About


Artist member of Adagp for the management of copyright.
Lives and works between Paris and Brittany. 


Statement



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.



Resume


Exhibitions

To come /
Group show “Valles Marineris” at the Biennale Photo Mulhouse, from 4th June to 17th July 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 Vendômes, from 3rd July to 19th September, Vendômes, FRANCE, Demande à la poussière


2020/
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
2019/
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

2018/
Paris Photo Fair, Stand Fisheye Gallery, 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
2017/
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


Awards
Residencies

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 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
CNAP, Centre National des arts plastiques
Musée de l’Élysée, Lausanne, Switzerland
Musée Nicéphore Niépce, Chalon-sur-Saône, France
Collection CACP Villa Pérochon
Collection Fidal, France
private collection, France, USA, Italia

 


Publications

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



Texts


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






News 





Le Laboratoire de l'Univers
"Valles Marineris"

With Le Laboratoire de l'Univers (The Laboratory of the Universe), a group of images taken from different series, I rely on the creativity and imagination of researchers to push back the limits of the detectable and understandable, leading science and art to reinterpret the Universe according to the close relationship they have shared throughout history.
A selection of images will be presented in the group exhibition Valles Marineris as part of the Mulhouse Biennial of Photography "Corps Célestes" from June 4th to July 17th 2022 with the partcipation of MAC-Mulhouse Art Contemporain. 
I will be there to present my work on June 10th, 11th and 12th.



Mémoire d’un Futur
 
“Image 3.0”

My project Mémoire d'un Futur will be presented in the exhibition "IMAGE 3.0" organised by the Jeu de Paume Paris, in partnership with the National Center of Arts  (CNAP) from May 20th to September 4th 2022 at the Cellier in Reims.Inspired by the stories of the great discoveries of the 19th century, Mémoire d'un futur proposes to stage a space fiction, an imaginary story showing the possible effects of space travel. While the astronomer was envisaged in the 17th century as the new figure of the explorer, the long-distance traveller, making the analogy between the new world and the other world, Mémoire d'un Futuris inspired by the abundant iconography of the 19th century, which sets up the figure of the explorer as an emblematic figure of society. Closely linked to the imaginary of which it is the vector, it can nevertheless be questioned because it reveals ambitions to appropriate the world.





After a month on board the scientific schooner Tara between Salvador and Rio de Janeiro to observe research on microbiomes, my year 2022 will be occupied with the realization of my project entitled Les Particules, le conte humain d'une eau qui meurt (The Particles, the Human Tale of a Dying Water), which proposes to shed light on the plastic pollution of the ocean and its impact on microorganisms. 





Soon a podcast on my experience on board ︎