filigranes Éditions-Institut Français de Prague).

 

2003

- book: publishment of Une histoire sans nom, 23 black and white photographs, text by Alain Coulage (Filigranes Éditions).

 

2002

- publishment of Virgule, 5 black and white photographs accompanied by a text written by Nicolas Comment (Amok éditions)

- publication of 8 albums from the collection La Vérité, requested by Montreuil and Amok éditions.

 

2001

- publishment of L'aile d'endormir (Filigranes Editions).

- book: publishment of C'est maquis, 19 black and white photographs, accompanied by two texts by Nicolas Comment (coédition Filigranes-ENSAD).

 

1998

- book: publishment of a children's book, Bruno, Lison and Nico (éditions Thierry Magnier), text and illustrations.

 

OTHER PUBLICATIONS


2017

- published inPierre Michon, Les Cahiers de l'Herne.

 

2015

- portfolio in the « Jeu de Paume Magazine » as part of the carte blanche given to Hélène Giannecchini.

- digital book: Anaga, ZAZIE collection, Brazil.

 

2013

- published in Phalènes by Georges Didi-Huberman, Minuit.


2010

- published in the magazine « Photos nouvelles », march-april issue, « Le Chat de Barcelone. Anne-Lise Broyer invite Andre S. Labarthe ».

- publishment of 13 coloured photographs mixed with drawings by Dupuy and Berberian for the book-disc Coup de foudre by Jacques Higelin at EMI.

 

2008

- published with Nicolas Comment in the magazine « Photos nouvelles », january-february issue, « Attesa ».

 

2004

- publishment of 6 black and white photographs, mixed with photographs by Nicolas Comment, announcing the 6th meeting with Andre S. Labarthe, gathered in Le triboulet (éditions Filigranes-Centre des Arts d'Enghien-les-Bains).

 

2000

- publishment of a black and white photography in La Photographie, en effet by Alain Coulange, published as part of a conference at the École Nationale de la Photographie d'Arles and the École Municipale de Châtellerault (one article in this book is dedicated to Anne-Lise Broyer's work).

 

SOLO EXHIBITIONS

 

2018

- Madame Air, carte blanche at the Domaine de Nohant, birthplace of George Sand, Monuments nationaux, Nohant.

- Madame Air (écho), carte blanche at the Musée de la vie romantique, Paris.

- Regards de l'égaré (Chambre d'amour), Biennale de la photographie de Mulhouse, Musée des beaux-arts, Mulhouse.

 

2017

- Journal de l'oeil (Les Globes oculaires), extraits, La Galerie Particulière, Brussels (Belgium).

 

2016

- Leçons de Sainte-Victoire - Le Motif impossible, FRAC PACA, Marseille.

- Elle est ravissante, « Nuit blanche », Galerie Saint-Séverin, Paris.

- Regards de l’égaré, La Galerie Particulière, Paris.
- Au Roi du Bois, Festival Itinéraires des Photographes Voyageurs, Bordeaux.

- Du Monde vers le Monde (escale à Valparaiso), Château de l'Hermine, Vannes.

 

2015

- Carnet d'A, La Galerie Particulière, Brussels (Belgium).


2014
- Vermillon, Comptoirs pour la jeune photographie, Arles.

 

2013
- Le Marin de Gibraltar, La Non-Maison, Centre d'Art, Aix-en-Provence
- Le Marin de Gibraltar, La Non-Maison, Centre d'Art, Aix-en-Provence.
- Au Roi du bois, Pampelune (Spain), MAPAMUNDISTAS 2013.
- Vermillon, Pampelune (Spain), MAPAMUNDISTAS 2013.
- Au Roi du bois, Bilbao (Spain), Sala Rekalde, MAPAMUNDISTAS 2013.

 

2012
- Leçons de Sainte Victoire
et Vermillon, La Galerie Particulière, Paris
- Carnet
 d'A., Artothèque de Vitré.

 

2011

- Carte blanche à Anne-Lise Broyer, monographic exhibition, Artothèque de Vitré.
- Carte blanche à Anne-Lise Broyer, monographic exhibition, Musée de la Roche-sur-Yon (Roche-sur-Yon).

 

2009

- Anne-Lise Broyer, photographies, monographic exhibition, Galerie VU' (Paris).

 

2008

- Le Courage des Oiseaux, monographic exhibition, L'Imagerie (Lannion).

- Au Roi du bois, chapitre II, monographic exhibition, Centre culturel Maurice Eliot (Épinay-sous-Sénart).

- Lieux-dits, monographic exhibition, Centre culturel Maurice Eliot (Épinay-sous-Sénart).

 

2007

- Lieux-dits, monographic exhibition, Maison d'art Bernard Anthonioz (Nogent-sur-Marne).

- Fading, exhibition in collaboration with Nicolas Comment, Musée d'Ethnographie de Brno (Czech Republic).

 

2006

- Fading, exhibition in collaboration with Nicolas Comment, Galerie de l'Institut français de Prague.

- Fading, exhibition in collaboration with Nicolas Comment, Galerie Made, during « Le Mois de la photo » (the month of photography) in Paris (catalog).

- Fading, exhibition in collaboration with Nicolas Comment à Langon, invited by Gabriel Bauret.

- Fading, exhibition in collaboration with Nicolas Comment, Artothèque, Grenoble.

- Fading, exhibition in collaboration with Nicolas Comment, Galerie du théâtre La Passerelle, Gap.

 

2005

- Le Ciel gris s'élevant (paraissait plus grand), monographic exhibition, Galerie du théâtre Granit, Scène nationale, Belfort.

 

1997

- installation of La petite vacance, 24 viewers, international meeting of photography, Arles, as part of TECE (Travaux En Cours Extérieurs).

 

COMMISSARIAT

 

2016

- Carte blanche autour de Denis Roche, l'énergumène, as part of the Rencontres internationales de la photographie, Théâtre d'Arles (Arles).

 

2013

- Programming and meetings around films about painting, Anne-Lise Broyer invite André S. Labarthe, Cinémathèque (Paris) and Institut français de Madrid (Spain).

 

2010

- Le Chat de Barcelone, Anne-Lise Broyer invites Andre S. Labarthe, Maison d'art Bernard Anthonioz (Nogent-sur-Marne).

 

2009

- Attesa, carte blanche à Anne-Lise & Nicolas Comment, Galerie Frédéric Moisan (Paris).

 

COLLECTIVE EXHIBITIONS

 

2018

- Le Voyage à Carthage, curated by Léa Bismuth, Galerie Selma Feriani (Tunis, Tunisia).

- Vertiges, curated by Léa Bismuth, LaBanque (Béthune).

 

2017

- Being Beauteous (with Nicolas Comment, Amaury da Cunha and Marie Maurel de Maillé), L'Imagerie (Lannion).

 

2016
- Carte Blanche as part of the seminar Denis Roche l'Énergumène, Rencontres internationales de la photographie (Arles).
- La Part Maudite, curated by Léa Bismuth, LaBanque (Béthune).
- Being Beauteous, Domaine de Fontenille (Lauris).
- Fragments de l’amour, curated by Léa Bismuth, CAC La Traverse (Alfortville).
- MABA 10 ans, Maison d’Art Bernard Anthonioz (Nogent-sur-Marne).
- Being Beauteous, with Nicolas Comment, Amaury da Cunha and Marie Maurel de Maillé, Musée d’Art et d’Histoire (Guéret).
- Au Roi du bois, Festival Itinéraires des Photographes Voyageurs (Bordeaux).
- Du Monde vers le Monde (Escale à Valparaiso), with René Tanguy, Festival Photo de mer (Vannes), as part of obtaining the Bourse Pro in 2015.
- L’Impossible motif, FRAC PACA (Marseille).

 

2015
- Fragments de l’amour, curated by Léa Bismuth, CAC La Traverse, Centre d’art contemporain (Alfortville).
- Being Beauteous with Nicolas Comment, Amaury da Cunha et Marie Maurel de Maillé, Musée de La Roche-sur-Yon (La Roche-sur-Yon).
- Being Beauteous with Nicolas Comment, Amaury da Cunha et Marie Maurel de Maillé, Abbaye de Saint-Florent Le Vieil.
- Documents, curated by Léa Bismuth, URDLA (Villeurbanne).
- Journal de l'œil (extrait), Comptoirs arlésiens de la jeune photographie.
- Drawing now, booth of La Galerie Particulière (Paris).
- L'arbre, le bois, la forêt, CAC Meymac.

 

2014
- Being Beauteous with Nicolas Comment, Amaury da Cunha et Marie Maurel de Maillé, Galerie du Château d'eau (Toulouse).
- Real Maravilloso, La Galerie Particulière (Brussels, Belgium).
- Drawing now, booth of La Galerie Particulière (Paris).
- Art Paris, booth of La Galerie Particulière (Paris).
- Art Rotterdam, booth of La Galerie Particulière (Rotterdam, Netherlands).
- La Femme d'à côté, Galerie des Filles du Calvaire (Paris).

 

2013 

- Souvenirs d'immensité, Galerie de l'Institut Français (Madrid, Spain).
- Bruissements, curared by Léa Bismuth, Galerie Isabelle Gounod (Paris), as part of Nouvelles Vagues at the Palais de Tokyo (Paris).
- Artistes de la Casa de Velazquez, Domaine de La Garenne Lemot, Gétigné-Clisson.
- Cosa Mentale, curated by Christine Ollier (various places).

 

2010

- 3 photographs as part of the exhibition Dans un jardin. Un hommage au Déjeuner sur l'herbe et au jardin de Monet à Giverny, FRAC Haute-Normandie (Sotteville-lès-Rouen).

 

2009

- Tout l'univers, collective exhibition, Galerie VU' (Paris).

 

2008

- Fading, work exposed as part of Métissages, exhibition with Gaëlle Chotard, Annette Messager, Jean-Michel Othoniel, François-Xavier Courrèges, Martine Schildge, Fondation Thomson in Thaïland (catalog).

 

2006

- 1 image exposed in Christian Lacroix, dialogues, exhibition with Christian Lacroix, Annette Messager, Jean-Michel Othoniel, François-Xavier Courrèges, Tel Aviv (catalog).
- Fading, work exposed in Métissages, exhibition with Gaëlle Chotard, Annette Messager, Jean-Michel Othoniel, François-Xavier Courrèges, Martine Schildge, Galerie de l'Institut français in Prague, Czech Republic (catalog).
- Fading, work exposed in Métissages, exhibition with Gaëlle Chotard, Annette Messager, Jean-Michel Othoniel, François-Xavier Courrèges, Martine Schildge, Nevers (catalog).

 

2005

- 1 image exposed in Christian Lacroix, dialogues, exhibition with Christian Lacroix, Annette Messager, Jean-Michel Othoniel, François-Xavier Courrèges, Fondation Thomson in Thaïland (catalog).
- 1 image exposed in Christian Lacroix, dialogues, exhibition with Christian Lacroix, Annette Messager, Jean-Michel Othoniel, François-Xavier Courrèges, Museum of fine arts in Shanghai, China (catalog).

 

2004

- 4 images exposed in L'autre « métissages », exhibition with Béatrice Dacher, Gaëlle Chotard, Martine Schildge, Christelle Familiari, Museum of fine arts, La Paz, Bolivia (catalog).
- 1 image in Christian Lacroix, dialogues, exhibition with Christian Lacroix, Annette Messager, Jean-Michel Othoniel, François-Xavier Courrèges, Musée des Beaux arts et de la dentelle, Alençon (catalog).
- 18 images in Short Stories, exhibition with Sophie Calle, Jeff Wall, Cindy Sherman, Nicolas Comment, Fotomuseum, Anvers (catalog).

 

2003

- 5 images from the series Au Roi du bois, exposed as part of the exhibition Toile blanche of Yves Sabourin, Galerie Alain Gutharc (Paris).
- presentation of the book Une histoire sans nom (exhibition and projection) at the International Meeting of Photography, Arles.
- Mai photographique, Quimper, exhibition of around 30 images from the books C'est marquis and Une histoire sans nom (catalog).

 

2000

- participation in a collective exhibition on the theme of « à blanc », with Bernard Plossu, Andre S. Labarthe, Jun Shiraoka, Paolo Roversi, Magdi Senadji, Galerie Filigranes, Paris.

 

COLLECTIONS

 

- Bibliothèque nationale de France
- Musée de La-Roche-sur-Yon
- Artothèque de La-Roche-sur-Yon
- Artothèque de Grenoble
- L'Imagerie, Lannion
- La Passerelle, Gap


AWARDS

 

2016

- individual creation aid of DRAC Île-de-France.

- production aid of the Fondation nationale des arts graphiques et plastiques (FNAGP).

 

2015

- « Bourse Pro », with René Tanguy, Festival Photo de mer, Vannes.

 

2014
- studio aid of DRAC Île-de-France.
- creation aid of Val-de-Marne.

 

2006

- publishing aid of the CNL (poetry commission) for the project La Salle (Le Ciel gris s'élevant paraissait plus grand), with Jean-Luc Nancy.

 

2002

- publishing aid price of the Rencontres de la Photographie (Arles) for the project Une Histoire sans nom.

 

RESIDENCIES

 

2017

- Galerie Selma Feriani, Sidi Bou Saïd, Tunisia, for « Voyage à Carthage ».

 

2015
- Maison Julien Gracq, Saint-Florent-le-Vieil, for « Being Beauteous ».
- Engraving intaglio residency, URDLA - Centre international du livre et de l'estampe, for « Documents ».

 

2011-2013 
- artist member at the Casa Velazquez, Académie de France, Madrid, Spain.

 

2011

- residence "NEKaTOENEa" at the Domaine of Abbadia for the project Le H de Atlantique.
- residence "Voyons-voir, art contemporain et territoire" for the project Leçon de Sainte Victoire #1 et #2.

 

2008

- residence organised by the Conseil général d'Essonne and the Centre culturel Maurice Ellot in Épinay-sous-Sénart for the finalisation of the project Au Roi du bois, chapitre II.

 

2005

- residence in Prague with a youth generation programm (Culturesfrance) for the project Fading, in collaboration with Nicolas Comment.

 

ARTISTIC DIRECTIONS

 

2005-2007

- co-direction with Paul Otchakovsky-Laurens of the collection P.O.L - Dernière bande, dedicated to the contemporary literature (Pierre Alferi, Valère Novarina...).
- co-direction of the magazine/collection Saison, with P. Le Bescont and Nicolas Comment, on behalf of the Éditions Filigranes (works by Richard Dumas, Rodolphe Burger, Paul-Armand Gette, Jean Vigo, Yves Sabourin & Roman Opalka, André Pieyre de Mandiargues, Magdi Senadji, Agnès Propeck, Bertrand Bonello).

Learn more

Texts

Since I both graduated as a photographer and a typographer, my practice of photography is therefore peculiar, eager to simultaneously follow paths of graphic design, drawing and writing; looking through this hybridization to generate a kind of photographic literature, questioning the link between photography and artist books and trying to bring an unusual research in the display design of each one of my exhibition. My series all have in common a narrative framework, given by a text or novel I have read. I do not tend to illustrate, but it's as a reader that I confront the world, and the experience of photography often merges with the exceptional experience of reading. I think that I may honestly say that what initiated and still launches the creative act for me is the experience of reading. Finally, isn't it each image I produce the transcription of a more or less old disturbance forged by my readings? Places which I photography haven't been read before being actually seen. As if, while taking pictures, I was moving forward inside my vision, like proceeding in the reading of a book, in a kind of acuity similar to a hypnotic state, as if I was diving, submerged by the world. This is why I quickly got into photography without any artifice, often feeling fighting against the current or feeling very isolated in the field of contemporary photography. I have chosen a very modest mechanically controlled camera and a 50 mm lens in order to give a large contribution to sight. I'm still an analog photography user, to be closer to the film, this sensitive strip where is written, imprinted the image. In this fragment of time of full darkness, lies the fantasy, rather quirky, that when the mirror flips up, not only the light is reflected but also the thought of the photographer, or both at the same time. The camera like a prosthesis. The black and white was chosen because of the color of the text, something like gray matter, as if each dot of the paper print was a letter, a font, like a watermark, invisible to a naked eye, reminiscence, archeology of the text. I have chosen a heavy camera, which determines my gestures, slow gestures. I had quickly understood that my goal would not be to capture action, but its background. I chose still images rather than motion pictures, because I consider I had to set myself into motion, because motion lies in the viewer movements inside the exhibition room, but also when browsing pages of a book. Precisely, contemplate silence as a goal, tend to a thinking form rather than a form of thinking, it was and still is "paint not the form but the effect it produces" (Mallarmé). The economy of the Less contributes to this slowing down; an image should remain scarce, it is rare. I believe like Hervé Guibert, critic and photographer, that the practice of photography has no particular interest for me apart from the resistance I feel towards this practice. My practice is therefore restrained and cautious. My interest for this practice is also motivated, by a permanent dialog it can maintain with the other arts. Movie editing (montage) is borrowed to cinema to create the internal rhythmof a book, but it could also be the "fast-cut" or the "long take". I think of the cineast Robert Bresson, in his Notes on Cinematography: "An image should transform itself through contact with other images, like a color in contact with other  colors". Eventually, isn't it the "in-between images" what I really care for Thus I give spectators the freedom to compose with the combination of forms I offer him, like an established set where he could inhabit. Believing that an image can still reveal itself under his eye, "an image belongs to who looks at it" (Marcel Duchamp).

My practice of photography which I have been conducting for 12 years, in the actual geography of art and inside my generation, is difficult to maintain because of its quietness and delicacy; it refers to a distant realness, difficult to apprehend, respected, only catching signs of places, and their mysteries. Very far from spectacular and narrative compositions often found in contemporary photography.

Anne-Lise Broyer

Learn more

Press

Pas juste une image, une image juste

Pas juste une image, une image juste

01.11.2017

Persona

Anne-Lise Broyer

Anne-Lise Broyer

15.06.2016

Télérama Sortir

Les mots des images

Les mots des images

04.07.2015

Arts - Libre Belgique

Anne-Lise Broyer

Anne-Lise Broyer

01.01.2014

Art Press

Nouvelles Vagues

Nouvelles Vagues

21.06.2013

Le Monde - supplément

La Victoire au crayon

La Victoire au crayon

19.09.2012

Télérama Sortir

Vermillon

Vermillon

15.09.2012

Libération

Anne-Lise Broyer, Littérature & Photo

Anne-Lise Broyer, Littérature & Photo

01.06.2012

Connaissance des Arts Photo

Anne-Lise Broyer ou la photographie buissonnière

Anne-Lise Broyer ou la photographie buissonnière

01.06.2011

Connaissance des Arts