Between art and Art traite d’aspects particuliers du travail des photographes de musée dont les photographies grand format d’oeuvres d’art, de vues d’installation et d’autres détails des opérations d’un musée, de même que de son architecture, ne constituent ni de la documentation purement technique, ni de l’art photographique. Ingelevics tire profit des nombreux détails offerts par ce type de photographie, lesquels occultent souvent, et paradoxalement, l’intention ou le sujet de la photographie. Il porte un regard anomique sur la signalisation et sur les espaces improvisés (bureau de sécurité, expositions temporaires, couloirs) du musée que le visiteur ne remarque normalement pas lorsqu’il se dirige vers ce qu’on imagine être l’attraction principale.
Manifesting her propensity for memory, Catherine Poncin takes no photographs; instead, she draws from a corpus of urban and community archives to gather significant, often unperceived "layers." In Bobigny, a Paris suburb, she proceeds to "pile up strata of clues," revealing the town's market-gardening activities, its memory of the Shoah, and its redevelopment into uniform neighbourhoods after the war. A reading by the sociologist-anthropologist Pierre Bourdieu throws light on certain prescriptions inherent to community photography. However, these prove to be absent in a population burdened by a hybrid urbanism, even in the search for an unanchored lived memory...
Using abundant photographie documentation from various collections, Patrick Altman's personal museum highlights the inventorying and classification systems used by museum collections. He allows generous contact with hundreds of photographs, which he deploys in relation to the exhibition space, while limiting access to it and thus encouraging a fragmented and unstable perception of the images. As a photographer-curator, he is unorthodox in his way of producing and exhibiting, and he paraphrases the methods and manners of museology to exemplify the issues it faces.
Since the 1960s, a number of Western art practices have revived the aesthetic of the photographic archive as it was developed in the nineteenth century. Starting from the work of Allan Sekula, the author distinguishes two aesthetic trends: the inventory and the classification. Whether arising from one or the other, use of the photographic archive seems to be a strategy through which contemporary artists redefine the limits of their field of activity, sometimes even infringing on areas of competency that are not traditionally theirs.