The major international festivals this year have confirmed that photography installation is on the rise. From the Antoine d’Agata exhibition at Le BAL in Paris to the increasingly experimental programming at the Jeu de Paume’s “satellite” spaces, it is clear that photography has its eye on techniques from contemporary art. If we are witnessing an explosion of artistic and photographic techniques as a result of the lowered status of the still image, the artists, for their part, now that the obsolescence of film is certain, are becoming more interested in the links between the formal nature of film photography and the procedural nature of conceptual practices. It is now inevitable (if not irreversible) that these two will remain together, as they have been since the 1980s, thanks to a “visual approach.” The extension of photography into the visual arts also owes itself to a pooling of knowledge and a mix of techniques.
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