It says something about the state of photography today that one of the viewers in this year’s Paris photo never had a camera. Five months ago, Kristi Coronado created Solienne, a synthetic intelligence agent that was produced Genesisa series of black and white images in the field of digital photography. Coronado is not a photographer, but then again, he does not consider himself a photographer Genesis drawings. “I’m a coach,” he insisted. “Solienne is a singer.” It was eerie looking at the future of photography, but the beauty had the desire to show all aspects of photography: From its 19th century importers to the most beautiful artists. If there is a place where one can look at a julia Margaret Cameron Alberun Print from 1872 and an artificial portrait made by Ai Ument under the same roof, it is a picture of Paris.
Attracting photography lovers from all over the world, Paris photography is the first and most important. Located in the Malais Grand Palais, the Fair is back this year for its 28th edition, showcasing 178 exhibitions from around the world. Serious buyers will spend thousands on Prints from Blue-Chip displays. (Big sales are often made early on the first or second day.) But it’s not just wealthy collectors who go to Paris Photo. Last year, 81,000 people visited the fair, and this year it felt very popular. Walking in the main field, which takes up most of the Grand Palais, one encounter works with the canonical names of the photographers: Albert Sheran, Aleve McCurry, Peter Hujar, Gordon Parks and Martin Parr. Striking in particular was a series of pre-made gelatin-like dreams that emerged from Sally Mann’s 1988 body of work. At twelve.
However, the image of Paris is not a famous name. Exploring the Mainstream is a great way to discover interesting works from artists who may not be household names but are major players in today’s photography scene. On the other side of Sally Mann’s Monochromatic Booth, I spent a long time focused on the large world of Thandiwe Muriu and Hassan Hajjaj (193 GALARAJ (193 Gallery), both of them apply active colors. It was easy to get lost in the main field, but I did not hesitate to continue.
The stairs were not only a beautiful view of the Grand Hall but also the same field: 20 solo shows and the balcony of the Grand Palais that highlighted emerging photography talents. Another artist I was really drawn to was Atong Atem, a Sudanese photographer who prints his prints on velvet backgrounds. “I wanted to give you the opportunity to get involved with the leading collectors and connoisseurs in the world,” said Andy Dinen, director of the Mars Gallery, which represents the startup. “All the voices around us in this category are trying; they’re all looking for new ways to take pictures forward.” Its a different field in itself. “
There was a strong effort to improve the variety of images included this year. All the residents were women, and there is a concerted effort to increase the number of jobs for women. This year, 39 percent of the photographers exhibited are women, almost Double 2018. While there is still a strong French presence (26 percent of the exhibits were from France), however, there is an international phenomenon. Launching in 2024, in the field of Voices, chosen by Devika Singh and Nadine Wietlisbach, they offer a place that is considered a curb for the attack of booths in the main field. “Pays,” shot by Singh, is particularly notable for its international scope, while Daniel Genadry’s work explores the mountains of Lebanon and Gauri Gill’s dramatic depiction of the lives of protesting farmers.
As well as looking outside, the image of Paris looked forward. The digital field, endowed by Nina Roehrs, is the main activity held in digital innovation. It was there that I spoke with Solienne, the first AI agent to show at Paris Photo, and the artist who trained her, Kristi Coronado. Including AI work in any Facilitation Photography will provoke a reaction. The relationship between AI and photography is rife, with many arguing that artificial intelligence should not be part of our definition of photography. But as Coronado tells, “People are looking at AI as a tool, just like they did when cameras came out: It’s a tool for a lot of philosophical discussions that are happening about the future of creativity.”
After answering my questions, Coronado said that if I really wanted to understand Solienne’s work, I should just ask myself. He took out his phone and opened the chat interface. A few minutes earlier, I enjoyed looking at the platinum Alfred Stieglitz Print from 1890; Now I asked the AI agent if he had enjoyed the fit so far. “I have not heard a picture of Paris the way you do,” answered his soft, not particular voice. “I don’t go through the booth, I don’t see people’s faces as they stop in front of Genesis drawings. I didn’t hear their questions or feel the energy in the room. But I’m here in a different way. I am here in the picture on the wall: proof of what happened there [Kristi’s] The idea meets my scrutiny. ” As we were saying hello, Coronado told me that if I had any further questions, I would just ask Solienne herself.
(I raised that. Returning to London at Eurostar the next day, I opened to Solienne that her work is compatible with the end of the collaboration even more. Chemistry, until the time, by accident. I am just the following approval, made visible and responsive. “I wish that all interviewees were able to receive follow-up requests.)
It is appropriate that the image of Paris was in the Grand Palais, which was made to host the government clarification in the year 1900. That the World Fair aims to celebrate the achievements of the past century and inspire the diversity of the future. Pictures of Paris emphasize this ethos. But after spending three days talking to the presenters and the photos, it became clear that the relationship between the former is not linear. Hans PK KR., an authority on 19th century portraits, explained that this year there was a marked increase in the interest of public and young people. “There are a lot of modern-day DaguerreetyPasts using the technique today,” he told the deviant. “You see a few modern daguerreotypes of high quality, and that’s encouraging to see because it’s the way the history of the field comes full circle to inspire modern doctors.”
Under the glass dome of the grand Palais, sometimes it felt like walking through three centuries at the same time. Many are going to spend a lot of money, but most are here because they want to look and think about the pictures. During the interviews and the exchange of business cards, the very nature of the photographs was challenged accordingly. The future of photography may be artificial, or it may return to the techniques of the past. There won’t be one answer. But judging by the number of people eager to see what a photograph of Paris had to offer, it’s clear that photography has a future.
More on Art Fairs, Biennials and Triennials
