A long metallic fish, floating above the viewer, undulated regularly, obstinately toward the back wall, as if magnetized by the chaotic procession of incandescent images illuminating the surrounding darkness. This primordial and volcanic backdrop was created by projecting Ange Leccia’s video of what looked like crashing lava, steel in fire, stellar matter in fusion, molecular chaos, and landscapes of liquid stars against the wall. Eventually it was revealed that Leccia’s video actually depicted a fire-ceremony in Japan.

As for the fish, a piece by Jean-Luc Vilmouth, it will serve as one of the

Gilles Ehrmann is certainly not an unknown photographer—witness this retrospective, which was first presented at the prestigious “Rencontres internationales de la photographie” in Arles last summer. But it is no exaggeration to call him low profile. During the 1950s and ’60s, it is true, he worked for two quality magazines, Architecture d’aujourd’hui (Today’s architecture) and Réalités, and he does exhibit from time to time, but for some forty years, he has clearly preferred to pursue a personal imperative, a kind of photophilosophical quest that has most often left its traces in the form of