PETREL Aurélie







Partition: Explosion#2  - 2015

When shall we three meet again / In thunder, lightning, or in rain ?  - 2015

Exhibition view of Exhibition view of Exhibition view of Exhibition view of Exhibition view of

On se tromperait de croire que les bois n’ont pas des yeux   -2015

Partition # mai2014  - 2014

Partitions  - 2014

Lames   -2014

Installation view of LAMES, specific project dedicated to DocksArtFair 2013, Galerie Houg - 2013Installation view of LAMES, specific project dedicated to DocksArtFair 2013, Galerie Houg - 2013Installation view of LAMES, specific project dedicated to DocksArtFair 2013, Galerie Houg - 2013Installation view of LAMES, specific project dedicated to DocksArtFair 2013, Galerie Houg - 2013Installation view of LAMES, specific project dedicated to DocksArtFair 2013, Galerie Houg - 2013

Polygone  - 2011




"Aurélie Pétrel, in her conception of the photographic, and of photography, works on relationships to place and wall, so that the image becomes one of the constituent parts of the work whose object is to be found in an interplay between the image, its substrate and its exhibition space, with which she not only questions the place and status of each but also multiplies possibilities through what Foucault called “strategies of power relationships that sustain types of knowledge, and are in turn sustained by them.” 2 The function of the substrate is not just a question of legibility; it takes on visibility. Pursuing her examination of the regulatory conventions that stabilise sense – the white wall, the position of the image on the wall, the framing, etc. – Aurélie manipulates, in a performative way, metal plates, plain or micro-perforated, as impossible underpinnings of which she seems to mimic a central aspect, producing a work in the place of an image. Everything is related to a space of stages, screens, systems of representations in which the human, taking an apparent ancillary role, is the object that legitimises all illusion. The gaze of her subjects – labourers or packers, active or passive – is often directed elsewhere, and guides our interpretation: from architectural images, built up in planes, to real space, for example the cube into which a photograph has been inserted. Visually speaking, the viewer does not actually end up in the framework of the image; a dialogue takes place between the plane surface of the photograph and the viewer’s space. The play of hypothetical reflections maintains the illusion of an “inner” and an “outer”, while the cube, like the metal and glass plates, probes the concepts of space and art. Aurélie Pétrel toys with the White Cube, manipulating this sepulchre of modernist scenographic conventions that Schwitters and Lissitzky transformed as they colonised it with their collages. The structures lead to a two-phase perception: the eye assimilates everything, sliding into the image; then the body leads the eye on a voyage of exploration. Eye and body cooperate, and not only in the choice of a real or conceptual analysis but also in backing up sense with a deflection of the subject itself.

Aurélie defines her photography with respect to the classical image, i.e. painting as an iconic reference point, far from any referent. Her compositional choices favour the constructive force of architectural elements – walls, pylons, telephone lines, power cables, roofs, windows and openings, screen-type surfaces – in a spatial conception inherited from Piero della Francesca, which unifies the energy of reason and the sensibility of mind. The photographed space is not a decor, any more than the painted space in Piero’s work. It consists of an indefinite, almost monochrome, landscape, or building(s) whose interior-exterior dialectic is enacted both within and between images. And there is no visual escape from the reality of the image as a plane. Which does not mean that the question of illusion is circumvented. Its immanence is revealed in the object-image, including the three-dimensional structures which, in real space, modify our relationship to the image, but also the perception of all images, as both displacement and production of sense. It is a game of mirrors – a throwback to polyptychs, and to the light that is constructive within the image itself, the real light that traverses the surfaces of the window stickers 3 in which the fragile human frame is delivered up to the world of human construction. Its vulnerability, as much as its strength, is what is apprehended by Aurélie Pétrel’s photography, even in the form of an infinitesimal, almost insignificant detail that nonetheless, in the order of the image, becomes figurational, particularly through the action of colour, which, apart from structuring space, creates subtle relations between the different elements. When materialised on an opaque plane, it is a screen for projection in the literal sense. When acting in transparency it inverts the relationship to the subject, pushing it down into the image. It is homogeneous when foliage is treated as an organised space, an infinity of details and nuances, or textural effects, thus renewing the experience of photographic banality through a steady eye that can see how light corrupts all form. Emphasising frontality, the lure of narration is resisted in favour of a reflection on what an image constitutes.

Aurélie Pétrel’s implementations are not so much scenographies as instantiations of images."

Text by Sylvie Lagnier



Born in 1980, lives and works in Paris.

2006 – Diplôme national supérieur d’expression plastique, école nationale des beaux-arts, Lyon F
2005 – Fall winter, Histoire de l’art, Université anglophone Concordia, Montréal
2001 – Diplôme supérieur de photographie, Lyon F



2015 – Partition : Explosion #2, Galerie Houg, Paris

2014 – Dix-neufs Chevrons, L'Angle / Espace d’art contemporain du pays rochois, La Roche Sur Foron, France
– Partition #Mai2014, Galerie Houg, Lyon, France
– Partitions, Centre d’art de Clamart sur l’invitation de Madeleine Mathé, Paris, France
– Latences, Galerie Houg, Paris, France

2013 – Images, Gowen Contemporary, Geneva, Switzerland
– Lame (Fukushima), Galerie Houg, DocksArtFair2013, Lyon, France (Projet spécifique)
 Soubresauts, Mémoires de l'ENSSIB: acte 3, ENSSIB, Lyon, Fr

2012   Deux fois la ville, GrandLyon, Lyon, Fr 
– 20 ans, ENSSIB, Lyon, Fr
– A round the corner, At down galerie, Lisbone Portugal

2011 – Polygone, Olivier Houg Galerie, Lyon F
 Ricochets, Université ECNU, Shanghai Chine

2009 – Rappel, Le Flac,
 Répétition, Super Window Project / Muzz Program Space, Kyoto Japon
 Ricochets, ENS-Science et ENS-LSH, en Résonance avec la Biennale d’art contemporain, Lyon F
 Tombé du ciel, 3bisF, Aix en provence F

2007 – Garden party, Hôpital St Joseph – St Luc, en résonance avec la biennale d’art contemporain, Lyon F



2014 – Au-delà de l’image, Galerie See Studio, Paris
– A/R Passagen, Echos, Werkschauhalle, Leipzig DE 
– Aleph # Mai 2014, Gowen Contemporary, Geneva
– Passages, Fondation Bullukian, Lyon FR
– Orange-rouge, Khiasma, Paris FR
– On se tromperait de croire que les bois n'ont pas des yeux, Bruxelles Be

2013 –  La jeune création, Le centquatre, Paris, France
– Reset, Dance4, Nottingham, Uk
– Géométrie variable, commissariat CLGB et Baron Osuna, Domaine Les Crayères, Reims, France
– Ouverture d’atelier organisée par le laboratoire «a broken arm», Cité des Arts, Paris, France
– Reset, Zodiak Helsinki, Center for New Dance, Helsinki, Finland
– CrossOver, Fotomuseum, Winterthur, Switzerland
 False Fakes, Centre de la photographie, Genève, Switzerland
– Variable Geometry, Art Brussels, SWP, Bruxelles, Belgium
 Le Grand Ensemble, projet pluridisciplinaire, The Party / HPL / Comédie de St-Etienne, France
 Mia Fair, représenté par Bloo gallery (Rome), Milan, Italy
– Lille Art Fair «Espace YIA», représentée par la gallerie Houg (Lyon), Lille, France

2012 – Former bank, Hiroshima, Japan
– Quatre photographes, Bloo gallery, Rome, Italy
 ART-O-RAMA, représentée par Super Window Project (Kyoto), Marseille, France
– Slick Art Fair et Wallartfair, représentée par la gallerie Houg (Lyon), Paris, France
– Danse espace deux, invitation de Christian Gattinoni, Saint-ouens, Paris, France
– Images en résidence, Le bleu du Ciel, Lyon, France
– Close range, Westpol, Leipzig, Germany
– Photographie, Gowen Contemporary, Genève Suisse
– Là où il pleuvine, Bourgogne France
– Tendanze della fotografia contemporanea Vol 1, Bloo galerie, Rome Italie  
– Images en résidence, Le bleu du Ciel, Lyon Fr

2011 – Reboot #5, nous voulons des maquettes!, invitation d’Elie During, Palais de Tokyo, Paris Fr
 Absolut, Pilotenkueche – Spinnerei, Leipzig Allemagne 
– Image-machine, Galerie Maxence Malbois, Paris Fr 
– In situ, L.I.A – Spinnerei, Leipzig Allemagne

2010 – Trans-imagem, Galerie Virigilio, Sao Paolo Brésil
 ArtParis + Guest, Olivier Houg Galerie, Paris F
 Estampe, Délégation parisienne du Grand Lyon, Paris F
 Groupe show, TWS, Tokyo Japon
– Menu C, Institut franco-japonais de Tokyo Japon Panorama, biennale d’art contemporain, Bourges Fr
– Picturing city, Musée Xuhui, Shanghai Chine
 Regards croisés, Exposition universelle, Shanghai Chine

2009 – All saints, Hôpital St Joseph – St Luc, Lyon F
 Les légumes verts – Menu A et B, ENS-Science et ENS de, Lyon F
 Loop Art Fair, Olivier Houg Galerie, Barcelone, Espagne
 No man’s land, Super Window Project / Ambassade de France, Tokyo Japon
 Show Off, Olivier Houg Galerie, Paris F

2008 – Exposition de Noël, Le Magasin – Ancien musée de peinture, Grenoble F
 Géométrie Variable, BTP du Rhône, Lyon F
 Le vide n’a pas de porte de sortie, Creative Union, Hiroshima Japon
 RDV 2008, Musée d’art contemporain, Lyon F

2007 – D’un monde à l’autre, Auditorium, Lyon F
 Les enfants du Sabbat 8, Creux de l’enfer, Thiers F
– Spécial chantier, Les Subsistances, Lyon F

2006 – Exposition, Château des Adhémar, Montélimar Fr
– Multipolaire,  Halle 14 de la Spinnerei, Leipzig Allemagne 
– Travaux en cours, Musée d’art moderne, Saint-Etienne Fr

2005 – 2ème  édition de, Famulstuart, Ljubljana Slovénie



To be published:  L’image élevée au cube, Texte de Malek Abbou

2014 - Initiales n° 04 – Initiales M.V. (Monte Verità), éditions les presses du réel, Paris FR

2013 -Tous urbains n°04, éditions puf, Paris FR
- Pré-édition Reset , Kaiserin édition, 500 exemplaires
- L’amorce du lieu, Les éditions du détail, 300 exemplaires 
- At Dawn, Les presses du vide, Paris FR
Hiroshima Art Document 2012, Yukiko Ito JP

2012 - Tours et détours en bibliothèque, Les presses de l’enssib, Lyon FR
Images en résidence, 205 éditions, avec le soutien du Bleu du ciel et de Molysabata
- ArtsMagazine N°63, Mars 2012

2011 - Polygone, 205 éditions avec le soutien de Houg galerie - Textes de Malek Abbou, Marie de Brugerolle et Sylvie Lagnier
- Regards croisés, Shanghai 2010, Edition ENSBA Lyon, avec le soutien de la Région Rhône-Alpes, Textes de Sylvie Lagnier et de Xiao Xiao Lan

2010 - Les légumes verts, livre d’artiste, Edition Le bleu du ciel - Textes de Philippe Adam
- No man’s land, catalogue de l’exposition, Ambassade de France, Tokyo, Japon - Texte de Baron Osuna
- Panorama, catalogue de l’exposition, 5ème Biennale d’art contemporain de Bourges FR
- Préparatifs, livre d’artiste, Edition ENBA Lyon FR
-  Shanghai, texte de Sylvie Lagnier, ZéroQuatre n°7, automne 2010

2009 - Des images, de la lumière, texte de Baron Osuna, publié sur

2008 - 2013, Edition Ville de Lyon FR

2007 - A.Pétrel, Edition E, ENBA Lyon FR - Textes de Marie de Brugerolle
- En 1799, l’entrée était déjà là, livre d’artistes, Edition ENBA Lyon FR - Texte de Grégory Bétend

2006 - Les enfants du Sabbat 8, catalogue de l’exposition, Le Creux de l’Enfer, Thiers FR, coédition ENBA Lyon - ESA 
- Clermont Communauté - Le Creux de l’enfer, collection Mes pas à faire - Textes de Marie de Brugerolle et de Nicolas Garait
- Multipolaire, catalogue de l’exposition, HGGB, Leipzig DE
- Semaine 45.06 et Semaine n°2, Analogues, Maison d’édition pour l’Art contemporain, Château des Adhémar, Montélimar FR - Texte «Comme un voile transparent posé sur les yeux» de Nicolas Garait

2005 - Chorégraphie, affiche 100 ex., Edition ENBA Lyon FR, collection «Ne pas jeter sur la voie publique»



2012-13 – Cité internationale des arts, Paris F
- Orange-Rouge, Paris F
- A ronde the Corner, Lisbone Portugal

2011-2012 – 20 ans, enssib, Lyon F

2011 – Moly Sabata, Les Sablons F
- L.I.A Leipzig International Art Programme, Leipzig Allemagne
- Pilotenkueche Artist Residency, Leipzig Allemagne

2010 – Exposition universelle, Shanghai Chine
- Tokyo Wonder Site, Tokyo Japon

2009 – Observatoire astronomique, Angtafasta Chili

2008-2010 – Atelier, ADERA, Lyon F

2008 – 3bisF, Aix en provence F
- Ambassade de France, Tokyo Japon

2007 – Aide individuelle à la création, Ministère de la Culture – DRAC Rhône-Alpes F

2006 – Prix Pézieux, Ville de Lyon F

2005 – Université Concordia, Montréal Canada

2004 – Prix Charles Dufraine, Ville de Lyon F



2010 – Nuits, Castel, Paris F, (privé)

2009 – 1% culturel, lycée de St Chamond, Région Rhône-Alpes F, (public)



2014 – 3 experimental day’s, schedule in progress



2013 - Création ECHOS, laboratoire et diffusion de création artistique, LyonFR

2012 - Création BKRM, laboratoire de création artistique, cité internationale des arts, Paris FR
- Organisation exposition BKRM, galerie Bertrand Baraudou, Paris FR