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 sur le cinématographe (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 in side 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

 

2013

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

 

2012

- book : Fragment d?une saison pluvieuse, photographs n&b and drawings (editions 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)» , photographies  in black and white    (Musée de la Roche-sur-Yon).

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

 

2008

- book : publishment of « Au Roi du bois, chapitre II », 47 photographys in black and white (Filigranes Editions - Conseil général de l'Essonne et le Centre culturel Maurice Eliot d'Epinay-sous-Senart ).

 

2007

- book : publishment of « le Ciel gris s'élevant (paraissait plus grand) » ,  23 photographys in black and white, text by Jean-Luc Nancy (Filigranes Editions-Maison d'art Bernard Anthonioz).

 

2006

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

 

2003

- book : publishment of « Une histoire sans nom », 23 photographys  in black and white, text by Alain Coulage (Filigranes Editions)

 

2002

- publishment of « Virgule », 5 photographys in black and white accompanied by a text, written by  Nicolas Comment (Amok Ed.)

- 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 photographys in black and white , accompanied by two  texts by Nicolas Comment (coédition Filigranes- ENSAD).

 

1998

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

 

 

OTHER PUBLICATIONS

 

2010

- published in the magazine « Photos nouvelles » édition of march-april LE CHAT DE BARCELONE Anne-Lise Broyer invites Andre S. Labarthe

- publishment of 13 coloured photographys  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 »  édition of january- february  ATTESA

 

2004

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

 

2000

- publishment of a photography in black and white in « La photographie, en effet » by Alain Coulange, published  in order of a conférence in the Ecole Nationale de la Photographie d'Arles  and in l'Ecole Municipale de Chaellerault (one article in this work is dedicated to my work).

 


SOLO EXHIBITIONS

 

 

2015

- Carnet d'A, La Galerie Particulière, Bruxelles.


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, Artotheque de Vitré
- « Carte blanche à Anne-Lise Broyer » monographic exhibition, Musée 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 (Epinay-sous-Senart).

- « Lieux-dits », monographic exhibition, Centre culturel Maurice Eliot (Epinay-sous-Senart).

 

2007

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

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

 

2006

- « Fading », exhibition in cooperation with Nicolas Comment, Galerie de l'Institut français de Pargue.

- « Fading », exhibition in cooperation with  Nicolas Comment, Galerie Made, during « le moins de le photo » (the month of the photography) in Paris (catalog).

- « Fading », exhibition in cooperation with Nicolas Comment à Langon,  invited by Gabriel Bauret.

- « Fading », exhibition in cooperation with Nicolas Comment, Artothèque, Grenoble.

- « Fading », exhibition in cooperation with Nicolas Comment, Galerie du théâtre La Passerelle, Gap.

 

2005

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

 

1997

- installation of « La petite vacance » 24 viewers, international meeting of photography, Arles, in the context of TECE (Travaux En Cours Exterieurs).

 


COMMISSARIAT

 

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

 

2015

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

 

2014

- Being Beauteous avec Nicolas Comment, Amaury da Cunha et Marie Maurel de Maillé, Galerie du Château d'eau, Toulouse.
- Real Maravilloso, La Galerie Particulière, Bruxelles.
- Drawing now, Stand de La Galerie Particulière.
- Art Paris, Stand de La Galerie Particulière.
- Art Rotterdam, Stand de La Galerie Particulière.
- La Femme d'à côté, Galerie des Filles du Calvaire (Paris).

 

2013 

- Souvenirs d'immensité, Galerie de l'Institut Français (Madrid).
- Bruissements, commissariat Léa Bismuth, Galerie Isabelle Gounod, Paris, dans le cadre de Nouvelles Vagues du Palais de Tokyo.
- Artistes de la Casa de Velazquez, Domaine de La Garenne Lemot, Gétigné-Clisson.
- Cosa Mentale, commissariat Christine Ollier (plusieurs lieux).

 

2010

- 3 photographys in the context of the exhibition DANS UN JARDIN, « Un hommage au déjeuner sur l' herbe et au jardin de Monet à Giverny » , FRAC Haute-Normandie.

 

2009

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

 

2008

- « Fading », exposed work in the context of the exhibition « Métissages » with Gaelle Chotard, Annette Messager, Jean-Michel Othoniel, François-Xavier Courrèges, Martine Schildge... Fondation Thomson in Thailand, (catalog).

 

2006

- 1 image exposed in the context  of the exhibition "Christian Lacroix, dialogues" with Christian Lacroix, Annette Messager, Jean-Michel Othoniel, François-Xavier Courreges... Tel Aviv, (catalog).
- « Fading », exposed work in the context of the exhibition « Métissages » with Gaelle Chotard, Annette Messager, Jean-Michel Othoniel, François-Xavier Courrèges, Martine Schildge... Galerie de l'Institut français à Prague (catalog).
- « Fading », exposed work in the context of the exhibition « Métissages » with Gaelle Chotard, Annette Messager, Jean-Michel Othoniel, François-Xavier Courrèges, Martine Schildge...Nevers (cataloge).

 

2005

- 1 image exposed in the context  of the exhibition "Christian Lacroix, dialogues" with Christian Lacroix, Annette Messager, Jean-Michel Othoniel, François-Xavier Courreges...Fondation Thomson in Thailand, (catalog).
- 1 image exposed in the context  of the exhibition "Christian Lacroix, dialogues" with Christian Lacroix, Annette Messager, Jean-Michel Othoniel, François-Xavier Courreges... Museum of fine arts in Shangai, China, (catalog).

 

2004

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

 

2003

- 5 images extracted from the series « Au Roi du bois », exposed in the context of the exhibition « Tolle blanche » of Yves Sabourin, Galerie Alain Gutharc, Paris.
- International meeting of photography in Arles, présentation of the book « Une histoire sans nom », (exhibition and projection).
- Mai photographique in Quimper, exhibition of around 30 images excerpts from the books « C'est marquis » and « Une histoire sans nom » (catalog).

 

2000

- participation at a collective exhibition with the topic « à blanc » with Bernard Plossu, Andre S. Labarthe, Jun Shiraoka, Paolo Roversi, Magdi Senadji... , Galerie Filigranes in 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 AND HELP

 

2006

- help for the édition of the CNL (commission poésie)  for the project « La salle (Le ciel gris s'élevant paraissait plus grand) » avec Jean-Luc Nancy.

 

2002

- «prix d'aide à l'édition des Rencontres de la Photographie » (Arles) pour le projet « Une Histoire sans nom ».

 

RESIDENCES

 

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

 

2011

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

 

2008

- residence organised by the general Council  of Essonne and the Centre culturel Maurice Ellot in Epinay-sous-Senart 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 coopération with Nicolas Comment.

 

ARTISTIC DIRECTIONS

 

2005-2007

- co- direction with Paul Otchakowsky-Laurens, from the collection  "P.O.L" Dernière bande, around the contemporary  literature  (Pierre Alferi, Valère Novarina...).
- co- direction of the magazine/collection Saison, with P. Le Bescont and Nicolas Comment in the profit of the Editions Filigranes, having received the 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...

 

TEACHING

 

2007

- teacher: master II, Sciences et techniques de l?exposition, Université Paris I, Panthéon-Sorbonne.
- l'Ecole nationale des beaux arts de Grenoble, DNAP,  at l'Ecole Estienne, at l'Ecole nationale supérieure des arts décoratifs de Paris.

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 rhythm of a book, but it could also be the "fast-cut" or the "long take". I think of the cineast Robert Bresson, in his Notes sur le cinématographe (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

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