Artist member of Adagp for the management of copyright.
Lives and works in Saint Malo, Brittany, FRANCE


Immersed in intimate, physical or metaphysical spaces, Manon Lanjouère's multidisciplinary work questions our imaginations and reveals a seductive combination of science and poetry. Traditionally opposed, these two disciplines placed on the same level create a disturbing strangeness that is plastically attractive.
Scientific research, in the fields of astronomy, meteorology or oceanography, is often the starting point and source of her projects.
By taking inspiration from scientific literature and popularisation texts and by borrowing codes linked to the scientific world such as protocol systematism, experiments, collection of samples or laboratory equipment, although it is most often only a question of transpositions, conversions or reinterpretations, her productions immerse us in the centre of natural events that could only take place in dreams. Natural phenomena which, although scientifically explained, nevertheless retain a significant power of fascination over us.

The photos, sculptures, ready-made assemblages, models, collages, archives and poetic writings that shape her installations are as much scientific research as artifice. An unusual story is to be found beneath fabricated images, clues, words that invite reflection and the creation of false witnesses reveals the ambiguity of our perceptions to better mislead us. She wishes to awaken the energy of seeing, transforming the gaze into a clear and easy action leading to a real awareness. The viewer is then asked to become a researcher by questioning the veracity of the pieces and documents he is given to observe. His participation is like a key to reading. It allows us to fully apprehend the atmospheres that emanate from her installations. Photography finds a plasticity that unfolds in the exhibition space and that activates our senses.

At the heart of her creation, fiction is at the service of the new narratives she weaves in each project. Her interest in the 17th century and the emergence of systems of tools for observing the world, such as the microscope, the telescope, and later photography, which offer accessibility to the invisible, allow her to tell and narrate the unknown. Fiction thus plays a central role, as it allows one to go beyond the limitations of observable reality to find a new point of view from which to describe the world. Manon Lanjouère thus sets up a form of mimesis of the invisible, where the mental image calls upon our collective imagination. Her imaginary stories and their marvellous dimensions are now mixed with images of present-day progress to give rise to a reality not yet seen, proposing a journey between past and anticipation. Fictions become a fundamental stimulus for the apprehension by men of their environment. Behind each story, the attempt to understand the interaction between landscape and human remains central. Manon Lanjouère is constantly questioning our relationship to the Earth, to the living, to the Universe and questions the border between artificial and natural in the era of the Anthropocene.



To come / 
Collective show “Planète Mer, L’eau dans l’écho du temps”, 14th June - 4th October 2024, Maison du Parc régional des Monts d’Ardèche, Jaujac, FRANCE, Les Particules.
”Explorer” an exhibition conceived by Musée des Arts et Métiers and Musée d’Histoire maritime de la Ville de Saint-Malo, 6th July 2024 - 5th January 2025, Eglise Saint-Sauveur, Saint-Malo, FRANCE, Les Particules
Collective show “Talents contemporains 12”, october 2024-winter 2025, Fondation François Schneider, Wattwiller, FRANCE, Les Particules

2024 /Soloshow at Le Kiosque, 29th march - 26th May 2024, Vannes, FRANCE, Les Particules
Group show  "Civis Maritimus - 1ère vague", 1st - 20th May 2024, Salle Tarbouriech, Théâtre de la Mer, Sète, FRANCE, Les Particules.
Group show “Des Mondes Habitables?”, Photo Brussels Festival, 25th January - 25th February 2024, Atelier Contraste, Brussels, BELGIUM, Les Particules
Exhibition Gare & Connexion “Tara x Manon Lanjouère”, 6th November - 15th December, gare de Lyon, Paris, FRANCE, Les Particules
Biennale Photoclimat, from 14th September to 15th October, Academie du Climat, Paris, FRANCE, P·O·E·M (Particules de polyéthylène modèles pour l'étude des micro/nano- plastiques dans les océans) Groupshow “Ressac”, from 1st June to 17th September, Galerie TELMAH, Rouen, FRANCE, Les Particules Duoshow with Richard Pak, from 28th April to 16th September, Stimultania, Strasbourg, FRANCE, Les Particules

2022 /
Soloshow at Salon Approche on galerie du jour Agnès b. Booth, from 10th to 13th November 2022, Paris, FRANCE, Les Particules
Soloshow at Festival de la Quinzaine photographique Nantaise,
from 21th October to 20th November 2022, Nantes, FRANCE, Les Caprices de la foudre
Soloshow at Festival H2O Artecisse,
from 30th September to 9th October 2022, Chouzy-sur-cisse, FRANCE, Les Particules
Group show “Valles Marineris” at the Biennale Photo Mulhouse, from 4th June to 26th August 2022, Mulhouse, FRANCE, Le Laboratoire de l’Univers
Group show “Image 3.0” organised by the Jeu de Paume Paris, in partnership with the National Center of Arts  (CNAP), from  20th May to 4th September 2022 at the Cellier in Reims, FRANCE, Mémoire d’un Futur

2021 /
Group show at Kyotographie x MEP Studio, with the support of Kering and its program “Woman in Motion”, from 18th september to 18th october, in HOSOO Gallery, Kyoto, JAPAN,  Demande à la poussière
Group show “Mimésis” , Festival des Promenades Photographiques de Vendôme, from 3rd July to 19th September, Vendôme, FRANCE, Les Caprices de la foudre

Solo show at Fotografia Europea, from 17th October 2020 to 28th March 2021, Fondazione Palazzo da Mosto, in Reggio Emilia, ITALY, Le Laboratoire de l’Univers
Solo show Art Center of Moulinsart, from 15th March to 5th April, in Fillé-sur-Sarthe, FRANCE, Bleu Glacé
Solo show le Studio at the Maison Européenne de la Photographie (MEP), from 17th January to 16th February, in Paris, FRANCE, Demande à la poussière
Group show “Élégies” , 1+2 Residency, at the Chapelle des Cordeliers from 17th October to 17th November, in Toulouse, FRANCE, La Mécanique Céleste
Group show “Pulvérulence de la photographie”, curated by Bruno Dubreuil at the Immix Gallery from 27th September to 31st October, in Paris, FRANCE, Demande à la poussière
Group show Athens Photo Festival (APhF:19), from 13th June to 27th July, in Athens, GREECE, Bleu Glacé

Paris Photo Fair,Fisheye Gallery Booth, from 6th to 9th November, FRANCE, Demande à la poussière
Group show Festival la Gacilly in Baden, from 8th June to 28th September, in Baden, AUSTRIA, Bleu Glacé
Group show Festival les Boutographies, from 5th to 27th May, in Montpellier, FRANCE, Bleu Glacé
Group show Les Rencontres internationales de la jeune photographie, CACP Villa Pérochon, from 14th April to 26th May, L’Attrait de la lumière, from 7th March to 13th April, Bleu Glacé, in Niort, FRANCE
Group show "Objet de tendresse", at the Michel Journiac Gallery from 5th to 17th April partnering with Lafayette Anticipations and STartE, in Paris, FRANCE, Plus qu’un objet. Bien plus qu’une Mémoire
Group show Biennale les Rencontres photographiques du 10ème, City Hall of the 10th district, from 16th October to 18th November, in Paris, FRANCE, Bleu Glacé
Group show “Expo-sed”, Les Rencontres d'Arles(voies-off), Atelier Gaston Luppée, from 3rd to 9th July, in Arles, FRANCE, Demande à la poussière
Group show Fisheye Gallery during Les Rencontres d'Arles (voies-off), from 3rd July to 31st August, in Arles, FRANCE, Bleu Glacé
Group show Festival la Gacilly,  from 3rd June to 30th September, in la Gacilly, FRANCE, Bleu Glacé
Group show Festival Itinéraire des photographes voyageurs, from 1st to 30th April, in Bordeaux, FRANCE, Bleu Glacé


2023 /
Winner Talent contemporain Fondation François Schneider 

2022 /Winner Prix Photographie & Science (résidence 1+2), Les Particules
Winner Prix Quinzaine Photographique Nantaise, Les Caprices de la Foudre

2021 /
Winner of the Residency Fondation Tara Ocean Mission Microbiomes, Les particules
Finalist of the Icart Artistik Rezo Award, Bleu Glacé

2020 / Winner Commission “Image 3.0” with the CNAP and the Jeu de Paume

2019 /Finalist Photolux Award, nominated by Musée de l’Élysée, Bleu Glacé
Finalist Prix HSBC pour la Photographie, Demande à la poussière

2018 /Finalist Prix Quinzaine Photographique Nantaise, Demande à la poussière
Finalist of the Guernsey Photography Festival Competition, Bleu Glacé

2017 /Winner Fidal Youth photography Award, Demande à la poussière Finalist Emerging Photographer Fund  (burn magazine), Bleu Glacé
Finalist Bourse du Talent#71 Studio, Bleu Glacé
Finalist Prix Quinzaine Photographique Nantaise, Bleu Glacé

2021 /
Residency Fondation Tara Océans (from 10th October to 10th November, between Salvador de Bahia and Rio de Janeiro)

2019 /Residency 1+2, Toulouse, FRANCE ( from 1st March to 30th April)

2018 /CACP Villa Pérochon, Encounters of Young International Photography, Niort, FRANCE (from 29th March to 15th April)

2016 /Burren College of Art, IRELAND (from 1st September to 31st October)

Conferences & Talks

Conference “Photography: a possible way of raising awareness of the need to preserve the oceans”, Maison du Parc régional des Monts d’Ardèche, Jaujac, 14th june 2024
Conference on the marine environment with Natural Park of Morbihan, Palais des Arts, Vannes, 22nd may 2024
First Agora “Civis maritimus” with Alice Pallot, at Théâtre de la Mer, Sète, 9th may 2024
Conference Photography, Environment & Utopia,  musée Nicéphore Niépce, Chalon-sur-Saone, 24th january 2024

Conference Photography, Environment & Utopia, centre photographique de Mougins, 16th december 2023

Les Grandes Rencontres du Salon de la Photo : Photography & Science, a talk with Andreina de Bei Deputy Editor-in-Chief, photo at Science & Avenir La Recherche. 6th october 2023
Prix Photographie & Science :  meeting and screening of the first two winners of the Prix Photographie & Sciences #2021 and #2022.At the ADAGP. September 2023Conference at Contrast School in Brussels for their cycle on "Environmental issues, ecology and utopia". September 2023

Conference at School of art of beauvaisis, cycle “Gravitation - Revolution” - February 2021

Talk  MEP x The Eyes, Meeting Point #4,  “The scientist as the driving force behind photographic research”, February 2020 Round-table discussion MEP/PhotoDoc, cross references, January 2020

Annual Seminar “Photography & Science” , résidence 1+2, October 2019

Acquisitions & Collections
Bibliothèque Nationale de France, Paris, France
Fondation François Schneider, Wattwiller, France Maison Européenne de la Photographie (MEP), Paris, France
CNAP, Centre National des arts plastiques, France
Musée de l’Élysée/Plateforme10, Lausanne, Switzerland
Musée Nicéphore Niépce, Chalon-sur-Saône, France
Artothèque de Strasbourg,France
Collection CACP Villa Pérochon
Collection Fidal, France
private collection, France, USA, Italia



Le Télégramme, 30 mars 2024, Les Particules
Podcast Vision(s) #59, S5, 1st april 2024 Viens Voir, 20th march 2024, Les Particules
Eikon #125, february 2024, Les Particules
Pour la Science n°556, february 2024, Les Particules

Réponse Photo 366, december 2023, Les Particules
9 lives, 22nd november 2023, Les Particules
Polka Magazine #63, november 2023, Les Particules
Lintervalle blog, 22nd october 2023, Les Particules
Sciences & avenir Online, 5th october 2023, Les Particules
Rue 89 Strasbourg, 13th august 2023, Les Particules

Sciences et Avenir, 28th july 2023, Les Particules
DNA, 11th may 2023, Les Particules
CNRS Journal, 28th april 2023, Les Particules

Sciences et Avenir Online, 11th december 2022,  Les Particules
Fisheye Magazine Online, 11th november 2022,  Les Particules Quotidien de l’art, 16th november 2022, p4,  Les Particules
Fisheye Magazine Online, 15th october 2022,  Les Particules

Artistik Rezo.com, interview, 17th February 2021
Fisheye Magazine Online, thursday 13th february 2020, La Mécanique Céleste
“Les carnets de la création”, broadcast on France Culture by’Aude Lavigne, thursday 6th february and replay, Demande à la poussière
Figaroscope n°23462, wednesday 22th January 2020, p 25, Demande à la poussière
Que faire à Paris, Le révélateur de Bon Plan, 13-17 January 2020,  Demande à la poussière
Télérama Sortir n°3651, 1-7 January 2020, p 10-11, Demande à la poussière

Pour la Science n°505, November 2019, p 86-87, La Mécanique Céleste
Fisheye Magazine n°36, May-June 2019, p45-49,  Demande à la poussière

Fisheye Magazine n°33, November-December 2018, p38-39, Demande à la poussière
I-D Magazine Online, 30th April 2018, Bleu Glacé, L’Attrait de la lumière
Télérama n°3562, p 66, Bleu Glacé
Mowwgli Online, 18th April 2018, L’Attrait de la lumière
Mowwgli Online, 6th March 2018, Bleu Glacé
Burn Magazine Online, January 2018, Bleu Glacé
Fisheye Magazine n°28, January-February 2018, p114-115, Demande à la poussière

Selection of BRIGHT Susan for the Guest Room of der Greif, November 2017, Demande à la poussière
Fisheye Magazine Online, November 2017, Bleu Glacé
Portfolio Selection in Gup Online, 17th August 2017, Bleu Glacé
Fisheye Magazine n°24, May-June 2017, p112, Bleu Glacé

Selection of CANDROWICZ Krzyszto for the Guest Room of Der Greif, November 2016, Bleu Glacé


Spectral Species - Michel Poivert
(about the serie Les Particules)

Prior to the industrial revolution, nature was often perceived as dangerous. This fear of the sea, forests, mountains and their fauna was associated with a whole host of mysteries, vastness, obscurity and depth. That era disappeared with the advent of exploitation and production when nature was regarded as a source of goods to be processed and consumed.

The unknown was reduced to a modern myth, that of a “wilderness” that humans have transformed into wildlife parks and protected species reserves.

In turn, this imaginary world has become obsolete. In the age of morbid capitalism, we need to turn to new narratives, those of a haunted world. Spectral images now appear before us, like the ghosts of a hostile nature that overwhelms, burns and devours us: this is the return of great fears. The imaginary world of catastrophic events had become unusual, and the end of time now resounds to the regular rhythm of silent threats.

Images have only recently become social facts, but they continue to be psychological facts at a deeper level. What we used to call, before the age of the media, imagination and the imaginary (from Gaston Bachelard to Jean-Paul Sartre to Gilbert Durand) are the power of the mind to generate, through natural intelligence, representations and myths. Today, artists are exploring new avenues in this anthropology of the imagination.
The imagination of the Anthropocene is studded with sick beauties that should be recognised.

Manon Lanjouère forges spectral images that resemble a new nosology. Her classification of the mutations that transform underwater life forms into a repertoire of refuse borrows notably from the photographic iconography of plants at the beginning of the nineteenth century. This return to the origins of the industrial era is no coincidence. Scientific marvels and their literary fictions promised both knowledge and the illusion of mastery over nature. Now waste itself is a species.

Our need for spectres is no longer a fictional scenario, but an anticipation of a possible world. Dystopian adventures have long dealt with the fear of the unknown (alien invasions playing a leading role here); now it is the intra-terrestrial that is making a comeback. Spectral images reflect this. Nothing better than photography to capture the haunted universe. The image of light passing through unbreathable air, revealed in desanctified chemistry, in a wash of murky water: photography is more than ever a spectral art. It is the art of the vanishing future.

Photography of possible worlds /Photographic retrodiction and uchrony - Michel Poivert, in his book Contre-culture dans la photographie contemporaine
(about the serie Demande à la poussière)

The historian can indeed remove pieces from the puzzle of the past to identify new relationships between causes and effects, and propose new agreements between narratives and explanations. This Gedankenprozess is the basis of the contractual approach, the history of "possibilities" and things that have not happened, and reminds us that the narratives of the past only became a historical science at the end of the 19th century - precisely when photography imposed itself, through its documentary value, as the ally of modern science. Going back in time and finding a narrative that makes it possible to adjust a logic between the facts and the documents: this retrodiction, which reminds us that the historian, like the artist, proposes to give a coherent form to the inaccessible, has become for the photographer a field of expression that raises him to the level of an imaginary operator.

The retrodictions and uchronies of the origins, and from them of the whole history of photography, are now accompanied by a taste for the creation of new legends. Their starting points, which are more like postulates of mathematical theory than intuitions, allow the construction of multidisciplinary poor whose coherence is based on the evidential value of photography. In keeping with the theories of possible worlds, everything is potentially real. The French artist Manon Lanjouère, in Demande à la poussière : l'empreinte du ciel (2017), thus mixes the poetry of catastrophes with our need for narratives. Imagining the consequences of a storm that leaves the roof of a house gaping under the starry sky, the artist collects stories, vernacular images, and fictitious scientific documents, then creates portraits of blinded characters and night views linked into an installation. The Milky Way would be composed of grains of silver dust born of photographic practices, like so many words scattered in the universe whose memory should recover the meaning.

Looking at a generation of artists with a solid background in photography, one becomes aware of the role that utopias have played in photography. Imagination produces new worlds where the representation of reality becomes unstable, where objectivity loses its ties to reality: a world that is at once psychic (that of inner images), extralucid and futuristic, a parallel world whose work structures a potential of reality made up of common anxieties and desires. All this, as we have said, seems to be specific to literature or cinema, where narratives allow us to navigate through time and invent characters and situations; or to mathematics and philosophy, which are capable of building entire worlds without being predetermined by reality and systems of authority. But isn't photography now also a sufficiently free and flexible mode of expression to build "possible worlds »?
It is therefore no longer a question of image as much as of imagination in photography. Imagination is a somewhat overused notion. In photography it even seems paradoxical. Yet the imaginary is one of the great concepts of modernity; throughout the 20th century, from Bachelard to Sartre, it has woven a network of knowledge, both physiological and poetic, that has never been intended to neutralise desires or dreams. This escape from the positivism established by progress has enabled the sensible to retain its values and Faure to make science an ally. Scientific imagination and artistic creativity go hand in hand when it comes to imagining worlds.
The invention of possible worlds is not synonymous with escape from our world. It can be a question of extensions, of parallel worlds that are not free of political questions: the potential for reorganising human beings, the subversion of genres and cultures, spiritualism and esotericism, etc. On a formal level, everything is put into play.
Photography takes on accents of freedom by experimenting with all forms of devices and technologies. In a history of photography today, the possible worlds resemble an immense utopian breath - a liberation of the imagination.

The stuff of Heroes - Fabien Ribéry
(about the serie the Celestial Mecanic)

Man is heavy, his hat is heavy, his brain is heavy and he regularly dreams of sending it packing, to Hell, or to Space, for example. The ground is heavy but it serves the dialectics of attraction and repulsion; it is a point of reference on which we can count. We belong but we dream of liberating ourselves, of disappearing, of escaping beyond the clouds. Up there where it is all silence and solitude it will be better, relaxing, maybe for a very long time even. We need only to step on the gas and leave at the right time.

A terrestrial body meets the celestial body – what will they have to say to each other? How to compare them? Who will translate their silent conversations? Can you see a smile from under a cosmonaut’s helmet? Manon Lanjouère keeps asking these questions in her research notebooks, in her photographs, in her collages, in her installations, in her odd objects fallen from an unknown planet. Let us call her Hybrid. The right balance must be found in order not to weigh down too much on the air or on the eyes or on the ego, but to create a heart that beats between all of us.

The ethics of the passer-by, of bungee jumping, of well unwound sellotape and of the orchestration of comets. We go into darkness, darker and darker, we have at last passed through the screen but is there even anything behind it? Must we come out of Plato’s cave? Are illusions not the possibility itself of our existence? A window passes through a window passes through a window. Origin itself is a fiction with which we can play.

I see Manon Lanjouère as an open territory, a questionning power and especially as the will to not close her questions off. Her approach is heuristic, finding its way through trial and error, inventing itself, as a tightrope walker on the line of the horizon, in a cobbled-together composite. In the night of Space there are no more milestones, it is a vertical dive into emptiness, the void, the infinite amniotic. We must be prepared to leave the light in order to come back to it differently, in oneself perhaps.

La Mécanique des femmes (“The Mechanics of Women”) by Louis Calaferte, in which the compass of a woman’s legs could represent God was published in 1992. In it one can read definitive sentences such as “Hell does not scare me. I am a daughter of fire.”.As for Manon Lanjouère’s rocket, it has penetrated Space, it is the technological ecstasy of supralunar flight, Méliès’ finger in the eye and the cardboard scenery. The void is a call, a delight, a challenge. Budding astronaut, oblique researcher, the artist brings together pieces and documents, rummages through NASA’s archives, manufactures evidence and memory, allows her intuitions to soar, fixes vertigo.

Manon Lanjouère readies herself, rereads Gaston Bachelard, interrupts her psychoanalysis and departs on a mission. Incidentally, in 1934 the author of Air and Dreams, thinking of Shelley wrote “The world is an immense cradle – a cosmic cradle – from which dreams consistently take flight.”
The artist cuts things up, glues, associates, creates coloured continuities, invents combinations. Jules Verne stands alongside Etienne-Jules Marey and the operetta rocket alongside the one made by gifted engineers. Inspired by encyclopaedic illustrations the plastic artist studies trajectories, draws graphs, allies fantastical spirit and serious analysis in the amused fascination of her subject, plate after plate, piece after piece. Science is a territory of dreams, a childhood furthered by other means when you are clairvoyant and when scraped knees don’t stop you from dancing.

With Manon Lanjouère there is a great pleasure of forms, of machines of vision and of the different natures of reality’s colliding orders. If this work resembles an investigation guided by a principle of free associations it is enchanted by the performative power of dreamy bubbles that constitute its own weightlessness little planet. We mustn’t insist but suggest trails, emit hypotheses, return to the drawing-board, rearrange, to not be afraid of the dark and simply invite everyone to get with us into a strange cockpit bound for Orion.

Pulverulence of photography : swarms, stellar dust, fog and interference - Bruno Dubreuil
(about the series Demande à la Poussière)

Since its origins, photography has been in search of the sky, the moon and the stars. Searching for points of light in the dark night, or the excessive visibility of the sun, the lightning strike and electrical phenomena. It was hungry for travel, on land and at sea, in the stars as well as in bodies and even in the most infirm corpuscular divisions. What she found along the way was nothing but herself, that writing of light capable of surviving time.

But even more than another exhibition about photography looking at itself (which has almost become rhetoric today), it would be an exhibition about the gaze. Or rather on looks. As many looks as there are steps. As many looks as there are spectators. But then, what looks?

The one that goes hand in hand with the world, in which it immerses itself without restraint : the look that likes to lose itself in infinite spaces, those that relate the infra-thin dust of our daily life to interstellar nebulae. This loss of scale, from the microscopic to the macroscopic, like an eternal optical game, a state of childhood innervated with imagination. The look by atomization, Sandrine Elberg.

There is also the look that concentrates on a simple point to the vertigo of hypnosis. Repeated flashes strike the photosensitive surface made up, layer after layer of bichromate gum, this historical technique of photography that the shooter strips with the brush. Colour almost by accident. The look by intense concentration, Mustapha Azeroual.

And finally, the look that digs, searches, scrutinizes. Seeking to pierce the opacity, to push back the night and cross the spaces of time. To find what? To conjure up what anxieties? To escape what fears? Because since the beginning, men have linked the elements and the threads of life to create stories, to give meaning to this infinite vertigo. To find the thread of the stories, to build a fiction. The narrator's look, Manon Lanjouère.

The look dissolves itself in the images, our body projects itself into them, it becomes points, lines, shapes, silhouettes. Finally, considers this : when the grain of the cosmos merges with the silver comets, seeing is nothing but desire, at the frontiers of proof and imagination. Looking at photographs or at the stars is never more than looking for our position in the world.

Manon Lanjouère


On Going

︎ Group Show “Planète Mer, L’eau dans l’écho du temps”, 14th June - 4th October 2024, Maison du Parc régional des Monts d’Ardèche, Jaujac, FRANCE, Les Particules.
Conference Conference “Photography: a possible way of raising awareness of the need to preserve the oceans”, Maison du Parc régional des Monts d’Ardèche, Jaujac, 14th june 2024 at 6:30 pm

︎ “Explorer, des pôles aux profondeurs”, 6th July 2024 - 5th January 2025an exhibition designed by the Musée des Arts et Métiers and the Musée d'Histoire de la Marine of Saint-Malo, Chapelle Saint-Sauveur, Saint-Malo FRANCE, Les Particules

Daily 10am-12pm and 2pm-7pm / Admission €6

Podcast Un Hublot sur l’Océan S3 ep 4  Protéger l’Océan : Engagement individuel ou force du collectif ?

Protecting the Ocean: Individual commitment or collective strength?
It is the combination of billions of individual actions and collective efforts that will create a significant impact for the preservation of the Ocean and our planet. Making a commitment and inspiring others to follow is a personal choice, but also a civic one, in favour of a more sustainable world for future generations. Artists and sportswomen, they have chosen to use their discipline to change our relationship with the Ocean and mobilise people around our shared responsibility. Find out in this episode how individual commitment can drive collective efforts. We look at visual artist Manon Lanjouère and wingfoiler Flora Artzner.

Recorded in french ︎

Throwback on the exhibition in le Kiosque in Vannes

︎Later in 2024-2025

︎”Explorer” an exhibition conceived by Musée des Arts et Métiers and Musée d’Histoire maritime de la Ville de Saint-Malo, 6th July 2024 - 5th January 2025, Eglise Saint-Sauveur, Saint-Malo, FRANCE, Les Particules

︎ Les Photaumnales, 21st September - 31st December 2024, Beauvais, FRANCE, Les Particules

︎ Collective show “Talents contemporains 12”, october 2024 - march april 2025, Fondation François Schneider, Wattwiller, FRANCE, Les Particules

Podcast Vision(s) S5 Vision #59


Les Particules, le conte humain d’une eau qui meurt

Images I Manon Lanjouère
Preface I  Michel Poivert
Interview I Manon Lanjouère & Ika Paul-Pont conducted by  Andreina de Bei
Languages I  French, English
Graphic design I  Sarah Boris Studio
Collection I Civis Maritimus
Format I  20 x 28 cm, 56 pages, SoftCover, OTAbind
Price I 35€

Buy your copy


Entretien avec Bruno Dubreuil, Viens Voir, 20 mars 2024

Pour la Science n°556 février 2024, p84-87
par Loïc Mangin

Réponse Photo décembre 2023, p125

Il ne faut pas juger un livre à sa pagination. Malgré ses 52 pages, cet ouvrage en dit long sur la santé de notre monde et en particulier sur la pollution qui touche nos océans. Ce manifeste poétique est la première publication de la collection «Civis Maritimus» des éditions The Eyes, qui fera paraître une fois par an un ouvrage photographique sur la relation entre l’humain et le monde marin. Et pour ce premier opus, la photographe française Manon Lanjouère s’inspire des herbiers en cyanotype chers à Anna Atkins pour représenter la pollution plastique qui intoxique nos océans. Elle se sert des déchets pour reproduire les espèces en voie d’extinction.


You shouldn't judge a book by its page count. Despite its 52 pages, this book says a lot about the health of our world and in particular the pollution affecting our oceans. This poetic manifesto is the first publication in the "Civis Maritimus" series from The Eyes, which will publish a photographic work on the relationship between humans and the marine world once a year. For this first opus, French photographer Manon Lanjouère takes her inspiration from the cyanotype herbariums so dear to Anna Atkins to depict the plastic pollution that is poisoning our oceans. She uses rubbish to reproduce endangered species.

Les Particules, de Manon Lanjouère, éd The Eyes 20x2+8cm, 52p, 35 €

Polka Magazine, novembre 2023, p50 

Pionnière du cyanotype à l’époque victorienne, la botaniste Anna Atkins se retournerait peut-être dans sa tombe en découvrant la taxonomie du XXe siècle... Pour sensibiliser à la pollution marine, m’artiste bretonne Manon Lanjouère, née en 1993, a transformé une sélection de déchets déversés dans les océans en créatures bioluminescentes. Dans cet étrange catalogue, Cotons-Tiges, pots de yaourt et stylos à bille en état de dégradation avancée apparaissent tels les ennemis mortels de notre écosystème : des microparticules de plastique. Invisibles à l’oeil nu, ils envahissent dans une discrétion parfaite les fonds marins, tuant à petit feu le plancton, premier maillon de la chaîne alimentaire. Aux frontières de l’imagination et de la science, une intrigante vision de l’enfer sous-marin.

A pioneer of the cyanotype in the Victorian era, botanist Anna Atkins might well be turning over in her grave when she discovers the taxonomy of the 20th century... To raise awareness of marine pollution, Breton artist Manon Lanjouère, born in 1993, has transformed a selection of rubbish dumped in the oceans into bioluminescent creatures. In this strange catalogue, cotton buds, yoghurt pots and ballpoint pens in an advanced state of decay appear as the mortal enemies of our ecosystem: plastic microparticles. Invisible to the naked eye, they invade the seabed with perfect discretion, slowly killing plankton, the first link in the food chain. On the frontiers of imagination and science, an intriguing vision of underwater hell.

Les Particules, de Manon Lanjouère, éd The Eyes, 56p, 35 €

B. M

9 lives, 22 novembre 2023

Les particules, livre de la photographe Manon Lanjouère, paru chez The Eyes est le récit glaçant d’une catastrophe silencieuse. Sous-titré Le conte humain d’une eau qui meurt, il se présente sous forme d’un cahier aux feuilles détachables et perforées, comme si le lecteur voulait ensuite archiver chacune d’elles dans un classeur. Sur chaque feuille un cyanotype représente une forme semblable à un organisme vivant, sous laquelle apparaissent une inscription latine ressemblant à une classification scientifique et une inscription en français donnant le nom de l’objet originel.

Ainsi le lecteur croisera : Stephanopyxis palmeriana qui est en fait des filtres de cigarettes en stick, Guinardia striata un élastique à cheveux ou Thalassiosira lentiginosa un plateau pour galettes. Le point commun de chacun d’entre eux ? Ils sont en plastique jetable et de fait non-recyclé.
Dans un texte initial Michel Poivert écrit « Elle (la photographie) est l’art du futur disparu ». Et de fait, Les particules porte en lui la chronique d’un monde qui se meurt. Manon Lanjouère a démarré ce projet lors d’un séjour sur la goélette scientifique Tara. Alors que les scientifiques étudiaient les vies sous-marines invisibles à l’œil nu (le plancton), la photographe a croisé cette étude avec le fait qu’à très court terme il y aurait plus de plastique dans les mers et océans du globe que de poissons. Cette pollution, en partie invisible, représente une menace plus que grave pour la survie des espèces du globe, dont la nôtre.
En effet, la vie des fonds sous-marin, mais aussi la vie terrestre sont assurées par la photosynthèse que réalisent ces organismes. Or, que va-t-il se passer dans un futur proche ? Nos plastiques, bien trop nombreux, vont prendre toute la place, obérant ainsi la possibilité de photosynthèse. Il y a aura plus de CO2, moins d’oxygène et donc mécaniquement une aggravation brutale des conditions de vie (accélération du dérèglement climatique notamment).
Les « objets-êtres » que réalise Manon Lanjouère, qu’elle photographie, ont quelque chose de fascinant. Au-delà de l’aspect documenté, scientifique du travail, ils révèlent une sorte de beauté glaçante. Les brosses à cheveux deviennent des êtres aux pattes multiples, qu’on imagine se déplaçant sur les fonds marins à la recherche de proies, scolopendres foudroyants des récifs coraliens. Nos stylos à billes, ces Bic dont on se saisit machinalement, se transforment en vers ondulants aux formes anguleuses. Tout ressemble ici à la Vie, alors que ce ne sont que des objets inertes n’ayant même jamais eu une âme.Mais hélas, l’Homme est trop souvent un Saint Thomas atteint de cécité qui refuse de voir ce qui est sous son nez. Les scientifiques, certains médias, attirent sans cesse l’attention sur ces plastiques à usage unique et sur leurs dangers. Pour le moment on se contente d’interdire les touillettes dans les machines à café… Pourtant, les risques évoqués plus haut sont bien réels ! Les créatures présentées dans Les Particules sont une autre façon de nous dire attention ! Manon Lanjouère, dans une interview publiée dans la seconde partie du livre, mais aussi dans des textes qui suivent, ne cesse de le rappeler. Le Beau s’il est toujours bizarre, peut aussi être mortel. Et c’est cette dichotomie image/réalité qui saisit le lecteur. Il n’y a rien d’anodin dans nos modèles de consommation, il n’y a rien d’anodin que Apolernia lanosa soit constitué de guirlandes de Noël. Il n’y a rien d’anodin dans ce plastique crée à partir de pétrole, il n’y a rien d’anodin que des bouchons pour flacons de sauce hantent les algues et les coraux.Alors que faire ? La photographe se garde de donner des réponses catégoriques et forcément partielles. Mais cette dystopie photographique laisse tout de même penser que modifier nos modes de consommation serait de la plus extrême urgence. L’écologie au sens large n’est pas affaire que des politiques, des puissants (même s’ils devraient en faire un peu plus leur affaire), elle est aussi du ressort du citoyen lambda. Consommons moins, mieux, cessons cet usage effréné du tout jetable afin d’éviter qu’un jour ces créatures étranges ne deviennent plus que la seule forme de vie que nous connaîtrons.

Les particules sonne comme un cri d’alarme qu’il faut entendre rapidement.

Frédéric Martin


Pour ce deuxième épisode de The Eyes Talks, nous avons invité Manon Lanjouère à nous parler de son livre Les Particules, le conte humain d'une eau qui meurt publié en octobre 2023.

Les Particules, conte humain d’une eau qui meurt
, un manifeste poétique et photographique en faveur de la préservation des océans. Ce livre invite, par une approche poétique et artistique, à une réflexion profonde sur la pollution des océans. Chaque image, par sa beauté plastique, invite à la contemplation mais aussi, par sa force visuelle, à l’action. Un livre qui témoigne de la puissance de la création artistique dans sa capacité à transformer la société.

Les Particules
le conte humain d’une eau qui meurt

I am very pleased to be one of the laureats of Contemporary Talents of Fondation François Schneider. My work Les Particules will enter the collection of the fondation during the course of 2023.

Download the presskit ︎︎︎

Residency on board schooner Tara

After a month on board the scientific schooner Tara between Salvador and Rio de Janeiro to observe research on microbiomes, my year 2022 has been occupied with the realization of my project entitled Les Particules which proposes to shed light on the plastic pollution of the ocean and its impact on microorganisms.

click here to listen the podcast on my experience on board ︎ (french)