Transparences liquides — Anne-Camille Allueva, Matan Mittwoch, Laure Tiberghien, Emmanuel Van der Auwera — CPIF — Centre photographique d’Ile-de-France — Exhibition — Slash Paris

Ends in 3 months: January 25 → May 22, 2026

The group exhibition Transparences liquides explores how a range of filters cultural, social and technological condition our ways of seeing and interpreting the world. The works presented draw attention to the act of looking itself, conceived as a gesture rooted in the body and shaped by lived experience. Each proposes a sensory encounter that reflects our ambivalent engagement with the uninterrupted circulation of media images.

Uniting photography, video and sculpture, the exhibition brings together works that unfold along multiple lines of inquiry. Laure Tiberghien investigates the appearance of form through a working method that foregrounds movement and the gestures enacted within the photographic laboratory, in an ongoing dialogue with chemistry, light and duration. Anne-Camille Allueva focuses on perception as an embodied process, activated by a body in motion and in search of a viewpoint the image emerges less as a stable, fixed sign than as a situated and ephemeral occurrence. Matan Mittwoch, meanwhile, mobilizes the optical apparatuses of our contemporary environment, notably the screen, to expose its intrinsic tension between illumination and obscurity, visibility and concealment. Emmanuel Van der Auwera, for his part, examines the circulation and manipulation of information by deconstructing the channels through which images are distributed, revealing their capacity to mislead.

Political, formal and conceptual concerns intersect in a shared interrogation of the screen, both an everyday technological device and a surface that captures, refracts or filters light. It becomes a means of reflecting on the stratified nature of our relationship to reality, one that is constantly reconfigured and never fully transparent.

In dialogue with artistic investigations into perception developed since the 1960s, particularly within minimal art, the practices assembled here demonstrate how these questions persist today, continually renewed through a diversity of approaches.