These abstract works involving simple forms evoke methods of analogue photography to challenge the degree of veracity of the image. Imprint, inversion, and casting are some of the components transposed into other artistic media to re-evaluate our capacity to apprehend the real.

Thomas Ruff’s images, made with 3D digital imaging software, are presented as an up- dating of the photogram developed by 1920s avant-gardes. Objects, light, and emulsion are translated into binary data used to produce new images – abstract, colourful, and very large format – that stretch the limits of the genre and radically abolish
its presumptions.
with an essay by Jacinto Lageira

Film/Unfilm, Rotations

La chambre inversée, Les chambres étalées
Bauer and Knowles’s animated images highlight the minimal conditions for perception of objects and apparition of form from obscurity and mat- ter. Lessard-L. offers a perceptual exploration based on materialization of the camera’s dark chamber in the form of a video installation and sculptures. These works compete for ambiguity: we no longer know exactly what we should be seeing, unless it is the image in the process
of becoming.
with an essay by Charles Guilbert

Somewhere in Between
Henri Venne’s paintings are like light- sensitive plates: their monochrome glazed surfaces capture the reflections of an approximate landscape, fixed in photographs. In fact, his paintings are shown only as photographs, like images of a certain type of representation, like images of an abstraction worked through the virtualness of representation.
with an essay by Sylvain Campeau

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