Aurélie Pétrel
Updated — 08/01/2018

Texts

Biographie par Michelle Debat

Tirée du texte de présentation pour le Séminaire de recherche - Nouvelles matérialités en photographie et art contemporain, INHA - Paris 8, mars 2018 

Aurélie Pétrel: Where Space Becomes Form

By Alex Bowron, 2018

Texte de présentation par Michelle Debat

pour le Séminaire de recherche - Nouvelles matérialités en photographie et art contemporain, INHA - Paris 8, mars 2018

PARTITION PHOTOGRAPHIQUE

By Aurélie Pétrel, 2014 — Translated by Simon Pleasance, 2015

I posit the idea of a photographic score (partition), from the double definition of the word “partition”. The first refers right away to musical composition and its system of notation, on which readings and interpretations can be based; the second, which is more specific, refers to sharing, and redistribution (of territories, for example). Based on this semantic ambivalence, the notion of a photographic “partition” can be formed, at once notation (reserve) and redistribution (no longer of space, but of time). The “shots” (silver, silver-digital and digital) are, for me, the “degree zero” of the process whereby images appear in this dynamic which is indexed to the idea of partition. They are in a way the embryonic phase of a (potential) operation of development, a literal “take” (prise), at once a concrete sampling and a summons to a future development (we talk about a prise d'appel –a take call, literally—before a projection, a leap into what is to come). So an initial time-frame, prior to the images, where images are already potentially shot or taken, in the act and the being of the exhibition, redistributed, shared out, and in accordance with a given context, and becoming from now on a secondary time-frame, not only consecutive but composed of (marked by) the double time of a transformation which contains the visibility of its own temporal traceability (its spectrum). Otherwise put, the partition (time-frame 1) is played out (time-frame 2) and its play is doubly marked by its origin and its presentation. The score—this is its function—can be played again, and be represented in these (its) simultaneous time-frames.

Of the structural and the figurational

By Sylvie Lagnier, 2010 — Translated by John Doherty
In Regards croisés, Shanghai 2010, Edition ENSBA Lyon, with support of Région Rhône-Alpes

Text by Baron Osuna

2010 — Translated by John Doherty