The collective “1: 61, young art historians”, created in September 2018, carries in its name the identity of its project. Its members belong as much to the Internet generation, absorbed in a continuous stream of images, as to an ancient historian tradition, which defends the primacy of the work, the need to face it and to observe it. length. This mixture between two temporalities then appears as a paradox. Faced with this contemporary reality, where photography is an obvious fact, it is important to isolate in the current creation constructed images that challenge us. So we want to offer readings of these photographs through an exhibition, the duration of which gives us the opportunity to really linger over these visual objects. We propose to apprehend the photographic image against the current: our interest is then on creations that interrogate the eye and the mind, or nothing is a priori pledge of truth.

The genesis of our collective is that of a group of eight students with the same inspiration. It was formed on the benches of the University Panthéon-Sorbonne during our meeting in art history license. Brought together by our common taste for contemporary photography, it is natural that we have nourished a project that materializes today in a future exhibition.

Sophie Bernal

Sophie, in addition to being a former lawyer, brings a European openness through her dual Franco-Dutch nationality. Fascinated by celestial phenomena, she is specialized in avant-gardes crossed by the question of the cosmos, Kupka being her greatest aesthetic reference.

Boris Marotte

Boris, after studying commerce, joined the Panthéon-Sorbonne University where he continued his passion for photography. With his various experiences in the galleries, he has the most pragmatic view on the development of the project. He is also an avid collector of contemporary art.

Margot Rouas

Margot, marked by a literary and philosophical training, knows how to combine artistic sensitivity and intellectual requirement. Her research, tinged with an attraction for surrealism, connotes her desire to always explain the images by a quirky and humorous spring.

Sarah Nasla

Sarah, specialized in the study of American photography, always conceives of the image as a political object. With a degree in history, she knows how to anchor our subject in a certain way. Her dynamism and determination are assets in the promotion of our project.

Camille Veysset

Camille, by her great reactivity, knew how to give the first impulses to the project. Historian at heart, she knows how to put words on our instincts and always responds with guts to our needs. Equipped with a cross-luggage, she knows how to find references that specify our relationship to photography.

Sarah Amane

Sarah, art historian of the first hour, brings her great sensitivity to the collective in the apprehension of the images of our artists. Very conscious of the values at work in photography, she aspires to question this medium as a practice through the study of the "image-manifeste".

Léia Fouquet

Léia, apprentice gallerist, rich of a previous exhibition brings us expertise and networks. Her personal works are traversed by philosophical questions borrowed in particular from Jean Baudrillard. Very aware of the contemporary art scene, Leia is a force of innovative proposals.

Laure Martin

Laure, through a formation in digital arts, contributes greatly to develop our social networks in respect of our visual identity. Fascinated by questions of gender studies and feminism, she deconstructs the great museums and models of art history.

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