Marie Sommer (FR)

Vidéos, bande sonore, tirages argentiques

Like a fragmented film, an investigation into several substances, documents unfold and question the augural character of the archive. A first film examines the archives of the Stasi – without captions, censored, annotated or numbered.
A systematic double of reality, these prospective images are archived to allow the possibility of looking at them tomorrow. For most of these files, the opening of which is annotated on the first page, I was the first person to write in a date, proving that the images had never been looked at. On another screen, in a space where these images are kept, the camera seems to slide between the archives, the files, the corridors and the offices in a time frame where emptiness is once again the master of its light, of its objects, of the signs of a muted, repressive activity that is both obsessive and paranoiac. At the same time, photosensitive surfaces randomly recorded the radiation of radioactive stones. The contact of the stones with the blank negative plates, lasting several months, created a trace like the one left by light. The total invisibility of these rays makes it impossible to anticipate the image that will be formed by the impact of the stone on the surface. Between these documents, a film without images unfolds a text by Bruce Bégout.

Marie Sommer
Marie Sommer France
Promotion Michelangelo Antonioni

Born in 1984, photographer and artist Marie Sommer graduated from the École des Arts Décoratifs de Paris in 2009. In 2010, she published with Éditions Filigranes/LE BAL and with author Jean-Yves Jouannais, a piece of photographic research that revealed the artificiality of a hill built with rubble in Berlin. She continued her studies at the École de la Photographie d'Arles (2012), where her work touched on such subjects as monuments, memory and the science of ruins and showed a real attraction to particular kinds of geographical spaces such as islands. Between 2013 and 2015, during residencies in Spain at Casa Velázquez, and then at Bilbao Arte, she explored the ruins of Belchite, a village whose erosion makes it merge with the furrowed and pitted mineral landscapes from which it was extracted. Since 2016 she has been doing research on archives of surveillance images.

Production : Le Fresnoy, Studio national des arts contemporains