Born in 1985, Pooya Abbasian is a French-Iranian artist who has lived and worked in Paris since 2011. Through a multidisciplinary practice encompassing photography, drawing, video and installation, his work explores our contemporary relationship with images in the post-media era. He examines how images are constructed, circulated and received. For him, images emerge through both fragmentation — one image inscribed in space can give rise to a thousand others — and irruption, through their dependence on and emancipation from a visual economy that shapes our modes of perception and frameworks of interpretation.

A collector of documentary images found online, stills captured from films, and photographs taken with his own camera during his travels, he uses these materials as the raw material for his visual compositions and fictions. These images, recorded, preserved and transformed, allow him to reveal the paradoxical relationship between the image and our understanding of reality or truth. The language that emerges from these transformations also finds expression in the short films he makes. Transitional spaces, whose ambiguity interests him more than their certainties, become anchor points where the relationships between time, memory and place are played out anew. It is within this inframince — the imperceptible interval — that he seeks connections between media, giving rise to poetic accidents.

His films have been screened at numerous art centres and festivals. In 2026, he was awarded the Lee Ufan Arles Art and Environment Prize. In 2025, the Pavillon Carré de Baudouin devoted a retrospective to his work. His work has been exhibited at the Maison Européenne de la Photographie (MEP) in 2024, at Le Plateau – FRAC Île-de-France in 2022, and at the Tehran Museum of Contemporary Art. His works are held in the collections of the CNAP (National Centre for Visual Arts) and the MEP. He has also written and illustrated several children’s books published by Gallimard and Actes Sud.

In Dubio offers a retrospective of ten years of the artist’s practice, presenting a reading of his images enriched by the intersecting perspectives of theorists, curators, friends and writers who have contributed to the development of his thinking and the making of his work.

Texts by: Yasmin Naderi Afschar, Noélie Bernard, Thibault Boulvain, Clément Chéroux, Dominique de Font-Réaulx, Laurie Hurwitz, Morad Montazami, Julian Stallabrass, Clémentine Proby, Élodie Royer and Ryoko Sékiguchi.

In 1838, Georgetown University, a Jesuit institution in Maryland, was on the verge of bankruptcy. To resolve the situation, the Jesuits decided to sell more than 300 enslaved people who worked on their plantations to various landowners in Louisiana. Most of them are believed to have died along the way. But in 2015, a former Georgetown student began conducting genealogical research in Louisiana, tracing the history of former plantations and identifying more than 10,000 direct descendants.

Maringouin explores questions of historical memory and justice in relation to Georgetown University’s controversial past, as well as the genealogical research undertaken to trace the descendants of the 314 enslaved people known as the GU272.

Through photographs, interviews, and archival research, photographer Alex Troesch portrays descendant communities in Louisiana, as well as students and historians at Georgetown University. His work seeks to bear witness to this painful history while confronting uncomfortable truths.

Maringouin contributes to the broader discussion surrounding racial inequality in the United States and Europe through an act of introspection: that of a European retracing the traces of a past whose legacy belongs to us all

Funambules is a collaborative book created under the direction of photographer Bertrand Meunier, following his encounter in Luxembourg with Réseau Psy, an institution that has welcomed and worked with people living with psychosis for several decades. There, Bertrand Meunier met several residents and embarked with them on a long-term project, sharing their daily lives and developing close relationships, particularly through workshops where a strong artistic connection gradually emerged.

Large Moleskine notebooks were then opened, providing a space for everyone to express their creativity through writing, painting, drawing, comics, collage, and photography. The notebooks grew through each participant’s contributions, giving rise to a truly collective work.

Funambules became a polyphonic book, bringing together Bertrand Meunier’s photographs and the work of around ten residents, masterfully brought together on the page by graphic designer Michel Lepetitidier.

Altinha is a popular game played on the beaches of Rio de Janeiro—at Ipanema, Leblon, Copacabana, Leme, and elsewhere. The aim is to keep the ball in the air without the players using their hands. This quintessentially Carioca sport emerged in the 1960s and is preferably played close to the water, where players’ feet are less likely to be scorched by the hot sand.

Tanara Stuermer explains: “I have always loved watching this sport. From the very beginning, I was struck by the beautiful spirit of solidarity that brings the players together. They are not competing. There is no rivalry. They all share the same playful objective: to keep the ball from touching the ground.”

Tanara Stuermer sees in these sporting scenes, animated by the movements of bodies and balls, a series of choreographies that she seeks to capture in her images. She experiments by layering tracing paper, creating a diffraction and decomposition of movement reminiscent of the work of Eadweard Muybridge and Étienne-Jules Marey.

Altinha is a true artist’s book, making use of the transparency of fine paper to convey the artist’s formal explorations.

Politique de la représentation brings together and sheds new light on the projects jointly undertaken over the past twenty-five years by photographer Philippe Bazin and philosopher Christiane Vollaire. This working partnership, combining critical documentary photography with field philosophy, is unique in France and spans the first quarter of the twenty-first century.
The book does not seek to provide a catalogue of the various projects, but rather to show how they are connected by shared concerns relating to the realities of the contemporary world: the aesthetic question in its relationship to politics—the making of a common world—which today is shaped by processes of globalization.
The book is divided into five chapters:

1. Habiter : questions the right claimed by all to have a say in the shaping of territory, through the voices of those proposing alternatives to industrial or urban-planning decisions.

2. Migrations : highlights the destructive effects of migration policies and the ways in which people confront and resist them.

3. Résistances et protestations : explores the strength of the paradoxical forms of solidarity that emerge during protest movements and uprisings.

4. Solidarités : shows how initiatives of counter-conduct come together in response to the threats facing social policies.

5. Histoire : examines the ways in which current events are rooted in the history of struggles for rights.


Above all, the book seeks to give photography its rightful place, in relation both to the voices of those directly concerned and to the philosophical reflection that emerges from these encounters, opening up perspectives on the realities and possibilities of the contemporary world. The philosopher’s texts—and the words of the people she has spoken with—thus give the images their true resonance, never serving merely as illustration.

Rio Centro, one of two volumes in a diptych dedicated to Rio (the second being Rio Praia), is a subjective, intimate portrait of the heart of the city, as lively during the day as it is deserted and dangerous at night, when the offices are closed.
Nearby are the neighborhoods of Santa Teresa, Lapa, Botafogo, Flamengo, Gávea… places where street photography is the perfect tool for capturing a dark and contrasting world. Rio lends itself well to Jean-Christophe Béchet’s photographic writing, in which the documentary spirit escapes into a form of cinematic poetry that leaves reality in suspension…

Nestled in the heart of the French Vexin park, the Villarceaux regional estate invites visitors to stroll and daydream. Listed as a historic monument, this little-known gem is home to a unique collection of buildings dating from the 14th to the 19th centuries, and seventy hectares of exceptionally rich gardens, labeled as a Remarkable Garden.

We have moved from a supply-driven economy to a demand-driven economy. The new world economy is not only defined by the sovereignty of a financial logic, it is inseparable from the weight that consumers represent. Consumption now works as a continuous and unceasing flow. Billboards installed in the landscape already belong to the past, to an analog era. Their materiality is replaced by electronic advertising devices that are now installed in the virtual fields of the Internet.

The work of the Spanish photographer Eduardo Nave has been to document these skeletons from a glorious past and make an inventory. These panels have become fallen totems that disintegrate, year after year, contaminating the environment and the visual landscape. It reveals an archeology of a consumer society from another century.

« Espacio disponible is the anti-Times Square: to the saturation of the urban space by the shining neon and LED signs follows the no man’s land of arid, depopulated, almost desert, only surmounted by fleshy structures in search of an unlikely buyer. The desolation after the brilliant, the emptiness after the excess, the boredom after the euphoria of advertising animation. This is the time of the disaffection of a great communication vector born at the beginning of industrial modernity. » Gilles Lipovetsky

The philosopher Gilles Tiberghien is known for his work on landscape and particularly for his research around Land Art, his writings and meetings with the greatest artists who have contributed to the diffusion in France of this important artistic movement born in the United States in the twentieth century. But for a long time, less known by his public, Gilles Tiberghien is interested in photography and writes regularly about contemporary photographers. Paysmages thus brings together a set of texts written over nearly twenty years. The selection of photographers that the author has decided to propose here highlights his reflections on the notion of landscape: “The question here is not how we picture landscapes, through photography, but rather how it crystallizes into these images something that we end up calling landscape.”

Essays on the works of Aurore Bagarry, Thibaut Cuisset, Suzanne Doppelt, Hamish Fulton, Mario Giacomelli, Lucie Jean, Josef Koudelka, Richard Long, Alex MacLean, Manuela Marques, Bernard Plossu, Claire Renier, Bertrand Stofleth and Bill Viola.

Duographie retraces ten years of the creation of the artist duo Pétrel I Roumagnac (duo), formed by Aurélie Pétrel and Vincent Roumagnac. At the crossroads of visual arts and theatre, their work explores the dialogue between photography and staging through installations with reactivation protocols and photostage pieces. Since 2013, they have been designing creations that evolve in accordance with their exhibition environment, questioning the conventions of the visibility of works, both in space and time. Each of the pieces presented by the duo is constantly moving in its exhibition space, evolving between latency time, reserve space and redistribution in space, according to successive rearrangements of photographic objects and other materials that make up them. The result is hybrid installations, a contemporary object theatre with blurred temporalities, a mixture of still images, body traces and performative sculpture in perpetual movement. The book takes the position of focusing visually on de rêves, d’Astérion, and de l’Ekumen, the trilogy of photoscenic pieces created by the duo between 2016 and 2023, each offering an immersive dive into their abundant floating universe. The duophonic play in nine scenes reproduces, in a theatre format, interviews between the two protagonists, which, together with friends passing through the course of their discussion, take place throughout the work played in and for the book, and illuminating, at the heart of the words inside, the ten years of this unique work in duo.