Insolé

The phrase "Despite the nonexistence of God, nothing is permitted" originates from a screen-printed poster found in a collection of brochures, pamphlets, facsimiles, and newspaper hijackings created by the group "For a Revolutionary Critique," formed in the context of the events of 1968 by Roger Langlais, Guy Bodson, and Bernard Pécheur. In resonance with the situationist ideas of reappropriation, this poster overturned Dostoevsky's maxim "If God did not exist, everything would be permitted" and appeared as an invitation to collectively redefine societal norms. The replayed image is now tinted with the disillusionments of the utopias of the late 20th century and the resurgence of religious beliefs.

It was in the night of Elea, an ancient Greek city near Naples, that Parmenides first supposed that the moon reflected the light of the sun or that the earth was a sphere. By seeking the logic at work in nature through his observations rather than from mythological accounts, he, along with other pre-Socratic philosophers, contributed to building a new way of understanding the world.
This photograph of the sky of Elea was taken nearly 2500 years after Parmenides, by fixing a camera on a motor synchronized with the rotation of the Earth, allowing the tracking of the stars' movements and creating a perfectly still image of the celestial vault.
Ordinarily, regardless of where in the world they are taken, photographs capture sunlight reflecting on the world around us. However, in this photograph, the captured light does not come from our sun, but from thousands of distant suns.

In the early days of photography, photographers would craft and apply the emulsion for their images themselves. Then, quickly, they were offered a multitude of ready-to-use supports for both shooting and printing. The brand, packaging, or slogan of these supports, promising particular contrasts, depth, or tones, became synonymous with unique perspectives on the world.
The series "Sun-Exposed Papers" presents packages of black-and-white photographic papers from the 1920s intended to be exposed under an enlarger and developed using a developer (silver gelatin bromide paper from Grieshaber) or designed for contact printing, darkening in sunlight (Grieshaber citrate paper, Lumière & Jougla, Cellofix).
The papers, preserved away from light for over a hundred years, are photographed here as they are being unpacked in full sunlight.

In the early days of photography, photographers would craft and apply the emulsion for their images themselves. Then, quickly, they were offered a multitude of ready-to-use supports for both shooting and printing. The brand, packaging, or slogan of these supports, promising particular contrasts, depth, or tones, became synonymous with unique perspectives on the world.
The series "Sun-Exposed Papers" presents packages of black-and-white photographic papers from the 1920s intended to be exposed under an enlarger and developed using a developer (silver gelatin bromide paper from Grieshaber) or designed for contact printing, darkening in sunlight (Grieshaber citrate paper, Lumière & Jougla, Cellofix).
The papers, preserved away from light for over a hundred years, are photographed here as they are being unpacked in full sunlight.

In the early days of photography, photographers would craft and apply the emulsion for their images themselves. Then, quickly, they were offered a multitude of ready-to-use supports for both shooting and printing. The brand, packaging, or slogan of these supports, promising particular contrasts, depth, or tones, became synonymous with unique perspectives on the world.
The series "Sun-Exposed Papers" presents packages of black-and-white photographic papers from the 1920s intended to be exposed under an enlarger and developed using a developer (silver gelatin bromide paper from Grieshaber) or designed for contact printing, darkening in sunlight (Grieshaber citrate paper, Lumière & Jougla, Cellofix).
The papers, preserved away from light for over a hundred years, are photographed here as they are being unpacked in full sunlight.

Before development, Ektachrome slide films are green monochromes. This color is the result of the overlay of 18 emulsions on a transparent plastic support of 0.18 mm in thickness in an assembly designed for the film to record the world in its own unique way.