{"id":6099,"date":"2025-12-01T13:42:41","date_gmt":"2025-12-01T12:42:41","guid":{"rendered":"https:\/\/leherpeurparis.com\/?p=6099"},"modified":"2026-02-03T10:40:11","modified_gmt":"2026-02-03T09:40:11","slug":"loeil-paris-photo-reparer-revendiquer-desirer","status":"publish","type":"post","link":"https:\/\/leherpeurparis.com\/en\/prospective\/loeil-paris-photo-reparer-revendiquer-desirer\/","title":{"rendered":"L\u2019\u0152il Paris Photo: r\u00e9parer, revendiquer, d\u00e9sirer"},"content":{"rendered":"\n
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\u00a9<\/strong><\/em> @berangerefromont<\/a><\/em><\/figcaption><\/figure>\n\n\n\n


Et si la photographie ne captait plus le r\u00e9el mais le r\u00e9inventait ?<\/h2>\n\n\n\n

\u00c9dition apr\u00e8s \u00e9dition, Paris Photo<\/a> s\u2019impose comme bien plus qu\u2019une foire internationale : c\u2019est un barom\u00e8tre culturel, un espace o\u00f9 l\u2019on observe comment le monde se raconte \u00e0 travers l\u2019image. L\u2019\u00e9dition 2025 confirme ce r\u00f4le strat\u00e9gique. On y per\u00e7oit un tournant profond : la photographie ne se limite plus \u00e0 documenter le r\u00e9el, elle le retisse<\/strong>. Elle devient une pratique qui r\u00e9pare les identit\u00e9s, met en sc\u00e8ne les luttes, et r\u00e9invente le d\u00e9sir.<\/p>\n\n\n\n

Cette ann\u00e9e, les \u0153uvres expos\u00e9es tracent les contours d\u2019une \u00e9poque en tension (\u00e9cologique, politique, intime) o\u00f9 l\u2019image appara\u00eet comme un moyen de remettre de la coh\u00e9rence dans ce qui vacille. \u00c0 travers les univers de Francesca Allen, Andr\u00e1s Ladocsi, Mia Weiner, B\u00e9rang\u00e8re Fromont, Romero Beltr\u00e1n ou Julie Balagu\u00e9, \u00e9mergent trois grands mouvements: r\u00e9parer, revendiquer, d\u00e9sirer<\/strong>.<\/p>\n\n\n\n

R\u00e9parer : quand la photographie devient un acte de r\u00e9paration du sensible<\/h2>\n\n\n\n
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\u00a9<\/strong> @miaweiner<\/a><\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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L\u2019esth\u00e9tique de la r\u00e9paration s\u2019impose dans cette \u00e9dition. Chez Mia Weiner<\/strong><\/a>, le tissage devient un acte de soin : ses compositions photographiques traduites en fils, ponctu\u00e9es de \u201cglitches\u201d ou de ruptures, incarnent une radical softness<\/strong> qui r\u00e9siste et milite contre la conformit\u00e9. Sa pratique transforme l\u2019image en moment d\u00e9licat, fragile, presque vivant.<\/p>\n\n\n\n

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\u00a9<\/strong> @berangerefromont<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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M\u00eame logique chez B\u00e9rang\u00e8re Fromont<\/a><\/strong>, qui capture pendant deux ann\u00e9es l\u2019\u00e9cosyst\u00e8me de la Place de la R\u00e9publique. Images, tracts transform\u00e9s en sculptures, silhouettes en transit\u2026 l\u2019artiste archive un lieu o\u00f9 se superposent m\u00e9moire collective, agitation politique et instants d’\u00e9motion. Elle fabrique des fragments de r\u00e9paration collective<\/strong>, comme une tentative de r\u00e9concilier une ville avec ses \u00e2mes en mouvements.<\/p>\n\n\n\n

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\u00a9<\/strong> @juliebalague<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Enfin, Julie Balagu\u00e9<\/a><\/strong> incarne une autre forme de r\u00e9paration : rendre visible ce qui a \u00e9t\u00e9 invisibilis\u00e9. Dans Anatomie de l\u2019invisible<\/em>, elle m\u00eale texte et image pour recomposer une m\u00e9moire f\u00e9minine diss\u00e9min\u00e9e, longtemps tue. Une mani\u00e8re de r\u00e9parer l\u2019Histoire par l\u2019intime<\/strong>.<\/p>\n\n\n\n

Revendiquer : le corps comme manifeste politique<\/h2>\n\n\n\n
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\u00a9<\/strong> @feliperomerobeltran<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Chez Felipe Romero Beltr\u00e1n<\/a><\/strong>, le corps est au c\u0153ur d\u2019un champ politique : la migration. Dans Bravo<\/em>, les portraits frontaux, les paysages scarifi\u00e9s, les int\u00e9rieurs aust\u00e8res \u00e9voquent la pr\u00e9sence suspendue de ceux qui attendent \u00e0 la fronti\u00e8re sans savoir s\u2019ils passeront. Le corps devient preuve, archive, r\u00e9sistance<\/strong>.<\/p>\n\n\n\n

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\u00a9<\/strong> @andrasladocsi<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Andr\u00e1s Ladocsi<\/a><\/strong>, lui, travaille la nudit\u00e9 comme un \u00e9tat fondamental, non sexualis\u00e9. Une mani\u00e8re de d\u00e9pouiller le corps de ses surcharges symboliques pour le ramener \u00e0 son essence : un espace d\u2019existence brute, honn\u00eate, sans compromis.<\/strong><\/p>\n\n\n\n

D\u00e9sirer : le luxe face \u00e0 une nouvelle esth\u00e9tique documentaire<\/h2>\n\n\n\n
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\u00a9<\/strong> @chloe<\/a> et Francesca Allen<\/a><\/figcaption><\/figure><\/div><\/div>\n\n\n\n
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Troisi\u00e8me mouvement : le d\u00e9sir change de forme. Le luxe aussi. \u00c0 Paris Photo, les marques partenaires s\u2019\u00e9loignent des images trop ma\u00eetris\u00e9es pour se rapprocher d\u2019une esth\u00e9tique plus incarn\u00e9e, plus \u00e9motionnelle. Chlo\u00e9<\/a><\/strong> illustre clairement ce glissement en choisissant la s\u00e9rie de Francesca Allen<\/a><\/strong>, o\u00f9 le f\u00e9minin s\u2019exprime sans filtre, par des rites minuscules et des gestes presque domestiques. Un luxe qui ne cherche plus \u00e0 impressionner, mais \u00e0 toucher.<\/p>\n\n\n\n

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\u00a9<\/strong> @bharatsikkastudio<\/a><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Dans cette m\u00eame dynamique, Louis Vuitton<\/a><\/strong> confirme son r\u00f4le de passeur culturel. Sa collection Fashion Eye<\/em>, enrichie cette ann\u00e9e par Bharat Sikka<\/a><\/strong> <\/a>et Julia Hetta<\/a><\/strong>, valorise l\u2019exploration sensible plut\u00f4t que le spectaculaire. Sikka capture un Rajasthan humble et flamboyant, o\u00f9 la couleur semble respirer \u00e0 travers la poussi\u00e8re. Ces univers proposent un d\u00e9sir moins frontal, plus profond : un luxe qui s\u2019appr\u00e9hende par la lenteur, l\u2019\u00e9nigme, la narration.<\/p>\n\n\n\n

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Paris Photo 2025 r\u00e9v\u00e8le une photographie qui ne se contente plus de repr\u00e9senter le monde : elle aide \u00e0 le r\u00e9parer, \u00e0 le questionner, \u00e0 le d\u00e9sirer autrement. \u00c0 travers ces trois mouvements se dessine une \u00e9poque en qu\u00eate de coh\u00e9rence, de confrontation et de profondeur. Ce que l\u2019on voit cette ann\u00e9e n\u2019est pas seulement esth\u00e9tique. C\u2019est le portrait d\u2019un monde et d’un art qui cherche, encore et encore, \u00e0 se r\u00e9inventer.<\/p>\n\n\n\n

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D\u00e9couvrir nos articles pr\u00e9c\u00e9dents<\/a><\/div>\n<\/div>\n\n\n\n
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Et si la photographie ne captait plus le r\u00e9el mais le r\u00e9inventait ? \u00c9dition apr\u00e8s \u00e9dition, Paris Photo s\u2019impose comme bien plus qu\u2019une foire internationale : c\u2019est un barom\u00e8tre culturel, […]<\/p>\n","protected":false},"author":3,"featured_media":6106,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[155],"tags":[215,228,229],"class_list":["post-6099","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-prospective","tag-art","tag-paris-photo","tag-photographie"],"acf":[],"yoast_head":"\nL\u2019\u0152il Paris Photo: r\u00e9parer, revendiquer, d\u00e9sirer | LeherpeurParis<\/title>\n<meta name=\"description\" content=\"D\u00e9cryptage Paris Photo 2025. 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