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Julien Discrit, Brighter than a thousand suns (détail), 2007.
Avec l'aimable autorisation de l'artiste | Courtesy of the artist

Julien Discrit
Claire Hannicq
Anouk Kruithof
Jacinthe Lessard-L.
Pétrel | Roumagnac (duo)
Alana Riley

Commissaire | Curator : Claire Moeder

From April 16th 2016 to June 11th 2016
Loin des yeux

Samedi le 16 avril

14h - Discussion avec Julien Discrit et Anouk Kruithof - animée par Claire Moeder

15h à 18h - Vernissage

Loin des yeux engages the viewer in an exploration of the invisible. The exhibition encompasses a selection of photographic and video works in which the images—partial, ambivalent, subterranean—shy away from the gaze. It brings together artists Julien Discrit (France), Claire Hannicq (France), Anouk Kruithof (United States/Netherlands), Jacinthe Lessard-L. (Québec), Pétrel | Roumagnac (duo, Finland/France), and Alana Riley (Québec).

These artists experiment with visual blurrings that testify to the many layers of visibility. They shift our perception, leading (or losing) it, as hidden images oscillate between disappearance and revelation. Infiltrating the various existential possibilities, the exhibition explores peculiar strategies of dissimulation and resistance that have an immediate impact on our reading of the works.

The total or partial disappearance of the subject, access to it made nearly impossible by an intentional and parasitic blurring, is a recurring strategy. It calls for experiencing works of vacillating perception and in a constant state of tension, placing the viewer in a physically and reflexively ambiguous position. The exhibition thus introduces new relationships between the spectator and the works, which are removed or partially obscured. These variations spawn a latent frustration that forces viewers to apprehend the image differently, whether it be fixed or moving.

Anouk Kruithof is producing a series based on found photo-negatives on which she applies the luminous impression of a flash. The glare from the iPhone, like an act of erasing or wiping memory, nonetheless produces hybrid, residual images. Jacinthe Lessard-L.'s work, for its part, suggests the use of a silver halide camera. She produces the elliptical and reversed image of a lens, drawing on the non-visual aspect of photography in order to examine its very nature. Of photography, Julien Discrit only preserves its luminous source. Using a spectrometer to isolate the light taken at a specific point in time and place, he creates an installation where the captured real now becomes an imageless image that refers solely to colour filtre.

In her video work, Alana Riley turns the digital camera back toward the luminous source in order to produce a liminal image at the limits of abstraction. And like Riley, Claire Hannicq generates intentionally dazzling effects that interrogate the act of photography. Both artists exploit the luminous potential of a filmed sequence or of a photograph arranged in the installation space to momentarily blur one’s sight and to instill doubt regarding the terms of the image’s existence. With a series of photographs that are available online for one time only, Hannicq also underscores the paradox of the image’s unique status and its reproducibility. Pétrel | Roumagnac's book-object places the spectator in front of an absent image. The duo proposes a textual transcription of photographs and of image transformations produced in museum conservation facilities. The writing borrows its form from theatre, restoring images through stage directions and blocking without coming into view. On the whole, the exhibition brings contradictory images into play, images meant to dissolve at the moment of their appearance, while affirming the persistance of the photographic medium despite their fleeting nature: whether through disappearances or omissions, concealment or abstraction, the materiality and fragility of the image are never far way.

Through simple manipulations, sometimes combined with new technologies, the processes at work can suggest luminous explorations of the beginnings of photography and cinema. The artists here brought together fashion sensitive, variously tenuous or more self-assured connections with these experimentations in order to return to an accidental, spontaneous, or compound use of light as primary creative material. Loin des yeux does not propose a nostalgic rapport with the medium so much as a critical though playful deflection that enables us to redefine our relationship with images and their current modes of appearance. It invites us to reinvent a contemplation before unstable and defiant images and to begin a reflection on their mass production and proliferation in today’s visual culture.

Claire Moeder wishes to thank the Conseil des arts et des lettres du Québec for its financial support.

Conseil des arts et des lettres du Québec





FISET, Daniel. «Loin des yeux», published in Ciel variable, no.105, « Montréalités », Montréal, 2017, p. 89.

DELGADO, Jérôme. « L’expérience du (in)visible », Le Devoir, 30 avril 2016.

Saturday Avril 16- 2PM (before the opening)
Julien Discrit & Anouk Kruithof
Moderated by Claire Moeder

French / English

The artists will discuss their practice as it relates to photography and their participation in artist residencies.

Julien Discrit was born in Épernay, France, in 1978. He lives and works in Paris.

Julien Discrit is a graduate of the École supérieure d’art et design, in Reims (2004). His work has been shown in both solo exhibitions (Ensapc Ygrec, Paris, 2015; Institut français de Roumanie, Bucarest, 2006; Jeu de Paume, Paris, 2005) and group shows (Centre Pompidou-Metz, 2016; Galerie Thomas Henry Ross, Montréal, 2014; Fundación Proa, Buenos Aires, 2012; La Biennale de Lyon, 2011). He took part in several collaborative projects in Europe between 2009 and 2013. Discrit was among the finalists of the 10th Fondation d’entreprise Ricard Prize (Paris, 2008).

Claire Hannicq was born in Auxerre, France, in 1984. She lives and works in Besançon.

Claire Hannicq graduated from La Haute École des Arts du Rhin de Strasbourg (2010). Her work has been shown in France in both solo exhibitions (Toshiba House, Besançon, 2015; My monkey, Nancy, 2014) and group shows (Musée du temps, Besançon, 2015; Musée de l’imprimerie, Lyon, 2012). She also took part in the cross-border event Regionale (France, Switzerland, Germany, 2013 to 2015) and in several international residencies (Darling Foundry, Montréal, 2014; Ergastule, Nancy, 2014; Strasbourg/Dresde Grafikwerkstatt, Dresden, 2012).

Jacinthe Lessard-L. was born in Québec City. She lives and works in Montréal.

Jacinthe Lessard-L. holds an MFA from Concordia University, Montréal. Her work has been presented in solo exhibitions in Québec (Dazibao, Montréal, 2014; VU Photo, Québec City, 2011; OPTICA, Montréal, 2009) and in Canada (Truck, Calgary, 2014). She has also taken part in group shows in Europe (Museum im Kulturspeicher, Wurzbourg, 2015; Musée de L’Élysée, Lausanne, touring from 2010 to 2015; Galerie Genscher, Hambourg, 2012; Biennale de l’image, Nancy, 2008) and in Russia (Festival of Photography in Arkhangelsk, 2015; the State Russian Museum and Exhibition Centre Rosphoto, Saint-Petersburg, 2013). She has published artist books La Pataphysique de l’espace, 2015, Le Décalogue, après dieu et Kieślowski, 2013) and teaches visual arts at Collège Montmorency (Laval).

Anouk Kruithof was born in Dordrecht, the Netherlands, in 1981. She lives and works in New York and Brussels.

Anouk Kruithof is a graduate of the Academy of Art and Design St. Joost in Breda (2003). She had several solo exhibitions (BoetzelaerINispen, Amsterdam, 2015; Festival Images, Vevey, 2014; Künstlerhaus Bethanien, Berlin, 2009). Her work has also been part of group shows in the United States, in Europe, and in Asia (MoMA, New York, 2015; Stedelijk Museum, Amsterdam, 2014; Daegu Photo Biennale, South Korea, 2012; Festival international de mode et de photographie, Hyères, 2010; Musée d’art moderne et d’art contemporain, Liège, 2008). Kruithof won the Infinity Award, given by the International Center of Photography (New York, 2012) and Prins Bernhard Cultuurfonds’ Charlotte Köhler Prize (Amsterdam, 2014). She has published several artist books that are catalogued on her publishing platform www.stresspress.biz.

Pétrel | Roumagnac (duo)
Aurélie Pétrel was born in 1980. She lives and works in Paris and Geneva.
Vincent Roumagnac was born in 1973. He lives and works in Helsinki.

Since 2012, Aurélie Pétrel and Vincent Roumagnac have combined their respective background in photography and theatre. Their collaboration takes the form of installations and actions that have been presented in galleries (Galerie Escougnou-Cetraro, Galerie Michel Journiac, Paris, 2015), exhibition centres (Cité Internationale des Arts, Paris, 2014; Centre Photographique d’Ile-de-France and Cinéma Apollo, Pontault-Combault, 2014), and theatres (Théâtre de Vénissieux, 2015; Zodiak-Center for New Dance, Helsinki, 2013; Théâtre de l’Élysée, Lyon, 2012). They took part in a residency together at the Darling Foundry (Montréal, 2014). Pétrel currently teaches and heads the Photography Pool at the Geneva University of Art and Design. Roumagnac is pursuing a doctorate at University of the Arts, Helsinki.

Alana Riley lives and works in Montréal.

Alana Riley holds a Masters from the University of Southern California. She presented several exhibitions in Québec (Musée régional de Rimouski, 2010; Musée d’art contemporain de Baie-St-Paul, 2008; Joyce Yahouda Gallery, Montréal, 2007, 2009, and 2010) and abroad (Division of Labour, London, 2016; Crawford Art Gallery, Cork, 2011; Shanghai World Fair – Art Contemporain de Montréal, 2010; The National Sculpture Factory, Cork, 2009). She has participated in several residencies (Opekta, Cologne, 2012; The National Sculpture Factory, Cork, 2009). In 2010, Riley received the City of Montréal’s Pierre-Ayot Prize and was among the finalists for the Flash Forward award at the Magenta Foundation (Toronto).

Claire Moeder was born in Strasbourg, France, in 1984. She lives and works in Montréal.

Claire Moeder is a writer and a curator. She is a frequent contributor to esse art + opinions and Ciel variable magazines. She is a columnist for ratsdeville and CIBL radio station, and has contributed to two publications devoted to photography, Le Mois de la Photo à Montréal (2009) and Christian Marclay: SNAP! (2010). Having taken part in curatorial residencies in the United States (International Studio & Curatorial Program, 2013) and Québec (Est-Nord-Est and La Chambre Blanche, 2015), Moeder has recently organized solo exhibitions for artists Sayeh Sarfaraz (Maison des arts de Laval, The Invisible Dog Art Center, Brooklyn, 2014) and Jacinthe Lessard-L. (Maison des arts de Laval, 2016). Her research into current uses of the image is guided by an attentive examination of invisible forms, in which contemplation of that which eschews the gaze allows her to reinvent a moving relationship with the world.