{"id":78,"date":"2024-02-11T16:04:04","date_gmt":"2024-02-11T15:04:04","guid":{"rendered":"https:\/\/www.biennale-photo-mulhouse.com\/2024\/?page_id=78"},"modified":"2024-07-17T11:34:20","modified_gmt":"2024-07-17T09:34:20","slug":"thematique-bpm-2024","status":"publish","type":"page","link":"https:\/\/www.biennale-photo-mulhouse.com\/2024\/thematique-bpm-2024\/","title":{"rendered":"Th\u00e9matique 2024"},"content":{"rendered":"

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

mondes impossibles<\/span><\/em><\/h1>\n

En 2024, nous vous invitons \u00e0 vous joindre \u00e0 nous pour explorer des mondes impossibles<\/span><\/em>, des aveux de d\u00e9faite tout autant que des promesses pour l\u2019avenir.<\/p>\n

In 2024, we invite you to join us as we explore <\/em>IMPOSSIBLE WORLDS, admissions of defeat as well as promises for the future.<\/em><\/span><\/p>\n

Cette \u00e9dition du festival pr\u00e9sente le travail de\/ This edition of the festival presents the work of<\/em><\/span><\/strong> : B\u00e9n\u00e9dicte Blondeau, Bernard Plossu, Nigel Baldacchino, Raymond Meeks, Awoiska Van Der Molen, Paul Wolff, Andrej Polukord, L\u00e9a Habourdin, Ritual Inhabitual, Laurence Kubski, Janine B\u00e4chle, Geert Goiris, Matthew Genitempo, Pascal Amoyel, Rebecca Topakian, Paul Gaffney, Michel Fran\u00e7ois, Nathalie Wolff & Matthias Bumiller, C\u00e9line Clanet, Christophe Bourguedieu, Ingrid Weyland, Terri Weifenbach, Vanessa Cowling, Gabriel Goller, Karin Jobst, Tom Spach<\/p>\n

et <\/strong>celui des artistes s\u00e9lectionn\u00e9\u00b7es pour l’exposition BPMxPEP\/ and of the artists selected for the BPMxPEP exhibition<\/span> :<\/strong> Guillaume Amat, Filippo Barbero, Ole Brodersen, Matthew Bruce, Panos Charalampidis and Mary Chairetaki, Odysseas Chloridis,Tamas Cseke, Mauro Curti, Karolina Dudek, Daniel L. Fleitas, Yingying Gao, Uta Genilke, Robin Germany, Yann Haeberlin, Alix Haefner, Vincent Jondeau, Helen Jones, Ina K\u00f6nigs, Cinzia Laliscia, Felix Lampe, Lisa Mazenauer, Kim Llerena, Julien Mauve, Giaime Meloni, Maria Oliveira, Stefano Parrini, Pedro Rodrigues, Paula Pedrosa, Jason Pinckard, Paula Punkstina, Martha Roschmann, Aur\u00e9lie Scouarnec, Fiona Segad\u00e3es Da Silva, Katya Selezneva, Ashutosh Shaktan, Marten Slothouwer, Maximiliano Tineo, Diana Tishchenko, Marinos Tsagkarakis, Armelle Tulunda, Valentin Joseph Valette, Alkistis Voutsara, Polly White<\/p>\n

\n

Pour sa 6e \u00e9dition, la BPM interroge les perspectives de notre plan\u00e8te \u00e0 l’\u00e8re de l’Anthropoc\u00e8ne et \u00e9tudie les diff\u00e9rentes questions qu’elles soul\u00e8vent. Quel est l’impact de l’activit\u00e9 humaine sur l’environnement et le climat ? Avons-nous atteint un point de non-retour ou pouvons-nous envisager des alternatives viables pour l’avenir ? Quelle est notre relation avec la nature, ses \u00e9l\u00e9ments et le cosmos ? Quel est le r\u00f4le de l’humain en tant qu’esp\u00e8ce sur cette plan\u00e8te ?\u00a0<\/p>\n

Les photographes invit\u00e9\u00b7es partagent leur conception de l’\u00e8re post-industrielle et des d\u00e9fis auxquels nous devrons faire face, de m\u00eame qu\u2019ils et elles sondent l’essence des mondes naturels \u00e0 pr\u00e9server ou \u00e0 r\u00e9inventer. Les expositions pr\u00e9sentent diff\u00e9rentes visions d’un monde devenu inhabitable pour certaines esp\u00e8ces vivantes, tout en explorant des espaces possibles et r\u00eav\u00e9s pour l’avenir.<\/p>\n

For its 6th edition, the MBP contemplates the prospects for our planet in the Anthropocene era, and examines the various questions they raise. What is the impact of human activity on the environment and climate? Have we reached a point of no return, or can we envisage viable alternatives for the future? What is our relationship with nature, its elements and the cosmos? What is the role of humans as a species on this planet? <\/span><\/em><\/p>\n

Guest photographers share their vision of the post-industrial era and the challenges we face, as well as probing the essence of natural worlds to be preserved or reinvented. The exhibitions present different visions of a world that has become uninhabitable for certain living species, while exploring possible and dreamed spaces for the future.<\/span><\/em><\/p>\n

 <\/p>\n

\"\"<\/p>\n

Vanessa Cowling, d\u00e9tail de Untitled (Garden)<\/em>, 2022.<\/p>\n

\n

PR\u00c9SENTATION DE LA 6E \u00c9DITION DE LA BPM<\/span>
\nPar la directrice artistique Anne Immel\u00e9<\/h2>\n

Dans un contexte mondial domin\u00e9 par des risques de catastrophes \u00e9cologiques, les mondes futurs s\u2019annoncent difficilement habitables. Alors que certaines dystopies semblent devenir des sujets d\u00e9sormais d\u00e9battus, connecter les cycles de l\u2019humain et les cycles du vivant devient plus que n\u00e9cessaire. La connexion de la vie humaine avec celle des plantes et du monde vivant est primordiale pour transformer les mondes devenus impossibles \u00e0 vivre pour certaines esp\u00e8ces, en mondes possibles. Cette \u00e9dition invite \u00e0 porter plus d\u2019attention d\u2019attention \u00e0 la diversit\u00e9 des formes de vie, mais aussi \u00e0 entrer dans des mondes sensibles et parfois imaginaires.<\/p>\n

La programmation s\u2019ancre dans notre p\u00e9riode post-industrielle, \u00e0 Mulhouse, l\u2019une des villes \u00ab berceau de l\u2019imagerie industrielle \u00bb. L\u2019exposition de Paul Wolff<\/strong> (n\u00e9 \u00e0 Mulhouse en 1887) nous rappelle les croyances dans un monde meilleur gr\u00e2ce aux progr\u00e8s de l\u2019industrie. Accompagnant l\u2019invention du Leica, dans une esth\u00e9tique proche de la \u00ab nouvelle vision \u00bb, Paul Wolff a r\u00e9alis\u00e9 de nombreux \u00ab reportages industriels \u00bb d\u00e9di\u00e9s \u00e0 des secteurs (sid\u00e9rurgie, automobile, textile\u2026) ou des r\u00e9gions de production. Le fonds Paul Wolff conserv\u00e9 dans les r\u00e9serves de la Biblioth\u00e8que municipale fait \u00e9cho au patrimoine industriel de Mulhouse (autour du textile, de la chimie, de la fonderie et des constructions m\u00e9caniques, mais aussi de l\u2019impression graphique). Des ann\u00e9es 1920 \u00e0 2024, la beaut\u00e9 des formes et architectures industrielles et urbaines, tant exalt\u00e9es par les avant-gardes, a laiss\u00e9 la place aux pr\u00e9occupations li\u00e9es \u00e0 l\u2019\u00e8re de l\u2019anthropoc\u00e8ne et \u00e0 des paysages de \u00ab l\u2019apr\u00e8s \u00bb. Ainsi, le tr\u00e8s r\u00e9cent travail de Raymond Meeks<\/strong> (Erasure, After Nature<\/em><\/span>) et le travail en duo qu\u2019il a fait avec Awoiska van der Molen<\/strong>, montrent les ruines du capitalisme. Les rebuts jonchent comme des stigmates le d\u00e9sert californien telles des cons\u00e9quences d\u2019une guerre au long cours. Le photographe lituanien Andrej Polukord<\/strong> utilise la performance et la photographie pour d\u00e9noncer les ph\u00e9nom\u00e8nes de d\u00e9forestation massive. Le collectif Ritual Inhabitual<\/strong> a \u00e9labor\u00e9 un r\u00e9cit de la r\u00e9volte en se concentrant sur un rituel que le peuple Purh\u00e9pecha (Mexique) entretient avec les abeilles sauvages des for\u00eats qu\u2019il prot\u00e8ge.<\/p>\n

Les cons\u00e9quences des pratiques d\u2019extractivisme, sont aussi l\u2019un des th\u00e8mes de l\u2019exposition PEP (Photographic Exploration Project). Inspir\u00e9 par la Dark \u00e9cologie, Felix Lampe<\/strong> montre les paysages form\u00e9s \u00e0 la suite des exploitations mini\u00e8res en Allemagne. Dans Swiss Gold Entropy<\/em><\/span>, Lisa Mazenauer<\/strong> a puis\u00e9 dans les archives de son grand-p\u00e8re, exploitant de mine d\u2019or au Za\u00efre, alors que Valentin Joseph Valette<\/strong> s\u2019est concentr\u00e9 sur le d\u00e9veloppement \u00e9conomique du Sultanat d\u2019Oman.<\/p>\n

Si l\u2019opposition nature\/culture est aujourd\u2019hui questionn\u00e9e, la sensibilit\u00e9 aux liens souterrains unissant l\u2019humain aux mondes vivants est la trame po\u00e9tique et m\u00e9ditative de those eyes – these eyes – they fade<\/em><\/span> (Nigel Baldacchino, B\u00e9n\u00e9dicte Blondeau, Bernard Plossu, Raymond Meeks, Awoiska van der Molen<\/strong>). Cette exposition-exp\u00e9rience est un projet collectif en \u00e9volution. Dans la continuit\u00e9 de sa premi\u00e8re version (Malte, 2022), l\u2019exposition au Mus\u00e9e des Beaux-Arts permet d\u2019investir les passages entre le monde vivant et les constructions humaines. La nature prisonni\u00e8re<\/em><\/span> de Bernard Plossu<\/strong> t\u00e9moigne de la mise en sc\u00e8ne artificielle de la nature dans des espaces pleinement b\u00e9tonn\u00e9s. \u00ab Dans les grandes villes, loin des havres de paix de la nature, \u00e7a sautait aux yeux que l\u2019homme essayait de faire croire que tout allait bien dans le meilleur des d\u00e9cors possibles ! \u00bb \u00e9crit Plossu pour introduire son t\u00e9moignage \u00ab \u00e9colo-visuel \u00bb. Dans sa s\u00e9rie Pinetu<\/em><\/span>, Nigel Baldacchino<\/strong> photographie les formes uniques d\u2019arbres urbains devenus des m\u00e9taphores des divers parcours de vie et al\u00e9as des usager\u00b7es de ce parc urbain maltais. Avec Ondes<\/em><\/span>, B\u00e9n\u00e9dicte Blondeau<\/strong> a r\u00e9alis\u00e9 des photographies en Islande pour \u00e9voquer les flux d\u2019\u00e9nergie qui fa\u00e7onnent nos existences tout en d\u00e9bordant nos capacit\u00e9s de perception. La relation au monde vivant est aussi un espace sensible pour Awoiska van der Molen<\/strong>.<\/p>\n

Le vecteur \u00e9motionnel tiss\u00e9 entre la ou le photographe et son environnement, est l\u2019une des approches des expositions de Terri Weifenbach<\/strong> et Vanessa Cowling<\/strong> (Thann), de L\u00e9a Habourdin<\/strong> (Chapelle Saint- Jean Mulhouse) et d\u2019Ingrid Weyland<\/strong> (Hombourg). Ces photographes nous rappellent la fragilit\u00e9 et la vuln\u00e9rabilit\u00e9 des \u00e9cosyst\u00e8mes du vivant, en \u00e9cho \u00e0 celle des humains. Dans l\u2019exposition Clouds Physics<\/em><\/span>, Terri Weifenbach<\/strong> retranscrit l\u2019air, l\u2019impalpable de l\u2019atmosph\u00e8re, l\u2019infime qui se glisse dans un instant de vie.<\/p>\n

Alors que, depuis son invention, la photographie fait elle-m\u00eame partie d\u2019une industrie ayant des impacts environnementaux, les recherches sur les techniques alternatives d\u2019impression sont en pleine expansion. Dans Fixing the Shadows<\/em><\/span>, s\u00e9rie d\u00e9di\u00e9e au monde v\u00e9g\u00e9tal, Vanessa Cowling<\/strong> utilise des proc\u00e9d\u00e9s photographiques sans appareil et peu nocifs pour l\u2019environnement, cherchant une symbiose entre les plantes utilis\u00e9es et le proc\u00e9d\u00e9 qui en garde la trace. L\u00e9a Habourdin<\/strong> r\u00e9alise des tirages aux pigments v\u00e9g\u00e9taux. Pour son installation, la photographe s\u2019inspire des d\u00e9couvertes d\u2019un chanoine-botaniste du XVIIIe si\u00e8cle pour r\u00e9fl\u00e9chir au devenir des dunes et des for\u00eats de Nida (Lituanie).<\/p>\n

Les circuits du commerce mondialis\u00e9 sont abord\u00e9s dans l\u2019exposition de Laurence Kubski<\/strong> (propos\u00e9e par les Journ\u00e9es Photographiques de Bienne) et dans l\u2019exposition Surface troubl\u00e9e<\/em><\/span> au DELPHI_space de Freiburg. Dans sa s\u00e9rie Big Fish<\/em><\/span>, Laurence Kubski remonte la cha\u00eene du commerce des poissons d\u2019aquarium, de leur capture dans l\u2019oc\u00e9an jusqu\u2019au bocal. L\u2019exposition Surface troubl\u00e9e<\/em><\/span> met en dialogue les photographies de Gabriel Goller<\/strong> et Karin Jobst<\/strong> reliant deux positions photographiques qui abordent de mani\u00e8re diff\u00e9rente le motif de l\u2018eau et sa dimension po\u00e9tique et politique.<\/p>\n

Les perspectives en mati\u00e8re d\u2019espace de la ville constituent \u00e9galement une facette de cette \u00e9dition. En prenant l\u2019exemple de Hong-Kong dans sa s\u00e9rie High Garden<\/em><\/span>, Tom Spach<\/strong> documente un urbanisme rare m\u00ealant forte densit\u00e9 de population et proximit\u00e9 imm\u00e9diate de la nature. Le b\u00e2ti urbain ultra-technologique y cohabite avec la biodiversit\u00e9 dans un format de ville nouvelle.<\/p>\n

Enfin, deux expositions dans l\u2019espace public mulhousien d\u00e9ploient des approches documentaires ou des imaginaires li\u00e9s aux visions du futur : celle des 10 ans du festival et celle des \u00e9coles sup\u00e9rieures d\u2019Art du Grand Est.<\/p>\n

Les journ\u00e9es inaugurales des 13, 14 et 15 septembre<\/strong> seront l\u2019occasion de d\u00e9couvrir ces visions, souvent critiques et r\u00e9solument tourn\u00e9es vers l\u2019avenir, en pr\u00e9sence des photographes et des commissaires. En tant que vaisseau incontournable de ces voix, le livre photo sera le sujet d\u2019un temps fort lors de ce week-end d\u2019ouverture.<\/p>\n

Venez explorer ces Mondes Impossibles<\/em><\/span> avec nous.<\/p>\n

iMPOSSIBLE WORLDS<\/em><\/span><\/h1>\n

PRESENTATION OF THE 6th EDITION OF THE MBP
\n<\/span><\/em>By Artistic Director Anne Immel\u00e9<\/em><\/h2>\n

In a global context dominated by the risk of ecological disasters, future prospects seem to point towards worlds that are far less habitable. At a time when several dystopian scenarios seem to have become subjects of factual debate, connecting human and living cycles is becoming more critical than ever. The connection between human life and that of plants and the living world is essential if we are to transform worlds that have become impossible to live in for certain species, into possible worlds. This edition of the Biennial invites us to pay closer attention to the diversity of life forms, but also to enter into sensitive and sometimes projected worlds of possibility.<\/span><\/em><\/p>\n

The program is anchored in our post-industrial era, in Mulhouse, one of the \u00ab\u00a0cradle cities of industrial imagery\u00a0\u00bb. The exhibition on Paul Wolff<\/strong> (born in Mulhouse in 1887) reminds us of times when industrial progress was envisaged to hold the keys to a better world. Accompanying the invention of the Leica, in an aesthetic close to the \u00ab\u00a0new vision\u00a0\u00bb, Paul Wolff produced numerous \u00ab\u00a0industrial reportages\u00a0\u00bb dedicated to specific sectors (steel, automobiles, textiles, etc.) or production regions. The Paul Wolff collection in the Municipal Library’s reserves reflects Mulhouse’s industrial heritage (textiles, chemicals, foundry and mechanical engineering, as well as graphic printing). From the 1920s to 2024, the beauty of industrial and urban forms and architecture, so exalted by the avant-gardes, gave way to concerns linked to the Anthropocene era and to landscapes of the \u00ab\u00a0afternarth\u00a0\u00bb. Therefore, Raymond Meeks<\/strong>‘ most recent work (<\/span><\/em>Erasure, After Nature<\/span>) and his duo with Awoiska van der Molen<\/strong>, expose the ruins of capitalism. Scraps litter the Californian desert like stigmata, or the consequences of an ongoing war. Lithuanian photographer Andrej Polukord<\/strong> uses performance and photography to denounce the phenomenon of mass deforestation. The Ritual Inhabitual<\/strong> collective has elaborated a narrative of revolt by focusing on a ritual that the Purh\u00e9pecha people (Mexico) engage in with the wild bees of the forests they protect.<\/span><\/em><\/p>\n

The consequences of extractivist practices are also one of the themes of the PEP (Photographic Exploration Project) exhibition. Inspired by Dark ecology, Felix Lampe<\/strong> shows the landscapes formed as a result of mining operations in Germany. In <\/span><\/em>Swiss Gold Entropy<\/span>, Lisa Mazenauer<\/strong> draws on the archives of her grandfather, a gold miner in Zaire, while Valentin Joseph Valette<\/strong> focuses on the economic development of the Sultanate of Oman.<\/span><\/em><\/p>\n

If the nature\/culture opposition is questioned today, sensitivity to the underlying links uniting humans with living worlds is the poetic and meditative framework of <\/span><\/em>those eyes – these eyes – they fade<\/span> (Nigel Baldacchino, B\u00e9n\u00e9dicte Blondeau, Bernard Plossu, Raymond Meeks, Awoiska van der Molen<\/strong>). This exhibition-experience is an evolving collective project. Following on from its first version (Malta, 2022), the exhibition at the Fine Arts Museum will explore the passages between the living world and human constructions. Bernard Plossu<\/strong>‘s <\/span><\/em>La nature prisonni\u00e8re<\/span> bears witness to the artificial staging of nature in fully concreted spaces. \u00ab\u00a0In the big cities, far from the peaceful havens of nature, it was obvious that man was trying to make people believe that everything was fine in the best possible setting,\u00a0\u00bb writes Plossu, introducing his \u00ab\u00a0ecolo-visual\u00a0\u00bb testimony.In his <\/span><\/em>Pinetu<\/span> series, Nigel Baldacchino<\/strong> photographs the unique shapes of urban trees, which have become metaphors for the various life paths and hazards of the users of this Maltese urban park. With <\/span><\/em>Ondes<\/span>, B\u00e9n\u00e9dicte Blondeau<\/strong> presents photographs taken in Iceland that evoke the energy flows that shape our lives and overwhelm our powers of perception. The relationship with the living world is also a main driving force in Awoiska van der Molen\u2019<\/strong>s work.<\/span><\/em><\/p>\n

The emotional vector created between the photographer and his or her environment is one of the approaches taken in exhibitions by Terri Weifenbach<\/strong> and Vanessa Cowling<\/strong> (Thann), L\u00e9a Habourdin<\/strong> (Saint Jean Chapel, Mulhouse) and Ingrid Weyland<\/strong> (Hombourg). These photographers remind us of the fragility and vulnerability of living ecosystems, echoing that of human beings. In the <\/span><\/em>Cloud Physics<\/span> exhibition, Terri Weifenbach transcribes the air, the impalpable atmosphere and the infinitesimal that slips into a moment of life.<\/span><\/em><\/p>\n

While photography itself has been part of an industry with environmental impacts since its invention, research into alternative printing techniques is expanding rapidly. In <\/span><\/em>Fixing the Shadows<\/span>, a series dedicated to the plant world, Vanessa Cowling<\/strong> uses camera-free photographic processes that do little harm to the environment. L\u00e9a Habourdin<\/strong> produces prints using plant pigments. For her installation, the photographer draws on the discoveries of an 18th-century canon-botanist to reflect on the future of the dunes and forests of Nida (Lithuania).<\/span><\/em><\/p>\n

The circuits of globalized trade are addressed in Laurence Kubski<\/strong>‘s exhibition (presented by Bienne Festival of photography) and in the exhibition <\/span><\/em>Troubled surface<\/span> at DELPHI_space in Freiburg. In her <\/span><\/em>Big Fish<\/span> series, Laurence Kubski<\/strong> traces the supply chain of aquarium fish, from their capture in the ocean to the fishbowl. The <\/span><\/em>Troubled surface <\/span>exhibition features photographs by Gabriel Goller<\/strong> and Karin Jobst<\/strong>, linking two photographic positions that take different approaches to the subject of water and its poetic and political dimensions.<\/span><\/em><\/p>\n

The city’s spatial perspectives are also a theme of this edition. Taking the example of Hong Kong in his <\/span><\/em>High Garden<\/span> series, Tom Spach<\/strong> documents a rare urbanism combining high population density and close proximity to nature. Ultra-technological urban construction coexists with biodiversity in a new city format.<\/span><\/em><\/p>\n

Last but not least, two exhibitions in the public spaces of Mulhouse will feature documentary approaches or imaginary visions of the future: one to mark the 10th anniversary of the festival, and the other to celebrate the Grand Est region’s art schools.<\/span><\/em><\/p>\n

The opening days on September 13, 14 and 15<\/strong> will provide an opportunity to discover these visions, often critical but resolutely forward-looking, in the presence of photographers and curators. As the essential medium for these voices, the photo book will be the subject of a special highlight on the opening weekend.<\/span><\/em><\/p>\n

Come and explore these <\/span><\/em>Impossible Worlds<\/span> with us.<\/span><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

FR\/ENG mondes impossibles En 2024, nous vous invitons \u00e0 vous joindre \u00e0 nous pour explorer des mondes impossibles, des aveux de d\u00e9faite tout autant que des promesses pour l\u2019avenir. In 2024, we invite you to join us as we explore IMPOSSIBLE WORLDS, admissions of defeat as well as promises for the future. Cette \u00e9dition du […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"categories":[1],"class_list":["post-78","page","type-page","status-publish","hentry","category-non-classe"],"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":"\nTh\u00e9matique 2024 - 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