{"id":327,"date":"2024-06-03T12:26:41","date_gmt":"2024-06-03T10:26:41","guid":{"rendered":"https:\/\/www.biennale-photo-mulhouse.com\/2024\/?page_id=327"},"modified":"2024-11-19T14:01:03","modified_gmt":"2024-11-19T13:01:03","slug":"those-eyes-these-eyes-they-fade-plossu-raymond-meeks-photo","status":"publish","type":"page","link":"https:\/\/www.biennale-photo-mulhouse.com\/2024\/those-eyes-these-eyes-they-fade-plossu-raymond-meeks-photo\/","title":{"rendered":"those eyes – these eyes – they fade"},"content":{"rendered":"

FR\/ENG<\/strong><\/span><\/p>\n

those eyes <\/em><\/span>
\nthese eyes <\/em><\/span>
\nthey fade<\/em><\/span><\/h1>\n

B\u00e9n\u00e9dicte Blondeau, Bernard Plossu, Nigel Baldacchino, Raymond Meeks, Awoiska van der Molen<\/h2>\n

 <\/p>\n

Mus\u00e9e des Beaux-Arts<\/a>, Mulhouse<\/strong><\/p>\n

13 septembre 2024 – 5 janvier 2025<\/span>
\n tous les jours (sauf le mardi et les jours f\u00e9ri\u00e9s): 13h – 18h30 <\/span>
\npendant le march\u00e9 de No\u00ebl : 13h – 19h
\nVernissage le 13 septembre \u00e0 18h30<\/strong>
\n<\/span><\/p>\n

Commissaire\/curator<\/em><\/span> : Anne Immel\u00e9<\/p>\n

Dans le cadre de la 6e \u00e9dition de la BPM, l\u2019exposition those eyes – these eyes – they fade<\/em><\/span> explore les liens souterrains unissant l’humain aux mondes vivants, et ce, depuis la nuit des temps. Offrant un parcours entre des espaces urbains et naturels, elle se veut \u00eatre une m\u00e9ditation prolong\u00e9e, une contemplation active et po\u00e9tique. Les \u0153uvres, parfois intimes parfois plus objectives, refl\u00e8tent la vision personnelle des photographes et invitent \u00e0 une exp\u00e9rience visuelle et \u00e9motionnelle plut\u00f4t qu’\u00e0 une compr\u00e9hension litt\u00e9rale.
\nLes installations photographiques encouragent le public \u00e0 naviguer \u00e0 travers des environnements aux contrastes marqu\u00e9s, suscitant une diversit\u00e9 de perceptions. Comme des images qui apparaissent \u00e0 chaque clignement d’\u0153il, l’exposition propose des visions d\u2019un monde en mouvement, mettant en \u00e9vidence l\u2019interconnexion entre les humains et les autres \u00eatres vivants, y compris les plantes. Pour Emanuele Coccia, les plantes ont modifi\u00e9 la structure m\u00e9taphysique du monde. Selon lui, c’est aux plantes qu\u2019il faut demander ce qu\u2019est le monde car ce sont elles qui \u00ab font monde \u00bb. Cette connexion de la vie humaine avec celle des plantes, des min\u00e9raux, des diff\u00e9rents organismes est primordiale dans la conception de mondes – devenus impossibles aujourd\u2019hui – mais possibles demain.<\/p>\n

Une premi\u00e8re forme de <\/em>those eyes – these eyes – they fade<\/span> a \u00e9t\u00e9 pr\u00e9sent\u00e9e en 2022 \u00e0 l\u2019espace Valletta Contemporary \u00e0 Malte.\u00a0<\/em><\/p>\n

Avec le soutien de Neuflize OBC.<\/strong><\/p>\n

Rendez-vous autour de l’exposition :<\/strong>
\n\u00a0\u00a0\u00a0\u00a0 – Vendredi 11 octobre, 18h30 : Visite de l’exposition avec Nicolas B\u00e9zard, auteur et r\u00e9dacteur culturel. Gratuit, sur r\u00e9servation. Nocturne au mus\u00e9e jusqu\u2019\u00e0 20h.
\n\u00a0\u00a0\u00a0\u00a0 – Mercredi 23 octobre, 14h \u00e0 17h\u00a0 : MUS\u00c9OVACANCES – Atelier photographie<\/em> (de 7 \u00e0 11 ans)
\nIntervenant : Le R\u00e9verb\u00e8re, Mulhouse
\nEn marge des expositions de la BPM, les enfants s\u2019initieront \u00e0 la technique de la surimpression. Ils apprendront \u00e0 travailler avec la lumi\u00e8re et les ombres pour d\u00e9voiler les images sous-jacentes o\u00f9 les densit\u00e9s se transforment en fonction des \u00e9l\u00e9ments superpos\u00e9s. Leurs cr\u00e9ations seront des oeuvres uniques et po\u00e9tiques. Par la superposition d\u2019images, ils cr\u00e9eront des connexions entre l\u2019humain et le vivant, la nature et l\u2019espace urbain.
\n\u00a0\u00a0\u00a0\u00a0 – Dimanche 17 novembre, 15h :\u00a0 Visite de l’exposition avec Nicolas B\u00e9zard, auteur et r\u00e9dacteur culturel. Gratuit, sur r\u00e9servation.
\n\u00a0\u00a0\u00a0\u00a0 – Samedi 7 d\u00e9cembre, 18h30 : Rencontre avec Bernard Plossu, photographe de l\u2019exposition. Rencontre anim\u00e9e par Nicolas B\u00e9zard. Nocturne au mus\u00e9e jusqu\u2019\u00e0 20h.
\n<\/span><\/p>\n

\n

As part of the 6th edition of the MBP, the exhibition <\/span><\/em>those eyes – these eyes – they fade <\/span>explores the underlying links between humans and the living world, since the dawn of time. Offering a journey between urban and natural spaces, it is intended as a prolonged meditation, an active and poetic contemplation. The works, sometimes intimate, sometimes more objective, reflect the personal vision of the photographers and invite visual and emotional experience rather than literal understanding.<\/span><\/em>
\nThe photographic installations encourage the public to navigate through sharply contrasting environments, eliciting a diversity of perceptions. Like images that appear with every blink of an eye, the exhibition offers visions of a world in motion, highlighting the interconnectedness between humans and other living beings, including plants. For Emanuele Coccia, plants have changed the metaphysical structure of the world. In his view, plants should be asked what the world is, because plants \u00a0\u00bb shape the world \u00ab\u00a0. This connection between human life and that of plants, minerals and other organisms is crucial to the conception of worlds that are impossible today, but possible tomorrow.<\/span><\/em><\/p>\n

A first form of <\/span><\/em>those eyes – these eyes – they fade <\/span>was presented in 2022 at the Valletta Contemporary space in Malta.<\/span><\/em><\/p>\n

With the support of Neuflize OBC.<\/strong><\/span><\/em><\/p>\n

B\u00e9n\u00e9dicte blondeau<\/h2>\n

Avec Ondes<\/em><\/span>, B\u00e9n\u00e9dicte Blondeau documente les flux d’\u00e9nergie qui fa\u00e7onnent nos existences tout en d\u00e9bordant nos capacit\u00e9s de perception. La photographe s\u2019est mise en qu\u00eate des traces de ces ondes \u00e9nerg\u00e9tiques et des alt\u00e9rations qu\u2019elles ont laiss\u00e9es dans le paysage: anciens glaciers, grottes ou terres volcaniques et les a ensuite associ\u00e9es \u00e0 des enregistrements visuels r\u00e9alis\u00e9s \u00e0 partir d\u2019ultrasons, \u00e0 savoir des \u00e9chogrammes. La gen\u00e8se de ces \u00e9l\u00e9ments \u00e9tant intimement li\u00e9e \u00e0 la destruction de ce qui existait autrefois, cette s\u00e9rie traite du lien entre notre origine et notre destination ultime. Ce m\u00eame lien qui nous unit \u00e0 des \u00e9poques lointaines, aux premi\u00e8res formes de vie et au cosmos, dans une vision d\u2019interconnexion et d\u2019interd\u00e9pendance. Ondes<\/em><\/span> pr\u00e9sente une vision du r\u00e9el qui n\u2019oublie pas que celui-ci renvoie aussi \u00e0 ce qu\u2019on ne voit pas. C\u2019est une exploration des \u00e9l\u00e9ments bas\u00e9e sur le principe que tout est en perp\u00e9tuelle transformation, que nous soyons capables de le percevoir ou non.<\/p>\n

N\u00e9e \u00e0 La Louvi\u00e8re, en Belgique, B\u00e9n\u00e9dicte Blondeau a \u00e9tudi\u00e9 la photographie \u00e0 Gand et \u00e0 Lisbonne, obtenant un master en communication appliqu\u00e9e \u00e0 l’IHECS, \u00e0 Bruxelles. Elle a particip\u00e9 \u00e0 diverses expositions et conf\u00e9rences \u00e0 travers l’Europe et son travail a \u00e9t\u00e9 publi\u00e9 dans de nombreux magazines \u00e0 l’international. En 2019, son premier livre photo Ce qu’il reste<\/em> <\/span>est paru chez l’\u00e9diteur portugais XYZ Books. En 2021, sa premi\u00e8re exposition monographique a eu lieu au Photoforum Pasquart en Suisse. B\u00e9n\u00e9dicte Blondeau a \u00e9galement travaill\u00e9 comme r\u00e9alisatrice de films documentaires et est actuellement commissaire d’expositions photographiques pour PEP – photographic exploration project qu’elle a fond\u00e9 \u00e0 Berlin en 2019.<\/p>\n

With <\/em>Ondes (Waves), B\u00e9n\u00e9dicte Blondeau documents the flows of energy that shape our lives and overwhelm our powers of perception. The series addresses the link between our origin and our ultimate destination. The same link that unites us to distant times, to the first forms of life and to the cosmos, in a sense of interconnection and interdependence. <\/em>Ondes presents a vision of reality that does not forget that it also refers to what we cannot see. It’s an exploration of the elements based on the principle that everything is in perpetual transformation, whether we are capable of perceiving it or not.<\/em><\/span><\/p>\n

Born in La Louvi\u00e8re, Belgium, B\u00e9n\u00e9dicte Blondeau studied photography in Ghent and Lisbon, obtaining a master’s degree in applied communication at the IHECS in Brussels. She has taken part in various exhibitions and conferences across Europe, and her work has been published in numerous magazines internationally. In 2019, her first photo book <\/em>Ce qu’il reste was published by Portuguese publisher XYZ Books. In 2021, her first solo exhibition took place at Photoforum Pasquart in Switzerland. B\u00e9n\u00e9dicte Blondeau has also worked as a documentary filmmaker and is currently curating photographic exhibitions for PEP – photographic exploration project, which she founded in Berlin in 2019.<\/em><\/span><\/p>\n

www.instagram.com\/benedicte_blondeau\/<\/a><\/p>\n

www.benedicteblondeau.com\/<\/a><\/p>\n

\"\"<\/p>\n

B\u00e9n\u00e9dicte Blondeau, s\u00e9rie Ondes<\/em>, 2023.<\/p>\n

Bernard Plossu<\/h2>\n

La nature prisonni\u00e8re<\/em><\/span> de Bernard Plossu rassemble des clich\u00e9s des ann\u00e9es 1970, pris en France et aux \u00c9tats-Unis, illustrant la mise en sc\u00e8ne artificielle de la nature dans des espaces pleinement b\u00e9tonn\u00e9s. Des arbres solitaires, ou presque, fournissent des effusions d\u2019une vie v\u00e9g\u00e9tale qui tente d’\u00e9chapper au contr\u00f4le de l\u2019humain dans des environnements con\u00e7us par et pour lui. Face \u00e0 ces images en noir et blanc, Bernard Plossu propose d\u2019y opposer la chaleur de l\u2019exub\u00e9rante v\u00e9g\u00e9tation du bassin m\u00e9diterran\u00e9en. Apr\u00e8s une vie de voyage, c\u2019est au contact de cette nature c\u00f4ti\u00e8re et g\u00e9n\u00e9reuse que le photographe vit d\u00e9sormais, sans oublier de lui rendre hommage par l\u2019image.<\/p>\n

N\u00e9 en 1945 au Vietnam, Bernard Plossu r\u00e9alise ses premi\u00e8res photos \u00e0 treize ans, lors d’un voyage au Sahara avec son p\u00e8re. En 1965, il part au Mexique o\u00f9 il photographie ses amis beatniks avec lesquels il exp\u00e9rimente l’errance et la libert\u00e9. Il voyage chez les Indiens mayas, en Californie, en \u00c9gypte, en Inde, au Niger. En 1977, Bernard Plossu s’installe au Nouveau-Mexique. Il y perfectionne un style visuel direct caract\u00e9ris\u00e9 par une absence totale d’effet. Dans les ann\u00e9es 1980, Il revient vivre en Europe et continue de marcher notamment en Espagne, en France, en Turquie ou sur les petites \u00eeles italiennes. Ses images sensuelles et silencieuses \u00e9voquent la douceur des corps, de la mati\u00e8re, du mouvement. Il est l’auteur de tr\u00e8s nombreux ouvrages ayant fait date, tels que Le Voyage mexicain<\/em><\/span>, <\/em>The African Desert<\/em><\/span>, <\/em>Au Nord<\/em><\/span>, <\/em>Avant l’\u00e2ge de raison<\/em><\/span> ou L’heure immobile<\/em><\/span>.<\/p>\n

Bernard Plossu’s <\/em>La nature prisonni\u00e8re (Nature as a prisoner)\u00a0 brings together photographs from the 1970s, taken in France and the United States, illustrating the artificial staging of nature in fully concreted spaces. Solitary, or almost, trees provide outpourings of plant life attempting to escape human control in environments designed by and for them. Faced with these black-and-white images, Bernard Plossu contrasts them with the warmth of the exuberant vegetation of the Mediterranean area. After a life of travel, the photographer now lives in contact with this generous coastal nature, without forgetting to pay tribute to it through his images.<\/em><\/span><\/p>\n

Born in Vietnam in 1945, Bernard Plossu took his first photos at the age of thirteen, during a trip to the Sahara with his father. In 1965, he left for Mexico, where he photographed his beatnik friends, with whom he experimented with wandering and freedom. He traveled to the Mayan Indians, California, Egypt, India and Niger. In 1977, Bernard Plossu moved to New Mexico. There, he perfected a direct visual style characterized by a total absence of effect. In the 1980s, he returned to Europe and continued to walk, notably in Spain, France, Turkey and the small islands of Italy. His sensual, silent images evoke the softness of bodies, matter and movement. He is the author of many landmark books, including <\/em>Le Voyage mexicain, The African Desert, Au Nord, Avant l’\u00e2ge de raison and<\/em> L’heure immobile.<\/em><\/span><\/p>\n

\"\"<\/p>\n

Bernard Plossu, La nature prisonni\u00e8re<\/em>, 1974.<\/p>\n

Nigel Baldacchino<\/h2>\n

Dans Pinetu<\/em><\/span>, Nigel Baldacchino capture les arbres du Jubilee Grove, un espace vert urbain \u00e0 Malte. Charg\u00e9 d’histoire pour les habitant\u00b7es, ce bosquet charrie avec lui plusieurs strates d’une honte aux accents catholiques. Il s’y d\u00e9roule une culture de drague masculine active mais secr\u00e8te alors que le lieu, t\u00e9moin d’\u00e9pisodes de violence, sert \u00e9galement de refuge aux sans-abris et de zone de consommation d\u2019h\u00e9ro\u00efne. Les formes uniques des arbres deviennent des m\u00e9taphores des divers parcours de vie, bifurquants et entrelac\u00e9s, tandis que l’espace porte \u00e9galement la m\u00e9moire personnelle de l’artiste qui a grandi non loin de celui-ci. Ne repr\u00e9sentant que la v\u00e9g\u00e9tation du parc et non sa population y vivant souvent une double vie, Nigel Baldacchino choisit d\u2019\u00e9luder toute repr\u00e9sentation explicite et sensationnaliste au profit du trouble de la suggestion.\u00a0<\/p>\n

N\u00e9 en 1989, Nigel Baldacchino est un artiste et un architecte bas\u00e9 \u00e0 Malte. Sa pratique artistique s’\u00e9tend \u00e0 divers m\u00e9dias, dont la photographie, la production musicale, la vid\u00e9o, le texte et la conception d’objets et d’espaces physiques. Son \u00e9lan vers la photographie d\u00e9passe le cadre de th\u00e8mes donn\u00e9s et est souvent aliment\u00e9 par ses propres r\u00e9flexions sporadiques sur la fa\u00e7on dont les gens se rapportent au monde qui les entoure, par leur pr\u00e9sence dans l’espace et la perception qu’ils en ont.<\/p>\n

In <\/span><\/em>Pinetu<\/span>, Nigel Baldacchino captures the trees of Jubilee Grove, an urban green space in Malta. It is a very storied spot for locals, carrying layers of Catholic shame fuelled by its connotations to an active but covert male cruising culture, refuge for the homeless, heavy consumption of heroin & episodes of mugging and violence.\u00a0 The unique shapes of the trees become metaphors for various peculiar, bifurcating & intertwining life paths, while the space also bears the personal memory of the artist, who grew up not far from it. Representing only the vegetation of the park and not its people, often leading half of their double lives there, Nigel Baldacchino chooses to avoid any explicit, sensationalist representation in favor of the disturbance of suggestion.<\/span><\/em><\/p>\n

Born in 1989, Nigel Baldacchino is an artist and architect based in Malta. His artistic practice spans a variety of media, including photography, music production, video, text and the design of physical objects and spaces. His impulse towards photography goes beyond given themes and is often fueled by his own sporadic reflections on how people relate to the world around them, through their presence in space and their perception of it.<\/span><\/em><\/p>\n

www.instagram.com\/nigelbaldacchino\/<\/a><\/p>\n

www.nigelbaldacchino.com\/<\/a><\/p>\n

\"\"<\/p>\n

Nigel Baldacchino, Pinetu<\/em>.<\/p>\n

Raymond Meeks<\/h2>\n

Erasure, After Nature<\/em><\/span>, pr\u00e9sente des photographies r\u00e9alis\u00e9es au d\u00e9but de l\u2019ann\u00e9e 2024 \u00e0 un m\u00eame endroit dans le d\u00e9sert du Colorado, en Californie du Sud. Les oeuvres d\u00e9peignent les ruines apparentes du capitalisme. Tout ce qui reste de la pr\u00e9sence humaine sont des objets jet\u00e9s et des vestiges, comme les r\u00e9sidus d\u2019un pass\u00e9 glorieux qui est maintenant incompr\u00e9hensible ou insupportable. Ce sentiment d\u2019effacement d\u2019une activit\u00e9 pass\u00e9e est renforc\u00e9 par l\u2019inclusion de documents \u00e0 peine d\u00e9chiffrables, aux c\u00f4t\u00e9s des images. Dans la continuit\u00e9 de son travail pr\u00e9c\u00e9dent (The Inhabitants<\/em><\/span>, 2022), le photographe a cherch\u00e9 \u00e0 identifier des motifs et des textures qui t\u00e9moignent de la vie itin\u00e9rante dans des espaces marginalis\u00e9s. En s\u2019immergeant totalement dans ces territoires, son observation m\u00e9ticuleuse devient une \u00e9tude de la migration humaine.<\/p>\n

Connu pour ses livres et ses images qui s\u2019attachent aux questions de m\u00e9moire et de lieu, Raymond Meeks explore la mani\u00e8re dont le paysage peut fa\u00e7onner l\u2019individu et, de mani\u00e8re plus abstraite, la fa\u00e7on dont un lieu, m\u00eame absent, peut continuer \u00e0 exercer un pouvoir de fascination sur l\u2019\u00eatre humain. Son travail fait partie des collections permanentes de la National Gallery of Art a\u0300 Washington D.C., de la George Eastman House a\u0300 Rochester et de la Bibliothe\u0300que nationale de France. Ses expositions personnelles ont eu lieu chez Casemore Kirkeby a\u0300 San Francisco et chez Fotografia Europea en Italie. En 2018, son livre Halfstory Halflife<\/span> <\/em>(Chose Commune) a e\u0301te\u0301 se\u0301lectionne\u0301 parmi les finalistes du prix Paris Photo \/ Aperture.<\/p>\n

Erasure, After Nature, presents photographs made at a single location in Southern California\u2019s Colorado Desert in early 2024.\u00a0 The works are set amongst the perceived ruins of capitalism. All that remains of human presence are discarded objects and remnants, like the residue of a glorious past that is now incomprehensible or unbearable. This sense of obliteration of a past activity is reinforced by the inclusion of barely decipherable documents alongside the images. In keeping with the approach that characterized his previous work (<\/em>The Inhabitants, 2022) the photographer has sought to identify patterns and textures that bear witness to itinerant life in marginalized spaces. Through total immersion in these territories, his meticulous observation becomes a study of human migration.<\/em>
\n<\/span><\/p>\n

Known for his books and images that address questions of memory and place, Raymond Meeks explores how landscape can shape the individual and, more abstractly, how a place, even if absent, can continue to exert a power of fascination over human beings. His work is included in the permanent collections of the National Gallery of Art in Washington D.C., the George Eastman House in Rochester and the Biblioth\u00e8que nationale de France. Solo exhibitions have been held at Casemore Kirkeby in San Francisco and Fotografia Europea in Italy. In 2018, his book <\/em>Halfstory Halflife (Chose Commune) was selected as one of the finalists for the Paris Photo \/ Aperture prize.<\/em><\/span><\/p>\n

www.instagram.com\/raymondmeeks\/<\/a><\/p>\n

www.raymondmeeks.com\/<\/a><\/p>\n

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Raymond Meeks, Erasure, after nature<\/em>, 2024.<\/p>\n

Awoiska van der Molen<\/h2>\n

Awoiska van der Molen pr\u00e9sente une s\u00e9lection de photographies r\u00e9alis\u00e9es tour \u00e0 tour dans des espaces naturels et urbains. Mises en regard, elles se rejoignent dans l\u2019impression de silence qui s\u2019en d\u00e9gage. Les sc\u00e8nes nocturnes contemplatives de la ville nous emm\u00e8nent dans des lieux comme pris au d\u00e9pourvu par la photographe. Dans sa pratique, cette derni\u00e8re est \u00e0 leur image, \u00e0 la fois solitaire, discr\u00e8te et consciente de sa vuln\u00e9rabilit\u00e9. L\u2019espace urbain ind\u00e9termin\u00e9 s\u2019y trouve comme fig\u00e9 dans un moment suspendu o\u00f9 seules les lumi\u00e8res artificielles rappellent une pr\u00e9sence humaine latente. Les photographies de paysages naturels forment quant \u00e0 elles une plong\u00e9e dans un univers isol\u00e9, pr\u00e9serv\u00e9 et luxuriant. La profondeur de leurs ombres peut par moments rendre insaisissable toute notion de distance. Plusieurs id\u00e9es de la densit\u00e9 entrent ainsi en r\u00e9sonance.<\/p>\n

N\u00e9e en 1972, Awoiska van der Molen est une artiste photographe n\u00e9erlandaise. Elle a \u00e9tudi\u00e9 l’architecture et le design, puis la photographie \u00e0 la Minerva Art Academy Groningen et \u00e0 la Hunter City University de New York. En 2003, elle obtient une ma\u00eetrise en photographie \u00e0 l’Acad\u00e9mie St. Joost de Breda, aux Pays-Bas. Awoiska van der Molen est connue pour ses images analogiques monumentales en noir et blanc qui repr\u00e9sentent son exp\u00e9rience de l’espace primordial et psychologique dans le monde qu’elle photographie.<\/p>\n

Quatre oeuvres d\u2019Awoiska van der Molen ont \u00e9t\u00e9 pr\u00eat\u00e9es par la Fondation d\u2019Entreprise Neuflize OBC.<\/strong><\/p>\n

Awoiska van der Molen presents a selection of photographs taken in both natural and urban settings. Placed together, they are united by the impression of silence that emerges. The contemplative nocturnal scenes of the city link us to a place caught unaware by the photographer, who herself is only able to stumble onto such places because she too is unprotected, solitary and silent as ‘her’ places themselves.The indeterminate urban space is frozen in a suspended moment, with only artificial lights to remind us of a latent human presence. The nature photographs, on the other hand, plunge us into an isolated, preserved and luxuriant universe. At times, the depth of their shadows seem to breathe an untraceable distance.Several ideas of density thus resonate.<\/em>
\n<\/span><\/p>\n

Born in 1972, Awoiska van der Molen is a Dutch photograph and artist. She studied architecture and design, then photography at Minerva Art Academy Groningen and Hunter City University in New York. In 2003, she obtained a Master’s degree in photography from the St. Joost Academy in Breda, the Netherlands. Awoiska van der Molen is known for her monumental black-and-white analog images, which represent her experience of the primordial, psychological space in the world she photographs.<\/em><\/span><\/p>\n

Four works by Awoiska van der Molen are on loan from the Neuflize OBC Corporate Collection.<\/em><\/span><\/strong><\/p>\n

www.instagram.com\/awoiska_vandermolen\/<\/a><\/p>\n

www.awoiska.nl\/<\/a><\/p>\n

\"\"<\/p>\n

Awoiska van der Molen, #413-16 2015<\/em>, 2015.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

FR\/ENG those eyes these eyes they fade B\u00e9n\u00e9dicte Blondeau, Bernard Plossu, Nigel Baldacchino, Raymond Meeks, Awoiska van der Molen   Mus\u00e9e des Beaux-Arts, Mulhouse 13 septembre 2024 – 5 janvier 2025 tous les jours (sauf le mardi et les jours f\u00e9ri\u00e9s): 13h – 18h30 pendant le march\u00e9 de No\u00ebl : 13h – 19h Vernissage le […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"categories":[9],"class_list":["post-327","page","type-page","status-publish","hentry","category-expositions"],"acf":{"photo_gallery":{"gallery":[[{"id":62,"title":"Benedicte BlondeauOndes_18","caption":"B\u00e9n\u00e9dicte Blondeau, s\u00e9rie Ondes<\/i>, 2023.","full_image_url":"https:\/\/www.biennale-photo-mulhouse.com\/2024\/wp-content\/uploads\/sites\/6\/2024\/02\/Benedicte-BlondeauOndes_18-scaled.jpg","thumbnail_image_url":"https:\/\/www.biennale-photo-mulhouse.com\/2024\/wp-content\/uploads\/sites\/6\/2024\/02\/Benedicte-BlondeauOndes_18-scaled.jpg","large_srcset":"https:\/\/www.biennale-photo-mulhouse.com\/2024\/wp-content\/uploads\/sites\/6\/2024\/02\/Benedicte-BlondeauOndes_18-scaled.jpg 2560w, https:\/\/www.biennale-photo-mulhouse.com\/2024\/wp-content\/uploads\/sites\/6\/2024\/02\/Benedicte-BlondeauOndes_18-768x512.jpg 768w, https:\/\/www.biennale-photo-mulhouse.com\/2024\/wp-content\/uploads\/sites\/6\/2024\/02\/Benedicte-BlondeauOndes_18-1536x1024.jpg 1536w, https:\/\/www.biennale-photo-mulhouse.com\/2024\/wp-content\/uploads\/sites\/6\/2024\/02\/Benedicte-BlondeauOndes_18-2048x1365.jpg 2048w","medium_srcset":"https:\/\/www.biennale-photo-mulhouse.com\/2024\/wp-content\/uploads\/sites\/6\/2024\/02\/Benedicte-BlondeauOndes_18-scaled.jpg 2560w, https:\/\/www.biennale-photo-mulhouse.com\/2024\/wp-content\/uploads\/sites\/6\/2024\/02\/Benedicte-BlondeauOndes_18-768x512.jpg 768w, https:\/\/www.biennale-photo-mulhouse.com\/2024\/wp-content\/uploads\/sites\/6\/2024\/02\/Benedicte-BlondeauOndes_18-1536x1024.jpg 1536w, https:\/\/www.biennale-photo-mulhouse.com\/2024\/wp-content\/uploads\/sites\/6\/2024\/02\/Benedicte-BlondeauOndes_18-2048x1365.jpg 2048w","media_details":{"width":2560,"height":1707,"sizes":{"medium_large":{"file":"Benedicte-BlondeauOndes_18-768x512.jpg","width":768,"height":512,"mime-type":"image\/jpeg","filesize":80326,"source_url":"https:\/\/www.biennale-photo-mulhouse.com\/2024\/wp-content\/uploads\/sites\/6\/2024\/02\/Benedicte-BlondeauOndes_18-768x512.jpg"},"1536x1536":{"file":"Benedicte-BlondeauOndes_18-1536x1024.jpg","width":1536,"height":1024,"mime-type":"image\/jpeg","filesize":250933,"source_url":"https:\/\/www.biennale-photo-mulhouse.com\/2024\/wp-content\/uploads\/sites\/6\/2024\/02\/Benedicte-BlondeauOndes_18-1536x1024.jpg"},"2048x2048":{"file":"Benedicte-BlondeauOndes_18-2048x1365.jpg","width":2048,"height":1365,"mime-type":"image\/jpeg","filesize":426432,"source_url":"https:\/\/www.biennale-photo-mulhouse.com\/2024\/wp-content\/uploads\/sites\/6\/2024\/02\/Benedicte-BlondeauOndes_18-2048x1365.jpg"}}},"alt_text":"","url":"","target":""}]]}},"yoast_head":"\nthose eyes - 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