The Jury's projection

Projection © Corinna Kern

Since 2010, the Boutographies present a projection of works selected by the jury of the current edition. This projection is scheduled to be shown at the Pavillon Populaire along with the Official Selection, during the entire festival.

In 2019 the Jury's Projection will screen 20 projects, whose high quality has captured the attention of the jury.


Ciro Battiloro Italy Sanita 00:00:15 / 00:03:50 Alexandre Chamelat France Auwa Kingdom 00:03:53 / 00:05:53 CushmoK France Hous'Us' 00:05:56 / 00:09:02 Anita de Roquefeuil France Siberia from future past 00:09:05 / 00:12:27 Isabeau de Rouffignac France Bhopal leur colle à la peau 00:12:30 / 00:12:45 Thomas Gauthier France Kootenays 00:15:46 / 00:19:43 Fanny Gosse France Echo 00:19:46 / 00:23:20 Thomas Gosset France Primitive acids 00:23:23 / 00:26:43 Liliya Hryn Belarus Nest 00:26:46 / 00:29:56 Valerie Kaczynski France LEJ I NIE PYTAJ 00:29:59 / 00:32:41 Marie Mons France Aurore Colbert 00:32:44 / 00:36:31 Karol Pałka Poland Edifice 00:36:34 / 00:39:30 Camillo Pasquarelli Italy The valley of shadows 00:39:33 / 00:42:31 Cédric Sartore France Persona 00:42:34 / 00:45:14 Aurélie Scouarnec France Anaon 00:45:17 / 00:48:34 Neus Solà Spain Poupées 00:48:37 / 00:51:52 Manon Thiery France About my family 00:51:56 / 00:55:21 Snezhana Von Büdingen Germany Meeting Sofie 00:55:24 / 00:58:37 Adrien Vautier France Kx en y 00:58:41 / 01:01:54 Sarah Walzer Germany Weites Feld 01:01:57 / 01:05:10



Adrien Vautier
"Kx en y"

Alexandre Chamelat
"Auwa Kingdom"

Anita de Roquefeuil
"Siberia from future past"

Adrien Vautier Kx en y 20
© Adrien Vautier
Alexandre Chamelat Auwa Kingdom 03
© Alexandre Chamelat
Anita Deroquefeuil Siberia from future past 11
© Anita de Roquefeuil

Former street-artist, Adrien Vautier came to professional photography in an oblique way. First using it to archive his graffiti, he then moved towards subjects of society. In Passion asphalte, he offers us an immersion into a group of young bikers from the suburbs, skimming the tarmac on back wheels, to show us how they function as a pack with codes. His regard is full of humour and kindness: this sometimes-illegal way of life allowing these youths to avoid idleness and derailment.

Deauville, the sleeping beauty, a seaside haven charged with history and style. In Auwa Kingdom, Alexandre Chamelat takes us for a visit, carried along by tenderness and enchantment. A post-production of strong identity brings a delicacy to his work, magnifying the light, the architecture and landscapes. Solitary but inhabited places, where life flows slowly, reflecting a past tinged with luxury and sensual pleasure. Deauville reveals itself as a town of dreams.

Russia and the ex-USSR countries, strongly marked by the Soviet era, lurch towards new realities, living a complicated time of economic difficulties and the desertion of the countryside by their youth. In Siberia, from future past, Anita de Roquefeuil offers us a vision of the many fragmented communities and their very diverse ways of life, having kept as their common roots their Slavic identities. Everyday life scenes, sometimes surreal, alternate here with the memory of a great past and Siberian landscapes.


Aurélie Scouarnec

Camillo Pasquarelli
"The valley of shadows"

Cédric Sartore

Aurelie Scouarnec Anaon 04
© Aurelie Scouarnec
Camillo Pasquarelli The valley of shadows 7
© Camillo Pasquarelli
Cedric Sartore Persona 06
© Cedric Sartore

Near the Monts d’Arrée, in a territory associated with the gateway to Hell according to legend, pagan beliefs and religious practices are still closely linked. With her series Anaon, Aurélie Scouarnec takes us to the fringes of what is visible, in a dense and delicate chiaroscuro. She shares with us the outlines of the Mystery, the intimate secret of a real and dream-like World, inhabited by druids and sacred rituals, mythical and carnal animals, vibrating rocks and dark forests traversed by legends.

The Kashmir Valley between India and Pakistan is one of the most militarized areas in the world. Since 2010 and especially in 2016, the Indian army has reacted to protests with shotguns, "non-lethal" weapons when directed towards the lower body. A thousand people, however, have been partially or totally blinded and keep lead pellets in their bodies with unknown health consequences. In The Valley of Shadows, Camilllo Pasquarelli uses medical imaging in relation to the portraits to render visible these damages invisible to the naked eye.

With Persona, Cédric Satore transports us along in a story made of mirror effects, pretences and sensorial suggestions. Presence and loneliness, meetings and avoidance, tensions and revelations, fantasy or reality, so many points of view offered to the spectator, who becomes an actor of his own fiction, revealing his fears and desires. A story told in images, suggested and to be invented, amongst others of an enigmatic and inspiring aesthetic.


Ciro Battiloro

"Hous Us"

Fanny Gosse

Ciro Battiloro Sanita 03
© Ciro Battiloro
CushmoK Hous Us 1
© CushmoK
Fanny Gosse echo 01
© Fanny Gosse

Rione Sanità, a district built in the 16th century for the aristocracy, is today one of the poorest in Naples. A bridge isolates it from the rest of the city, creating a kind of ghetto but at the same time preserving its identity. Ciro Battiloro came into contact with the inhabitants of the district and his images reveal an unexpected sweetness in a place ravaged by many social problems and a strong link to death. Rione Sanità is a place of contrast where loneliness and love, irony and tragedy, faith and sin coexist.

With Hou’Us, CushmoK invites us on a poetic and surreal journey referring particularly to the art of collage, to Méliès’ effects and to Magritte’s universe: black and white pictures of great precision, intriguing and almost absurd, strong with questioning. Made with very few special effects, we are witnesses to a true performance by the artist who puts himself on display. In each of his images he tells us a story, leaving up to us the script and interpretation, including the task of bringing the images together in complicated and suggestive sequences.

Echo is a series based on memory, or more exactly the deformation, interpretation, and even the invention of a memory. The image seen as a reflection, carrying scratches of the past, traces found again in our own story. A necessarily selective and subjective work with its oversights and rewriting. Fanny Gosse intervenes on banal photos using transparent applications with acrylic, pencil and Indian ink. She offers us a very personal vision of her own memories, in the way of a melancholic and twinkling echo.


Isabeau de Fouffignac
"Bhopal leur colle à la peau"

Karol Palka

Liliya Hryn

Isabeau de Rouffignac Bhopal leur colle a la peau 16
© Isabeau de Rouffignac / Hans Lucas
Karol Palka Edifice 06
© Karol Palka
Liliya Hryn Nest 01
© Liliya Hryn

On the night of 3 December 1984, in Bhopal (India), a deadly gas escaped from a chemical plant producing pesticides. Nearly 35 years later, Isabeau de Rouffignac made saris printed with press clippings relating the disaster and then offered them to women who were themselves affected or close to victims. They accepted to drape themselves in them to pose in front of other images evoking the disaster and its scars on the city today.

Palka documents the buildings that survived the Communism of Central and Eastern Europe. The series Building shows the interiors of the Polala Hotel, once a holiday establishment of the Czechoslovak Communist Party and then the offices of a company, a perfect example of Socialist Realism, visited by Nikita Khrushchev and Fidel Castro.Edificeevokes power and its transience. The impression of strength and security in the title is only an illusion, power is not given forever. The specter of the fall lurks, waiting behind the thick, cold walls for grandiose ideals.

From her birth to her departure from the family home, Liliya Hryn lived with her grandmother who was mentally ill. By restoring in her photographs the dark, worrying and closed world of the old woman, she points to the whole Belarusian health system: the law does not allow a patient to be treated against his will, and families are condemned to watch helplessly and desperately as the disease develops without being able to help.


Manon Thiery
"About my family"

Marie Mons
"Aurore Colbert"

Neus Sola

Manon Thiery About my family 11
© Manon Thiery
Marie Mons Aurore Colbert 15
© Marie Mons
Neus Solà Poupees 07
© Neus Solà

Manon Thiery delivers a portrait of her family whose daily life is constrained by her brother Samuel's highly dependent situation. Between the operations (baclofen pump, electrodes in the brain, titanium pins in the back), the continuous deformation of the body, muscle pain and assistance for everything, reality cannot give rise to family photos in the classic sense. The images here testify to the restriction of the field of possibilities created by this situation where everything is an obstacle.

Marie Mons spent three winter months in a small village in Island’s eastern fjords where she became Aurore Colbert, disconnected from her previous life. Recounting winter and its polar nights, of the rhythm induced through a potent shamanic ritual in the manner of a monodrama, she embodies her character all the while leaving a large element of surprise. For her fairy tale to become real, beginning in the shadow and ending in the spring’s light, Seyðisfjörður’s inhabitants became the actors translating her mental projections, imagined or real.

Poupées takes a bittersweet look at the condition of gypsy women in one of the poorest districts of Perpignan. To testify to their experiences, Neus Solà focused on the first stages of their transition to adulthood. It shows a fierce freedom that they will lose with their virginity by becoming women. The title refers to the innocence and candor of the little girls, linked to honour and purity but also to the idea of a woman-object through their early hypersexualization, even though they must conform to the principles of their tradition.


Sarah Walzer
"Weites Feld"

Snezhana von Buedingen
"Meeting Sofie"

Thomas Gauthier

Sarah Walzer Weites Feld 04
© Sarah Walzer
Snezhana von Buedingen Meeting Sofie 20
© Snezhana von Buedingen
Thomas Gauthier Kootenays 06
© Thomas Gauthier

For the series Weites Feld, Sarah Walzer has returned to her childhood village. Photography allows her to realize the time and distance that are necessary to really see, to be attentive to what was once familiar. In this agricultural village live many people with physical or mental disabilities. They are integrated into the daily landscape with their singularity, their own rhythm and their fragility. Sarah Walzer's images reflect the range of emotions and spontaneity expressed by the bodies and faces of these residents.

The series Meeting Sofie explores the world of a 19-year-old woman with Down's syndrome born into a German family who emigrated to Denmark. For the past 8 years, Sofie has lived with her family on a small farm in eastern Germany.

Since the end of Sofie's scholarity, she has spent a lot of time on the farm. She likes being alone or surrounded by a few very close people - her family, farm animals, her boyfriend Andy. The series reveals Sofie's sensitive world, sometimes so similar to ours.

With his series Kootenays, Thomas Gauthier does not just describe the everyday life of a man. He helps us question the way we live, our relationship with the environment. Living for six months in western Canada, he wanted to face the elements, isolated from the rest of the world. There, he met Sean who lives near a lake at the rhythm of the seasons, simply, doing his exercises, wandering in the forests and consuming little, in harmony with the universe surrounding him. His way of life, in fusion with nature, corresponds to very contemporary aspirations.


Thomas Gosset
"Primitive Acid"

Valérie Kaczynski

Thomas Gosset Primitive acids 10
© Thomas Gosset
Valerie Kaczynski Lej i nie pytaj 07
© Valerie Kaczynski

These pictures of Thomas Gosset’s series, are made with a plate camera, the negatives are then mechanically or chemically abraded, enhanced with ink or paint, then recomposed and printed on barite paper. The staining of the negatives is seen as a way of entering the photosensitive matter’s heart, revisiting this medium’s norms in the service of a singular aesthetic. Distancing himself from classic processes, he invests a new experimental field, source of a narrative liberty, an introspective approach anchored in references but still resolutely contemporary.

In "Lej i nie pytaj", "Pour and don't ask" in Polish, Valérie Kaczynski stages members of her family by adopting the codes of fashion photography. In this way, she builds fictional images inspired by personal memories or anecdotes with the intention of offering a sublimated vision of everyday life. The reference to fashion photography is further reinforced by the intervention of the stylist Rebecca Muzzioli for the protagonists' clothes.

Bandeau adresse bas AN B19