Vionnet

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	<title>Vionnet</title>
	<link>https://corinnevionnet.com</link>
	<description>Vionnet</description>
	<pubDate>Mon, 13 Apr 2026 16:28:01 +0000</pubDate>
	<generator>https://corinnevionnet.com</generator>
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	<item>
		<title>Events</title>
				
		<link>https://corinnevionnet.com/Events</link>

		<pubDate>Thu, 16 Dec 2021 10:16:09 +0000</pubDate>

		<dc:creator>Vionnet</dc:creator>

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	—
What’s on

	EXHIBITIONS, FAIRS, BOOKS, PRESS, TALK,...


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	Photo Elysée, Lausanne &#38;nbsp;

INTERVIEW :: GOING NOWHERE

Corinne Vionnet and the Culture of Excess 


— Images en vue/In Sight &#38;nbsp;
 
&#38;nbsp; 


Going Nowhere: On view at Photo Elysée from June 25th at 6pm during the opening receptions and until end August 2026


Going Nowhere by Corinne Vionnet repurposes the Rolodex, an object of memory and organization, into a circular book-object. Using anonymous images from the Internet, the artist composes an endless loop that confronts fantasies of escape and contemporary frenzy, natural sunlight and artificial light, revealing a collective movement that seems to lead nowhere.

 —


Going Nowhere was commissioned from Corinne Vionnet by Photo Elysée with the support of the Leenaards Foundation, a partner of the Résonance project, a collaborative initiative under which the three Plateforme 10 museums commission thematic works from local artists.


&#38;nbsp;


■ INTERVIEW


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	Photo Elysée, Lausanne &#38;nbsp;

NEW WORK :: GOING NOWHERE

IMAGES EN VUE / IN SIGHT&#38;nbsp; — On view at Photo Elysée from June 25th at 6pm during the opening receptions and until end August 2026
&#38;nbsp; 


Going Nowhere by Corinne Vionnet repurposes the Rolodex, an object of memory and organization, into a circular book-object. Using anonymous images from the Internet, the artist composes an endless loop that confronts fantasies of escape and contemporary frenzy, natural sunlight and artificial light, revealing a collective movement that seems to lead nowhere.

 —

Going Nowhere was commissioned from Corinne Vionnet by Photo Elysée with the support of the Leenaards Foundation, a partner of the Résonance project, a collaborative initiative under which the three Plateforme 10 museums commission thematic works from local artists. 


■ VIEW THE WORK


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	Photo Elysée, Lausanne &#38;nbsp;

NEW WORK 

CARTE BLANCHE FROM PHOTO ELYSÉE 

   
Going Nowhere was commissioned from Corinne Vionnet by Photo Elysée with the support of the Leenaards Foundation, a partner of the Résonance project, a collaborative initiative under which the three Plateforme 10 museums commission thematic works from local artists. 


■June 25th. Stay tuned!


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	The New York Times


PRESS &#38;nbsp;


PAY ATTENTION TO HOW YOU PAY ATTENTION, BY EZRA KLEIN

 &#38;nbsp; 

   
 &#38;nbsp;The New York Times / Opinon. December 7th, 2025. 


■READ HERE


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	_SANS-TITRE

INTERVIEW

_SANS-TITRE — A program presented by  Thibault Brunet et Marceau Truffaut at Beaubourg, Paris&#38;nbsp; 


Our guest was Corinne Vionnet @co_vionnet

To learn more about her work: https://corinnevionnet.com/


Every month, artist Thibault Brunet and graphic designer Marceau Truffaut from Hypothèse Studio invite an artist to talk about their work. 
Rather than romanticizing the profession or giving a traditional presentation of the artist's career, they seek to understand the profession of artist as such, how certain pieces are created, why certain subjects are chosen, and what sequence of significant or trivial events leads to creation.
 

Movie credits: Olivier Schlauberg

Editing: Paul Kermarec&#38;nbsp;
You can support _SANS-TITRE by subscribing to the Instagram account: @sanstitre.cast


■VIEW HERE (interview in French)


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	Online Shop CCCCCC.CH

NEW WEBSITE &#38;nbsp;

LE MAGASIN #CCCCCC ONLINE NOW! YOU CAN BUY ARTIST BOOKS, SPECIAL EDITIONS, PUBLISHED BOOKS FROM CORINNE VIONNET + SOME COLLABORATIONS. &#38;nbsp; &#38;nbsp; 

  
■VIEW + BUY HERE


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	Prix Bob Calle 2025 du Livre d’Artiste


EVENT &#38;nbsp;

PARIS PARIS PARIS SELECTED FOR THE BOB CALLE 2025 

&#38;nbsp; 

&#38;nbsp; 

&#38;nbsp; — Artit’s Book Prize&#38;nbsp; 


European prize,10 countries, 17 experts,50 books.-France :: 
Expert Cécile Pocheau-LestevenCorinne Vionnet, Paris Paris Paris
2024, RVB books


PARIS PARIS PARIS, 1200 copies, Soft cover, printed pvc jacket, stitched, Otabind, 24 × 29.5 cm, 110 p., €38, ISBN: 9782492175381


■MORE INFO HERE

■VIEW+BUY HERE


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Art Press, Beaux-Arts, L’Oeil and many more


PRESS &#38;nbsp;

ÉCRAN TOTAL AT THE MUSÉE DE PONT-AVEN &#38;nbsp;  

    
I feel touched to say that the exhibition "Ecran total" at the Musée de Pont-Aven is a great success. Hereunder a selection of some fantastic press coverage.
ART PRESS MAGAZINE, Corinne Vionnet – collective images, grand interview with Etienne Hatt; April 2025 [link]
 CONNAISSANCES DES ARTS, Exposition Photo : les troublantes images du tourisme de masse au musée de Pont-Aven, by Lucien Chancel; Online

 [link]


BEAUX-ARTS MAGAZINE, Impression, pixel levant, by Natacha Wolinski; April 2025 [link] 
L'OEIL magazine, Le monde flou de Corinne Vionnet, by Christine Coste; April 2025 [link] 
RFI, "Corinne Vionnet. Ecran Total" at the Musée de Pont-Aven, by Lisa Giroldini; 31 mars 2025 [link] 
USBEK &#38;amp; RICA, « Écran total » : à Pont-Aven, le surtourisme s’expose en images troubles, by Pablo Maillé; 27 March 2025 [link]
 FISHEYE, Au musée de Pont-Aven, Corinne Vionnet sonde la répétition des images, by Apolline Coëffet, Online LE TEMPS, Corinne Vionnet, Critique de la déraison touristique by Eric Tariant; 01 March 2025 [link]
 CONNAISSANCES DES ARTS, Corinne Vionnet, du flou au vertige, by Elisabeth Védrenne; Nr 844, February 2025 [link]
 LE TELEGRAMME, Au Musée de Pont-Aven, le regard poétique de Corinne Vionnet sur nos clichés de vacances, Guirec Flécher, 31 January 2025 FRANCE 3 TELEVISION, Au musée de Pont-Aven, l'artiste Corinne Vionnet interroge l'influence des clichés numériques sur notre imaginaire, by Gwénaelle Bron, 30 January 2025&#38;nbsp; 
THE ART NEWSPAPER, les images troubles de Corinne Vionnet à Pont-Aven, by Louane Lallemant; February 2025 [link] 
GREAT ART MAG, La surconsommation visuelle selon Corinne Vionnet au Musée de Pont-Aven; 02 January 2025 [link]


■MORE INFO HERE


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	Musée de 
Pont-Aven

EXHIBITION IMAGES

ÉCRAN TOTAL
 

—
 

3 WEEKS LEFT TO SEE THE EXHIBITION!&#38;nbsp;&#38;nbsp; 

    
The exhibition runs until May 4th. Hurry up! 

Here some images from the show.&#38;nbsp;


&#38;nbsp;


■MORE INFO HERE


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	Musée de 
Pont-Aven

CATALOG &#38;nbsp;

ÉCRAN TOTAL —
 

Text by Anne de Mondenard&#38;nbsp; — Published by Silvana Editoriale &#38;nbsp; 

    
Corinne Vionnet was one of the first artists to explore, recycle and question the endless flow of snapshots shared on the Internet by tourists from all over the world.She also observes these travelers and photographs them at work in front of landscapes and monuments. Through her series, with their renewed and attractive forms, the Franco-Swiss artist questions our relationship with screens and digital tools that invite us to duplicate images in an endless whirlwind.The book Écran total, which covers twenty years of creation, accompanies her first solo exhibition at the Musée de Pont-Aven.
The Musée de Pont-Aven has produced a catalog of this exhibition, published by Silvana Editoriale and available at the Musée de Pont-Aven, in various bookstores and online. Avant-propos: Sophie KervranVoyage, voyage... dans les images: Anne de Mondenard Scenic views: histoire d’un point de vue: Julie Meyer.


■MORE INFO HERE


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	Musée de 
Pont-Aven

SOLO SHOW &#38;nbsp;

ÉCRAN TOTAL — 

From February 1st to May 4th, 2025  &#38;nbsp;  


The first monographic exhibition of Franco-Swiss artist Corinne Vionnet, entitled “Écran Total” presents some 100 works from several series, including Photo Opportunities, ME. Here Now, Scenic Views, Total Palm Tree...

Three works have been produced for this occasion and Total Palm Tree will have a specific installation.Please come and see the exhibition! 


■MORE INFO HERE


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	Musée de 
Pont-Aven

SOLO SHOW &#38;nbsp;

ÉCRAN TOTAL —
 

From February 1st to May 4th, 2025&#38;nbsp; &#38;nbsp;  


I'm very pleased to share first production and preparation images for my first major solo show at Musée de Pont-Aven which will take place from February 1st, 2025 to May 4th, 2025.
 (︎︎︎ at the printing lab Cadre en Seine, Paris + model for scenography at my studio)


&#38;nbsp;


■MORE INFO HERE


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	Book Signing

PARIS PHOTO FAIR &#38;nbsp;

Book signing RVB BOOKS — Grand-Palais

 — 

November 7th, 2025 at 3pm

 — 

Stand L10&#38;nbsp; 


Please come to the signing of my book Paris Paris Paris at Paris Photo fair at RVB BOOKS !&#38;nbsp;


︎︎︎ 

Thursday 7th at 3pm, stand L10

A Special Edition will be available. This is a great occasion to acquire a work from that series!&#38;nbsp;


&#38;nbsp;


■MORE INFO HERE


■VIEW+BUY HERE


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	Luxembourg Art Week / Elektron&#38;nbsp;

ART TALK

Artists, Data and Digital Image Platforms in the Information Age


— in collaboration with ELEKTRON —
November 23th, 2025, from 11:00 to 12:00 — Luxembourg 


Guest Speakers : Corinne Vionnet (artist)Lucas
LaRochelle (designer et researcher) Moderators : Françoise
Poos (artistic and scientific director of Elektron )Vincent
Crapon (curator at Elektron)Elektron is a platform for art, digital technology, science and society in Esch-sur-Alzette, Luxembourg.&#38;nbsp;


&#38;nbsp;


■MORE INFO HERE


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	Nouvel Obs

PRESS

Le nouveau Paris impressionniste — by Xavier de La Porte,&#38;nbsp;#3127, 29 August to 4 September 2024


Après un été où notre capitale a accueilli le monde entier, on peut se demander quelles images il en restera pour les visiteurs. Le très beau livre d’une artiste suisse donne un indice. [...]&#38;nbsp;


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	PARIS PARIS PARIS&#38;nbsp;

NEW BOOK! 


Paris Paris Paris, Corinne Vionnet 
published by RVB BOOKS 


—&#38;nbsp;Text by Anne de Mondenard, designed by Nicolas Polli&#38;nbsp;


Since 2005, Corinne Vionnet’s work has focused on mass tourism and the circulation of images. In Paris Paris Paris, the Swiss artist turns her attention to one of Europe’s most photographed cities, finding numerous sites and monuments that feed an uninterrupted flow of images. She transforms the raw material she works with, namely, standardised snapshots of hyper-frequented places that directly feed social networks.

In this book project, the artist stages the works with the help of two graphic counterpoints that offer several keys to her approach and subject matter. Silhouettes pile up on several pages and double printing on the same paper enhances the effect of chaos.&#38;nbsp;

Her images, which reveal nothing of the considerable work involved in their creation (archive research, crowdsourcing and collage), question our collective imaginary and tourist behavior. Why do we always take and share the same images?&#38;nbsp;

110 p, 85 images, 24 x 29.5 cm, dustjacket, French/English.
ISBN: 978-2-492175-38-1, 38€


&#38;nbsp;


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VIEW+BUY&#38;nbsp;HERE


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	Danziger galleryEXHIBITION&#38;nbsp; &#38;nbsp; &#38;nbsp; 
Paris Paris Paris 

 — Corinne Vionnet. 

As the Olympics unfold in their various venues around Paris, Corinne Vionnet has just completed the latest series in her ongoing “Photo Opportunities” body of work focusing on re-imagined images of Paris. [...] &#38;nbsp;

︎︎︎ August 5th – September 6, 2024


■ VIEW HERE


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Le TempsPRESS&#38;nbsp; &#38;nbsp;


 Corinne Vionnet. Been There — Summer series “Ailleurs chez soi”, by Olivia Wermus, August 9th, 2023. 


«Nous voyageons, regardons un monument, prenons une photo. Tout en cadrant les sites touristiques avec notre smartphone, nous créons des souvenirs photographiques, partie intégrante de notre expérience de touriste.» Le travail de l’artiste suisse Corinne Vionnet est une réflexion sur le tourisme de masse, la circulation 
des images, la construction d’un imaginaire
collectif.

Corinne Vionnet produit ses images à la texture
éthérée, en superposant des centaines de clichés amateurs glanés dans le flot de photos de

voyages qui circule sur la Toile. Elle note que la plupart des photos souvenirs de lieux touristiques sont standardisées, prises à partir d’un point de vue similaire.

Dans Been There, elle observe comment les touristes prennent des clichés pour témoigner de «j’étais là». Ils se succèdent, se superposent comme un time-lapse, cherchant à créer des souvenirs qui ressemblent à l’image qu’ils se faisaient du lieu avant de le visiter.&#38;nbsp;


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	Effeuiller&#38;nbsp;NEW SERIES&#38;nbsp;

Effeuiller [Paris], 2024 — 
A composite image is stripped back by removing successive image layers. The first image chosen for this series Effeuiller is the city of Paris with Sacré Coeur in the distance – such a static view, but one that, all the same, moves slightly from one image layer to the next. These images seem at once simpler and less distinct as each translucent image layer is peeled back.&#38;nbsp;


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	ElektronEXHIBITION &#38;nbsp; &#38;nbsp;&#38;nbsp; 


Cyber Structures: Material Realities-Digital Experiences

Elektron is a platform for art, digital technologies, science and social issues in Esch-sur-Alzette, Luxembourg.&#38;nbsp;

 
Through exhibitions, public art installations and events, Elektron is a must-see program for art and digital specialists and curious minds alike.
Elektron facilitates and enriches the dialogue between art, technology, science and social issues. Our aim? To offer keys to understanding, while questioning the effects of digital technologies on our daily lives and our environment.&#38;nbsp;


Dans le cadre d’Elektron et de la Biennale – Esch Capitale Culturelle.


︎︎︎ until September 2024


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	Paris Paris ParisMUSEUM ACQUISITION &#38;nbsp;


Musée Carnavalet, Paris&#38;nbsp;


Five works from my series Paris Paris Paris have been acquired by the Carnavalet Museum in Paris. These works are part of the current show The Seine, from 1977 to the present days (see below). 


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	V&#38;amp;A Dundee

EXHIBITION &#38;nbsp; &#38;nbsp;&#38;nbsp; 


Photo City: How Images Shape the Urban World 

— 
Look through the lens at how photography frames the way we experience our cities.
The invention of photography has transformed the world. Today, photographic images are everywhere and the acts of taking, sharing and responding to them are integral to daily life.


The explosion of photographic experimentation in the mid-19th century coincided with the rapid growth of cities across the globe. This exhibition brings together iconic images from the V&#38;amp;A’s collections as well as works by contemporary photographers, architects and digital artists to explore how photography and cities have influenced each other.


 Diorama Map, Dundee by photographer Sohei Nishino is a large-scale photographic map of Dundee offering a captivating and intricate portrait of the city, through the eyes of the photographer.&#38;nbsp;

(photo: Sohei Nishino)&#38;nbsp;


︎︎︎ until October 20th, 2024


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	Talking Pictures

INTERVIEW

CORINNE VIONNET. DÉJA VU by Alasdair Foster — online 


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Musée Carnavalet, ParisEXHIBITION &#38;nbsp; &#38;nbsp;&#38;nbsp; 


La Seine, de 1977 à nos jours 


The Seine holds a special place in the history of the capital as well as in the life and in the fantasies of Parisians. On some 13 kilometers, 37 bridges connect its two banks. The most recent of them, the Simone-de-Beauvoir footbridge, was inaugurated in 2006. If the river shaped Paris, its uses changed and developed which also transformed it.&#38;nbsp;

The Seine was used as resources, commercial axis, patrimonial space, and, increasingly as a place turned towards leisure activities, all the while remaining a natural site to be protected. In 1991, the banks of the Seine became a Unesco World Heritage Site: from the pont de Sully to the pont d’Iéna, on the right bank and until the pont de Bir-Hakeim on the left bank. 

On this same bank, closed to cars in 2016, a 2.3 kilometers walk was built for pedestrians and cyclists, from the musée d’Orsay to the pont de l’Alma. The focal point of the 2024 Olympic Games, the Seine is, on this occasion, inaugurated by athletes as a place for swimming.


︎︎︎ until June 29th, 2025


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TéléramaPRESS&#38;nbsp; &#38;nbsp;


 Eiffel — hors série, #244. November 2023. 


(left image: Ai Weiwei / Etude de perspective. Tour Eiffel, 1995. Ai Weiwei Studio) 


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	Almost ThereARTIST’S BOOK 


Almost There, Corinne Vionnet 

 — 

Published by RRose Editions&#38;nbsp;


I'm very pleased to announce the launch of the book Almost There - my second collaboration with RRose Editions). 

Almost There is created at the occasion of the commission art by Bilbao Metropoli-30 curated by Ramón Esparza, and exhibited at the Fine Art Museum in Bilbao.&#38;nbsp;


This is a rather special edition, as all copies have been handmade, right from the artist's studio. For each book, 34 C-prints have been cut and assembled, around a black plexiglass core. Almost There acts as a portable exhibition, with a sculptural touch.


︎︎︎ 

100 copies only. Hurry up! 
 

&#38;nbsp;


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VIEW + BUY HERE


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	Almost ThereNEW WORK&#38;nbsp; &#38;nbsp;


Museo de Bellas Artes, Bilbao&#38;nbsp;

I'm pleased to announce my new work Almost There created at the occasion of the commission art by Bilbao Metropoli-30 and curated by Ramón Esparza. This work together with another one called&#38;nbsp;What to See in Bilbao has been exhibited at the Fine Art Museum of Bilbao and part of their collection.&#38;nbsp;


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	Art PressPRESS&#38;nbsp; &#38;nbsp;


 Postblur — by Etienne Hatt. June 2023. 


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	Museo de Bellas Artes, BilbaoEXHIBITION&#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;
30-30-30&#38;nbsp;

 — curated by Ramón Esparza.&#38;nbsp;


30
years after the Ría de Hierro exhibition, Bilbao Metropoli-30 and
the museum have joined forces to show, once again through
photography, a renewed image of the metropolitan area at the mouth of
the Nervión. It is a smaller project but with the same spirit as the
one that in 1993 gave an account of the state of an urban area that
was witnessing the end of its industrial stage, with the main
factories, installed on the edge of the estuary, closed or about to
close. The one presented here presents, first of all, a gender
difference, since three female views have covered the territory of
the Lower Nervión. In addition, the images reveal the depth of
social change experienced during these decades. Corinne Vionnet's
vision of the city comes from social networks. And if we know that
our knowledge of the world is largely constructed through images, her
work raises the question of the dilution of the image in reality.
Vanessa Winship and María Azkarate adopt more "conventional"
points of view, focusing on the physical city - the urban fabric and
its ruptures - and the human city, another of the poles of change in
recent years. They show us that the vernacular city has become, like
so many others in Europe, a potpourri of origins and languages. 


︎︎︎ 

June14 – October 15, 2023


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	EXIT magazine - 89 - motionPUBLICATION &#38;nbsp; &#38;nbsp;&#38;nbsp; 
Un movimiento glaciar 

 — 

Glacial movement — by Manuel Padín.&#38;nbsp;
A popular phrase in the Spanish-speaking world, “El movimiento se demuestra andando” (“Movement is shown by walking”) is not exactly true because there are many differing views on the concept of movement. In Issue 89 of EXIT we take a look at some names – some of them very well established, some of them new – and provide examples of how photography strives to emerge from a state of motionlessness without moving, without ceasing to be a photograph. People, landscapes, the sky, the sea, nature, the city… Photography and photographers go to great lengths to subtly reveal the latent movement of life, of the world.&#38;nbsp;
︎︎︎ 2023


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	Albert Kahn Museum, France

INAUGURAL EXHIBITION &#38;nbsp;&#38;nbsp; &#38;nbsp; 
Autour du Monde, 
La traversée des images, d’Albert Kahn à Curiosity

 — 

Around the World, Crossing images, from Albert Kahn to Curiosity — curated by Magali Mélandri, Clément Poché.&#38;nbsp;
The inaugural exhibition of the Musée Départemental Albert-Kahn takes visitors on a journey to the origins of the "Archives de la Planète", offering a tour of the museum's collections and an exploration of representations of travel through photography and film from the beginning of the 20th century to the present day, with contemporary incarnations of works by Bernard Plossu, Catherine Hyland, Denis Roche, Corinne Vionnet, Marcus deSieno... 


︎︎︎ April 2 – November 13, 2022


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	Visiona, Huesca, SpainEXHIBITION &#38;nbsp;&#38;nbsp; &#38;nbsp; 
Imaginarios colectivos: la construcción de la imagen turística&#38;nbsp; — Curated by Pedro Vicente.&#38;nbsp;
As part of the Visiona Huesca program, the exhibition Imaginarios colectivos: la construcción de la imagen turística (Collective Imaginaries: the construction of the tourist image) examines the importance of the use of images for the promotion of tourism and for the community and identity representation of the most visited places.


Artists: Perejaume, Oriol Vilanova, Corinne Vionnet, Sascha Pohle, Albert Gusi, Lucien Briet y Eduardo Nave as well as Kodak Coloramas and the collection of postcards "Same Sky Postcards".

(image of the exhibition: © Javier Broto)

︎︎︎ Feb 25 – May 15, 2022&#38;nbsp;


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Danziger Gallery, 
Los AngelesEXHIBITION &#38;nbsp;&#38;nbsp; &#38;nbsp; 
Inaugural opening&#38;nbsp; — Curated by James Danziger.&#38;nbsp;


I'm so pleased to announce that Danziger gallery is opening its doors as its&#38;nbsp;second location&#38;nbsp;at Bergamot Station in&#38;nbsp;Santa Monica!&#38;nbsp;I have a special affection for Los Angeles and I am particularly delighted with this news.
Inaugural exhibition with following artists: Ansel Adams, Christopher Anderson, Richard Avedon, Hans Breder, Christopher Bucklow, Henri Cartier-Bresson, Thierry Cohen, Petra Cortright, Paul Cupido, André De Dienes, Robert Frank, Paul Fusco, Adam Fuss, Mario Giacomelli, Hisaji Hara, Evelyn Hofer, Seydou Keïta, Hendrik Kerstens, Karen Knorr, Jim Krantz, Michael Light, O. Winston Link, Glen Luchford, Alice Mann, Sally Mann, Pierre et Gilles, Yuji Obata, Tod Papageorge, Matthew Porter, Ulrike Rosenbach, Ian Ruhter, Alec Soth, Hiroshi Sugimoto, Risaku Suzuki, Ed Templeton, Ruud Van Empel, Corinne Vionnet, Andy Warhol, Brett Weston, Lloyd Ziff.


︎︎︎ Feb 19 – April 22, 2022 


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	C4 JournalWRITING &#38;nbsp; &#38;nbsp;&#38;nbsp; 
Paradise, Adulterated&#38;nbsp; — By Eugenie Shinkle. Feb 17th, 2022&#38;nbsp;
Paul Rousteau’s Seascapes and Corinne Vionnet’s Total Palm Tree.
Seascape: two basal planes of water and sky in symbiosis, drawn together at a horizon, proximate but never touching. An island, crystalline sand along the shoreline. Palm trees. Paradise, adulterated.


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Chefs-d’OEuvre 
du 21e Siècle

PUBLICATION&#38;nbsp; &#38;nbsp;
Chefs-d’Oeuvre du 21e siècle. L’art à l’ère du digitale [ 21st century masterpieces. Art in the digital age] — 

by Dominique Moulon.&#38;nbsp;


Whereas the craftsmen of the Middle Ages completed their apprenticeships with the production of a masterpiece, in the 19th century, with the advent of the museum, the masterpiece took on its full dimension. The modern art avant-garde then diverted from it. However, this notion is re-emerging in the first quarter of the 21st century, and we can already take a critical look at it through the contemporary creations that illustrate it so perfectly. The fifty masterpieces gathered in this book are approached through the prism of contemporary issues raised by, among other things, our cohabitation with robots, the relationship we have with artificial intelligence, the flow of images and the processing of our data. For the masterpieces of the third industrial revolution, those that emerge from both the use and the critique of science and innovation technologies, offer us as many readings of today's digital world. Analyzing each creation allows us to consider what, possibly, makes it a masterpiece.


Artists

:&#38;nbsp;Memo Akten, Refik Anadol, Cory Arcangel, Ed Atkins, Renaud Auguste-Dormeuil, Adam Basanta, Valérie Belin, Émilie Brout &#38;amp; Maxime Marion, Grégory Chatonsky, Ian Cheng, Kate Cooper, Douglas Coupland, Heather Dewey-Hagborg, Disnovation.org, Pascal Dombis, Justine Emard, Félicie d’Estienne d’Orves &#38;amp; Éliane Radigue, Cao Fei, John Gerrard, Andreas Gursky, Michael Hansmeyer, Camille Henrot, Pierre Huyghe, Ismaël Joffroy Chandoutis, Eduardo Kac, Oliver Laric, Mark Leckey, Rafael Lozano-Hemmer, LuYang, Christian Marclay, Lauren Lee McCarthy, Katja Novitskova, Trevor Paglen, Julien Prévieux, Jon Rafman, Steve Reich / Gerhard Richter &#38;amp; Corinna Belz, Tabor Robak, Evan Roth, Rafael Rozendaal, Thomas Ruff, Arcangelo Sassolino, Michele Spanghero, Samuel St-Aubin, Jennifer Steinkamp, Hito Steyerl, Amalia Ulman, Penelope Umbrico, Corinne Vionnet, Sun Yuan &#38;amp; Peng Yu, Du Zhenjun.

Dominique Moulon is a professor in creative technology, independent curator and art critic. Holder of a PhD in Arts and Sciences of the Art, he is a member of the International Association of Curators of Contemporary Art (IKT) and the International Association of Art Critics (AICA).


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	Musée d’art du ValaisLe Pénitencier, Sion, Switzerland&#38;nbsp;EXHIBITION &#38;nbsp;&#38;nbsp; &#38;nbsp; 
Raphaël Ritz Aujourd'hui&#38;nbsp; — The exhibition "Raphael Ritz. Aujourd'hui", presented at the Centre d'exposition du Pénitencier des Musées cantonaux in Sion from October 16, 2021 to June 5, 2022, sheds a contemporary light on the work of this artist. The exhibition is structured by a selection of contemporary photographs signed by a dozen artists, such as Laurence Bonvin, Nicolas Faure, Yann Gross, and Corinne Vionnet.


I'm so pleased to announce that Danziger gallery is opening its doors as its&#38;nbsp;second location&#38;nbsp;at Bergamot Station in&#38;nbsp;Santa Monica!&#38;nbsp;I have a special affection for Los Angeles and I am particularly delighted with this news.

︎︎︎

Oct 16, 2021 – June 5th, 2022


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	Chengdu Contemporary Image Museum, ChinaEXHIBITION &#38;nbsp;&#38;nbsp; &#38;nbsp; 
Building Illusions&#38;nbsp; — Curated by Duan Yuting and Ruohao Hu.

 
Participating artists: with Nadim Asfar, Yuanyuan Luka Yang, Corinne Vionnet, Claudia Jaguaribe, Birdhead, Pablo Lopez Luz, Michael Wolf, Richard Vijgen, Kurt Caviezel &#38;amp; ZHAW, Nación Rotonda, Cai Minhao, Ou Ning &#38;amp; Cao Fei, Borja Larrondo + Diego Sanchez, Atelier Guo.︎︎︎

Dec 4, 2021 – February 28th, 2022


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	Total Palm Tree
BOOK &#38;nbsp; &#38;nbsp; 


Artist’s Book — 

The artist's book Total Palm Tree is now available and ready to be shipped by October 20th. Until October 20th, don't miss the opportunity to pre-order it at the launch price of €26. There are only 120 copies of this book!

&#38;nbsp;


Corinne Vionnet’s Total project is an examination of symbols, viewing them as they are transmitted and multiplied, and as they experience processes of transformation and collapse. Vionnet has located a small cluster of motifs, which she examines through processes of reproducibility - our media ecologies and systems of production and reproduction. [...]. In Total Palm Tree, a scanner and a postcard printing process exchange an emblem of exotic paradise, until it is both scorched and flooded on its way to disappearance.&#38;nbsp; (Short extract - Duncan Wooldridge, 2021)&#38;nbsp;


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	&#60;img width="800" height="516" width_o="800" height_o="516" data-src="https://freight.cargo.site/t/original/i/468a34a272b3af95110a8246c436ac756539b44b96daca9fd888d964ce0116f9/2021_co-berlin02_corinnevionnet_photoopportunities_800px.jpg" data-mid="127549194" border="0"  src="https://freight.cargo.site/w/800/i/468a34a272b3af95110a8246c436ac756539b44b96daca9fd888d964ce0116f9/2021_co-berlin02_corinnevionnet_photoopportunities_800px.jpg" /&#62; 


	C&#124;O BerlinEXHIBITION &#38;nbsp;&#38;nbsp; 


SEND ME AN IMAGE 


— 

From Postcards to Social Media


Photography has always been a social medium that has been shared with others. But why do people communicate with each other using images? And how do the “virtual distillates” of photographs change society? The thematic exhibition Send me an Image . From Postcards to Social Media outlines the development of photography from a means of communication in the nineteenth century to its current digital representation online. The focus is on the dialogue between historical forms of traveling images from photography over the past 150 years and contemporary artists from the 1970s onwards who work with both traditional and modern photographic techniques, uses, and means of communication.


Participating artists: ABC Artists' Books Cooperative, Adam Broomberg &#38;amp; Oliver Chanarin with Der Greif, David Campany &#38;amp; Anastasia Samoylova, Fredi Casco, Moyra Davey, Themistokles von Eckenbrecher, Martin Fengel &#38;amp; Jörg Koopmann, Stuart Franklin, Gilbert &#38;amp; George, Dieter Hacker, Tomas van Houtryve, Philippe Kahn, On Kawara, Erik Kessels, Marc Lee, Lynn Hershman Leeson, Mike Mandel, Theresa Martinat, Eva &#38;amp; Franco Mattes, Jonas Meyer &#38;amp; Christin Müller, Peter Miller, Romain Roucoules, Thomas Ruff, Taryn Simon &#38;amp; Aaron Swartz, Andreas Slominski, Clare Strand, Corinne Vionnet.&#38;nbsp;
(image of the exhibition: © C/O Berlin Foundation, David von Becker)&#38;nbsp;


︎︎︎ May 30 – August 4, 2021


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Screenwalks

TALK &#38;nbsp;&#38;nbsp; 


ONLINE TALK

— 

Online talk organized by the FotoMuseum, Winterthur and the Photographers' gallery, London︎︎︎ 10 March 2021


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	In his analysis of Brave New World and 1984, cultural critic Neil Postman argues that it was Aldous Huxley who got the future right more than George Orwell. For, he writes, “Orwell feared that what we hate will ruin us. Huxley feared that what we love will ruin us.” In its own way, Vionnet’s work suggests it might be love that denies us an expansive, uniquely imagined world. Humane, open, and impersonal is a feel-good but problematic way of seeing — the hive mind’s eye, a glimpse of our collective, collapsing, hungry vision.


Hyperallergic _ 
Wonders of the World, Through the Lens of the Hive Mind, 
by Jeremy Polacek, February 5, 2015


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Histoire et Cité


TALK &#38;nbsp;&#38;nbsp; 

 
Conférence&#38;nbsp;— 


Dans le cadre de "Histoire et Cité", conférence en direct, le 28 mars 2021 avec Nathalie Dietschy. Modération par Diana Le Dinh.


Dans le cadre du Festival Histoire et Cité. 

www.histoire-cite.ch


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Museum acquisition


ACQUISITION&#38;nbsp; 


Musée d'art du Valais


— 


When I was 35 year old, I decided to change completely my orientation and started visual art.
I started with two projects, 'Photo Opportunities' and a photo work titled 'From Rhone Glacier to Lake Geneva' that was a personal research into the county where I come from, walking along the Rhone river, from its glacier to the lake Geneva. 


My work "Julie, Choëx, 2010" is today part of the collection of the Art Museum of Valais, along with the Rhoneglacier acquired a few years ago.


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Ciels


BOOK


Collector Daily


— 


by Loring Knoblauch


— Photography criticism from a Collector's perspectiveCIELS is a thoughtfully constructed photographic project which has been tightly coupled to its ultimate photobook form, using the book itself to activate the imagery in specific and controlled ways. Once again, Vionnet has cleverly uncovered intricate layers of complexity in a hackneyed subject, using a 21st century perspective to reinvent a photographic cliché.(extract from Collector's Daily, Loring Knoblauch)


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Click here to buy the book (15 books left!)Click here for more info about the work CIELS

 
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SFMOMA _ snap+share


EXHIBITION
MOMA&#38;nbsp;OF SAN FRANCISCO&#38;nbsp;— 


snap+sharetransmitting photographs from mail art to social networks


The exhibition snap+share gives visitors a new way to visualize — and experience — how photographs have become so ubiquitous in our daily lives. Whether through early examples of 1960s and '70s mail art, physical piles of pictures uploaded to the Internet over a 24-hour period, or a working refrigerator that allows participatory meme-making, visitors can trace the evolution of sharing photographs.&#38;nbsp;Spanning the history of mail art to social networks, the show presents a variety of artists working in various media, from framed paper-based art to immersive installations. Some of these artists include On Kawara, Ray Johnson,&#38;nbsp;Moyra Davey,&#38;nbsp;Erik Kessels,&#38;nbsp;Corinne Vionnet, and&#38;nbsp;David Horvitz. Exploring how networks are created through the act of sending images out into the world, this exhibition reveals just how those networks have changed in the age of the Internet.&#38;nbsp;


My work Photo Opportunities will be part of the exhibitions snap+share at the SFMOMA.︎︎︎&#38;nbsp;March 30 – August 4, 2019


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	Maintenant art center, Marfa


EXHIBITION
Maintenant — 

Chinati Weekend


Join us on Friday October 9 &#38;amp; Saturday October 10 for a Drive-Thru Art Safari @ Maintenant, 23 Antelope Hills Rd - MarfaArtworks by Natalie Melendez, Matt Scobey, Carlos García-Noriega Bueno, Dawn Kim, Corinne Vionnet &#38;amp; Laurent Pavy
Video 'The Fall' - collaborative work with Laurent Pavy - at Maintenant art center in Marfa/TX


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The durably exciting thing about Vionnet’s Total Flag [work] is that it can be read equally well on two distinct levels. It is both a meticulous artistic study of the effects of iterative image recursion and an archly biting roadmap of the where America might be heading, its abstractions just open-ended enough to allow us to extend the visual evidence of the experiment into a searing visual metaphor for national degradation. Constructing such smart artistic duality isn’t easy, especially using such a simple organizing device. Total Flag is just what it needs to be and no more – an incisive mixture of technology and artistic thought that alternately delivers both beauty and horror. By Loring Knoblauch / about the book Total Flag (link)


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		<title>EXHIBITION Images</title>
				
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		<description>Exhibition Images

	Musée de Pont-Aven, France :: Museo de Bellas Artes, Bilbao, Spain :: V&#38;amp;A Dundee, UK :: Musée Carnavalet, Paris, France :: SF MOMA, San Francisco, USA :: C/O Berlin, Germany :: Photo Elysée, Lausanne, Switzerland :: Musée d'Art du Valais, Sion, Switzerland :: Musée des Beaux-Arts, La Chaux-de-Fonds, Switzerland :: Danziger gallery, New York, USA :: Juju Museum, Korea :: Visiona, Huesca, Spain :: Festival Images, Vevey, Switzerland :: Photo Phnom Penh, Cambodia :: Les Rencontres d'Arles, France :: and more...&#38;nbsp;


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</description>
		
	</item>
		
		
	<item>
		<title>Going Nowhere</title>
				
		<link>https://corinnevionnet.com/Going-Nowhere</link>

		<pubDate>Mon, 23 Mar 2026 13:02:01 +0000</pubDate>

		<dc:creator>Vionnet</dc:creator>

		<guid isPermaLink="true">https://corinnevionnet.com/Going-Nowhere</guid>

		<description>Going Nowhere

	
&#38;nbsp;
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Going Nowhere by Corinne Vionnet repurposes the Rolodex, an object of memory and organization, into a circular book-object. Using anonymous images from the Internet, the artist composes an endless loop that confronts fantasies of escape and contemporary frenzy, natural sunlight and artificial light, revealing a collective movement that seems to lead nowhere.


.................................................


Going Nowhere de Corinne Vionnet détourne le Rolodex, objet de mémoire et de classement, en un objet-livre circulaire. À partir d’images anonymes issues d’Internet, l’artiste compose une boucle sans fin qui confronte fantasmes d’évasion et frénésie contemporaine, soleil naturel et lumière artificielle, révélant un mouvement collectif qui semble ne mener nulle part.
 

Going Nowhere, 2025-2026

&#38;gt;&#38;nbsp; Going Nowhere&#38;nbsp;was
commissioned from Corinne Vionnet by Photo Elysée with the support
of the Leenaards Foundation, a partner of the Résonance&#38;nbsp;project, a collaborative initiative under which the three Plateforme
10 museums commission thematic works from local artists.&#38;nbsp;


ARTIST’S BOOK&#38;nbsp;Going Nowhere&#38;nbsp;


Corinne Vionnet2026&#38;nbsp;


400 double-sided cardslaser-printed on250 g/m² paper+ 44 images printedon transparencies.
Card size: 7.2x10.4cm
mounted on a Rolodex.


This art book ispresented in abox made of radiantyellow plexiglass andthrough-dyed wood.

Box size: 20x20x20cm. 


Design: Laurent Pavy.

Edition: 10 + 1AP

 — 


Interested? Contact us here
	

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Photos of the book object: © Khashayar Javanmardi / Photo Elysée / Plateforme 10


Essay


GOING NOWHERE, By Sarah Bourget, Photo Elysée, Lausanne &#38;nbsp;
(version française plus bas)&#38;nbsp;


&#38;gt;link


Swiss
artist Corinne Vionnet (b. 1969) was among the first to turn her
attention to the relentless stream of images we consume online. She
has devoted over two decades to examining and reworking the travel
photographs that circulate in an endless loop across our screens. 


Going
Nowhere, commissioned by Photo Elysée,
is an artist’s book portraying a world awash with images. Vionnet
takes the Rolodex – the rotating address file that once adorned
desks before the dawn of the digital age – and gives it a new
function, transforming it into a visual device that probes the
workings of collective memory in our modern society.


Turning
the Rolodex sets 444 double-sided cards in motion, revealing two
sides of the same story: on one side, screenshots of night-time
traffic surveillance footage pass before our eyes like a single
continuous shot; on the other, images gathered from the internet
arouse our inner wanderlust and desire for freedom. As it turns, the
Rolodex produces a soft clicking sound that punctuates the sequence,
breaking the flow of the images into fragments. Like a wheel of
fortune, it spins unpredictably, leaving the viewer’s gaze to
chance. And throughout all of this, the title returns time and again:Going Nowhere,
a destination that sounds like a bad omen. 


Vionnet’s
Rolodex stirs our memory. At first, the images feel immediately
familiar: the sun, a palm tree, an airplane – the stock imagery of
relaxing breaks in far-flung locales. The images linger and, soon, a
sense of déjà vu sets in. We feel as though we are caught somewhere
between boredom and bewilderment, between the reassuring pull of
routine and the unease of being trapped in a vicious cycle. 


As
the sequences cycle, the sublime gives way to chaos, as though our
eyes were being seared by relentless overexposure. Vionnet works
through a process of accumulation, layering and transparency,
bringing images together in juxtapositions that range from subtle to
jarring. In doing so, she dismantles the symbols of an idealized
elsewhere, and a sense of resistance against the dream factory slowly
builds. The ocean turns black. Palm trees ignite. Intersecting
airplane contrails form patterns that recall a cracked screen.
Beaches become choked with people. And cruise ships pile up into a
Tower of Babel on the brink of collapse. 


The
light, meanwhile, is hypnotic. First,
it is cast by car headlights. Then by the sun. Or
perhaps by a spotlight. It is everywhere, allowing no respite.
Everything demands our constant
attention, insisting on being seen until we are blinded by the act of
looking. The viewer’s gaze inhabits a liminal space between the
physical world and the world of screens – a realm of perpetual
mirage. Tourists pose for selfies, while a dinosaur stranded on a
beach appears alongside pyramids bathed in artificial light. Dream
and reality merge into a single, eternal present. 


Vionnet
occasionally slips transparent printed sheets into this torrent of
anonymous images. Slogan-like words flash before our eyes in a
rapid-fire sequence: Happy. More. Fast. Better. Here, these familiar
words – repeated relentlessly – are held up as the keys to power
and success, hammering home the pressure we face to be happy and
productive. Next come fleeting glimpses of personal memory, too brief
and too ordinary to capture our gaze. They hint at an individual
experience that is gradually swallowed up by the mass, revealing how
uniform our dreams of getting away have become. Last but not least,
“glitched” images heighten the sense that our technology-mediated
world is coming apart at the seams.


In
this culture of excess, Vionnet lays bare the machinery that
surrounds us with an endless stream of standardized, repetitive
images. Every day, more than 14 billion photos are shared in a
carefully choreographed flow that turns us from mere spectators into
producers of ephemeral data. Remembering every image we see today has
become impossible. Yet they continue to linger in our minds, even
though they appear to be taking us nowhere.
Sarah Bourget, Photo Elysée, 2026&#38;nbsp;


 —&#38;nbsp;
This commission was supported by the Leenaards Foundation, a partner&#38;nbsp;of the Résonance project – a collaborative initiative under which the three plateforme 10 museums commission thematic works from local artists. Translation: Christopher Scala


INSTALLATION IMAGES

	
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&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/fa66b9e4a3a4a8a87108d07189e7da60f6c9d0869c5e39f2f25cc4390e49b80c/PhotoElysee_GoingNowhere-CorinneVionnet_Installation18_1000px.jpg" data-mid="250894378" border="0"  src="https://freight.cargo.site/w/1000/i/fa66b9e4a3a4a8a87108d07189e7da60f6c9d0869c5e39f2f25cc4390e49b80c/PhotoElysee_GoingNowhere-CorinneVionnet_Installation18_1000px.jpg" /&#62;


Photo Elysée, Lausanne _ Installation design: GABARIT.NET / Laurent Pavy 


&#60;img width="1000" height="650" width_o="1000" height_o="650" data-src="https://freight.cargo.site/t/original/i/ef7722f4c3295147d636259b06e0daa6c97309673399093311b1aa55da5aac73/GABARIT_GNW-Vionnet_installation02.jpg" data-mid="250894119" border="0"  src="https://freight.cargo.site/w/1000/i/ef7722f4c3295147d636259b06e0daa6c97309673399093311b1aa55da5aac73/GABARIT_GNW-Vionnet_installation02.jpg" /&#62;
&#60;img width="1000" height="650" width_o="1000" height_o="650" data-src="https://freight.cargo.site/t/original/i/98b586ae7430baf980def77fd7da995449d87994469a45b74685a3acf1f04d45/GABARIT_GNW-Vionnet_installation03b.jpg" data-mid="250894120" border="0"  src="https://freight.cargo.site/w/1000/i/98b586ae7430baf980def77fd7da995449d87994469a45b74685a3acf1f04d45/GABARIT_GNW-Vionnet_installation03b.jpg" /&#62;
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Installation design: GABARIT.NET / Laurent Pavy&#38;nbsp;


&#60;img width="1500" height="740" width_o="1500" height_o="740" data-src="https://freight.cargo.site/t/original/i/c6e2d7f79437c2f3bf82e190d0b0b7699935d971a6dd2444e4185072e1cfc086/PhotoElysee_GoingNowhere-CorinneVionnet_Installation-400imagesWall_1500px.jpg" data-mid="250894382" border="0"  src="https://freight.cargo.site/w/1000/i/c6e2d7f79437c2f3bf82e190d0b0b7699935d971a6dd2444e4185072e1cfc086/PhotoElysee_GoingNowhere-CorinneVionnet_Installation-400imagesWall_1500px.jpg" /&#62;


 Installation of&#38;nbsp;Going Nowhere: 400 framed images (mock-up)&#38;nbsp;


GOING NOWHERE, par Sarah Bourget, Photo Elysée, Lausanne &#38;nbsp;


&#38;gt;lien


Corinne Vionnet (Suisse, 1969) figure parmi les premières artistes à s’être intéressée à notre consommation frénétique d’images sur
internet. Depuis plus de vingt ans, elle ne cesse d’explorer et de
réinterpréter les clichés de nos voyages touristiques qui
circulent en une boucle sans fin sur nos écrans. 


Commande
de Photo Elysée, Going Nowhere est
un livre d’artiste qui décrit
un monde saturé d’images. Prenant la forme d’un Rolodex - cet
objet autrefois omniprésent sur les bureaux avant l’ère du
numérique - il devient entre ses doigts un dispositif d’images qui
interroge la mémoire de nos sociétés contemporaines.


En faisant tourner le Rolodex, les spectateur·ices activent 444 fiches imprimées recto-verso qui construisent les deux faces d’une même histoire. D’un côté, des captures d’écran d'un trafic continu
capté de nuit par des caméras de surveillance, qui défilent comme
un long plan-séquence. De l’autre, des images glanées sur
internet qui évoquent le désir de partir loin et de se sentir
libre. Lorsqu’il tourne, le Rolodex engendre un léger bruit, un
cliquetis, qui rythme et fragmente la manière de visionner les
images. Tout comme la roue de la fortune, Il tourne de façon
aléatoire, soumettant le regard au hasard. Le titre revient sans
cesse, telle la petite musique lancinante du destin : Going
Nowhere. Vers nulle part. Une destination qui sonne comme un mauvais présage. 


Le Rolodex active notre mémoire. À première vue, certains motifs sont immédiatement reconnaissables : le soleil, le palmier, l’avion… Ils appartiennent à l’iconographie des vacances et portent la promesse d’évasion et d’un repos bien mérité. Les images sont
persistantes. Très vite s’installe une sensation de déjà vu,
oscillant entre ennui et stupeur, entre le confort rassurant de la
routine et l’angoisse d’un cercle vicieux. 


Séquence après séquence, le sublime laisse alors place au chaos, comme si le regard brûlait sous l’excès d’expositions. Corinne Vionnet joue sur l’accumulation, la superposition, la transparence des images, à travers des juxtapositions tantôt discrètes, tantôt brutales. Par ces procédés, elle opère la déconstruction des symboles d’un « ailleurs&#38;nbsp;» idéalisé. Une forme de résistance émerge progressivement face à la machine qui fabrique les rêves. L’océan s’assombrit, les palmiers s’enflamment, les fumées blanches des avions dans le ciel se croisent évoquant un écran brisé, les
plages saturent jusqu’à l’étouffement, les bateaux de croisière
s’empilent comme une tour de Babel prête à s’effondrer. 


La
lumière, elle, est hypnotique. D'abord celle
des phares des voitures, puis celle du soleil. Ou
est-ce un projecteur ? Omniprésente, elle ne laisse aucun répit.
Tout demande à être
perpétuellement vu et regardé, jusqu’à l’aveuglement. Le
regard se trouve dans un espace liminal entre le monde physique et
celui des écrans qui donne accès à un mirage permanent. Ainsi, des
touristes prennent des selfies, tandis qu'un dinosaure échoué sur
la plage croise des pyramides baignées d'une aura artificielle. Le
rêve et la réalité s’entrelacent, comme absorbés dans un
éternel présent. 


Dans
ce tourbillon d’images d’anonymes, l'artiste vient glisser par
endroit des fiches imprimées sur transparent. 


Des
mots-slogans surgissent comme des flashs, de manière
épileptique : Happy [heureux], More [plus], Fast [rapide], Better
[mieux]… Des mots familiers, martelés à outrance et censés
assurer le pouvoir et la réussite. Autant d’injonctions au bonheur
et à la productivité qui restent imprimées dans les esprits.
 Puis
viennent des bribes de mémoire personnelle, trop furtives et trop
ordinaires pour que l’on s’y attarde. Elles témoignent d’une
expérience individuelle qui se dissout dans la masse, pour
finalement laisser place à un imaginaire collectif standardisé. Et
enfin, des images glitchées renforcent
l’idée d’un monde technologique en train de s'effondrer.


Dans
cette culture de l'excès, Corinne Vionnet donne forme au système de
circulation des images qui saturent notre quotidien de visuels normés
et répétitifs. Chaque jour, plus de quatorze milliards d'images
sont partagées dans un spectacle orchestré, qui ne fait plus de
nous de simples spectateur·ices, mais aussi des producteur·ices de
données éphémères. Il serait aujourd'hui impossible de se
souvenir de l'ensemble
des images que nous avons vues ; pourtant, elles continuent de hanter
nos mémoires, bien qu’elles semblent nous mener vers nulle part.&#38;nbsp;


Sarah Bourget, Photo Elysée, 2026


— 

Cette
commande est soutenue par la Fondation Leenaards, partenaire
du
projet Résonances, qui fait dialoguer les trois musées
de
Plateforme 10 par des commandes thématiques à des artistes de
la région. &#38;nbsp;


GOING NOWHERE - Corinne Vionnet &#38;nbsp;


Going Nowhere takes the form of an artist’s book
whose central element is both familiar and almost obsolete: the
Rolodex. Formerly used to organize and store contacts, it is
transformed here into a device composed of 400 double-sided cards
collected from the Internet. By turning the Rolodex, the viewer
activates a story in continuous motion, without beginning or end—a
flow of images that seem to repeat themselves and accelerate, much
like the contemporary world itself. 


On one side, the work presents an uninterrupted
stream of cars moving through the night. These traffic excerpts,
captured from traffic-video-camera, evoke an existence shaped by
urban activity. The choice of black and white standardizes the
appearance of the vehicles and emphasizes a mechanical procession.
The omnipresent headlights dazzle the viewer and symbolize the
artificial light that surrounds us. This roadscape is not merely one
of physical movement but of a collective mental state, where this
endless rotation seems to lead nowhere.


On the other side appear idealized representations
of holidays and escape: palm trees, beaches, cruise ships, airplanes
taking off toward distant horizons... Widely shared on social media,
these images embody a promise of freedom, rest, and happiness. They
are immediately recognizable, almost interchangeable, as they belong
to a globalized collective imagination. Yet, as the Rolodex turns,
these ideals begin to fracture and become excessive. Beaches grow
increasingly crowded to the point of suffocation, palm trees seem to
burn, cruise ships pile up on top of one another and take the form of
a Tower of Babel or a collapsed utopia, while the sky becomes
saturated with airplanes until it fades into total darkness. The
dream of elsewhere gradually shifts into chaotic visions. These
transformations reveal what lies behind the imagery: the
environmental and social consequences of an idea of travel that has
become mass-produced, standardized, and destructive.


All of these images originate from the Internet.
They are anonymous snapshots, produced and shared by individuals
around the world. They evoke idealized horizons and, through their
provenance, recall the omnipresent screens that surround us. Through
a gradual process of transparency, where one image overlays another,
questions that deeply concern me slowly emerge. This work also
highlights the way memory has shifted: it is no longer solely
internal or private but externalized and staged on digital platforms.
These memories—images of happiness, travel, and freedom widely
circulated online—construct the illusion of an ideal life.


Ten words are added to this whirlwind, echoing the
injunctions the artist perceives within contemporary society and
throughout their research: encouragements to consume, to earn ever
more, to move ever faster, and to constantly redefine the notions of
freedom and happiness, among others.


Photographs from my personal archives are also
incorporated into this endless loop, printed on transparent sheets
that intertwine with those of others, dissolving into this continuous
cycle. This layering ultimately seeks to emphasize the importance,
for each individual, of marking moments that are nevertheless similar
to those experienced by others.


Finally, it is important to note the presence of
the sun—silent, yet persistent—which appears tirelessly
throughout the loop. It is an element that seems eternal on our human
scale and imposes itself as a reminder of the natural rhythm of the
world.


The work thus questions the paradox of a society
that promises perpetual escape while trapping individuals within a
cycle of speed, desire, and visual saturation.


Where are we
going, if not ever faster, toward a horizon that is becoming
increasingly difficult to perceive? 


(translated with the help of deepl.com / please apologize if any mistakes).&#38;nbsp;


.................................................


Going
Nowhere prend la
forme d’un livre-objet dont l’élément central est familier,
presque obsolète, le Rolodex. Auparavant utilisé pour classer et
mémoriser des contacts, il devient ici un dispositif composé de
400 fiches
recto-verso collectées sur Internet. En tournant le Rolodex, le
spectateur active une histoire en mouvement continu, sans
commencement ni conclusion, un flux d’images qui semblent se
répéter et qui s’emballe, à l’instar du monde contemporain. 


Sur
une face, le travail donne à voir un défilement ininterrompu de
voitures dans la nuit. Ces extraits de trafic, prises de « vidéo-cam
», évoquent une existence rythmée par l’activité urbaine. Le
choix du noir et blanc uniformise l'apparence des voitures et
accentue une procession machinale.
Les phares allumés, omniprésents, nous aveuglent et symbolisent une
lumière artificielle qui nous entoure. Ce
paysage routier n’est pas seulement celui du déplacement physique,
mais celui d’un état mental collectif, où cette rotation sans fin
semble ne nous mener nulle part. 


Sur
l’autre face apparaissent des représentations idéalisées de
vacances et d’évasion : palmiers, plages, croisières, avions
décollant vers des horizons lointains… Largement partagées sur
les réseaux sociaux, elles incarnent une promesse de liberté, de
repos et de bonheur. Elles sont immédiatement reconnaissables,
presque interchangeables, tant elles appartiennent à un imaginaire
collectif mondialisé. Pourtant, à mesure que le Rolodex tourne, ces
idéaux se fissurent et deviennent excessifs. Les plages se
remplissent jusqu’à l’étouffement, les palmiers semblent
brûler, les bateaux de croisière s’accumulent les uns sur les
autres et prennent la forme d’une tour de Babel ou une utopie
effondrée, tandis que le ciel se sature d’avions jusqu’à
l’obscurité totale. Le rêve de l’ailleurs bascule
progressivement vers des visions chaotiques. Ces glissements révèlent
l’envers du décor, les conséquences environnementales et sociales
d’un imaginaire du voyage devenu massif, standardisé et
destructeur. 


L’ensemble
de ces images provient d’Internet. Ce sont des photos-souvenirs
anonymes, produites et partagées par des individus du monde entier.
Elles évoquent des horizons sublimés et, par leur provenance,
rappellent ces écrans omniprésents. Un
jeu de transparence
d’une image sur l’autre, successivement, fait
émerger peu à peu des 
questions qui me
préoccupent. Ce
travail met également en lumière la manière dont la mémoire s’est
déplacée : elle n’est plus seulement intérieure ou privée, mais
externalisée et mise en scène sur les plateformes numériques. Ces
souvenirs — images de bonheur, de voyage et de liberté largement
diffusées en ligne — construisent l’illusion d’une vie idéale.


Dix
mots viennent s’ajouter à ce tourbillon et reprennent des
injonctions que l’artiste ressent au sein de cette société et
durant ses recherches : incitations à consommer, à gagner toujours
plus, à aller toujours plus vite, à redéfinir sans cesse la notion
de liberté et de bonheur, entre autres. 


Des
clichés de mes archives personnelles
sont intégrées
également à cette boucle sans fin s, imprimées sur des
transparents, qui
s’entrelacent avec celles des autres, se fondant dans ce cycle
incessant. Cette superpositiontente finalement de souligner l’importance, pour chacun, de marquer
des instants pourtant semblables à ceux des autres.
 

Enfin,
il faut souligner la présence du soleil – comme silencieux - qui
apparaît inlassablement au fil de cette boucle, élément qui nous
semble éternel à notre échelle et qui s'impose comme pour rappeler
le rythme naturel
.&#38;nbsp;


L’œuvre
interroge ainsi le paradoxe d’une société qui promet l’évasion
permanente tout en enfermant les individus dans un cycle de vitesse,
de désir et de saturation visuelle. 


Où
allons-nous, si ce n’est toujours plus vite, vers un horizon de
moins en moins perceptible ?&#38;nbsp;


</description>
		
	</item>
		
		
	<item>
		<title>Been There</title>
				
		<link>https://corinnevionnet.com/Been-There</link>

		<pubDate>Wed, 08 Oct 2025 11:52:41 +0000</pubDate>

		<dc:creator>Vionnet</dc:creator>

		<guid isPermaLink="true">https://corinnevionnet.com/Been-There</guid>

		<description>Been There

	&#60;img width="1000" height="275" width_o="1000" height_o="275" data-src="https://freight.cargo.site/t/original/i/8669590a3bfef1fa7424223145b5cbe168796d9e3d992086affb923672779b4d/BeenThere_CorinneVionnet_1000px.jpg" data-mid="239147897" border="0"  src="https://freight.cargo.site/w/1000/i/8669590a3bfef1fa7424223145b5cbe168796d9e3d992086affb923672779b4d/BeenThere_CorinneVionnet_1000px.jpg" /&#62;


&#60;img width="1000" height="550" width_o="1000" height_o="550" data-src="https://freight.cargo.site/t/original/i/30adae9bc4eb137288734fc1059173c3a64982290dd007796b9947c57c96263f/BeenThere_CorinneVionnet_detail01-1000px.jpg" data-mid="239147888" border="0"  src="https://freight.cargo.site/w/1000/i/30adae9bc4eb137288734fc1059173c3a64982290dd007796b9947c57c96263f/BeenThere_CorinneVionnet_detail01-1000px.jpg" /&#62;
(detail)&#38;nbsp;

&#60;img width="1000" height="550" width_o="1000" height_o="550" data-src="https://freight.cargo.site/t/original/i/fc04953e38a9d8bf053b3ce1910c69e8b3dd0d7852334c2fe125745bb3760778/BeenThere_CorinneVionnet_detail02-1000px.jpg" data-mid="239147876" border="0"  src="https://freight.cargo.site/w/1000/i/fc04953e38a9d8bf053b3ce1910c69e8b3dd0d7852334c2fe125745bb3760778/BeenThere_CorinneVionnet_detail02-1000px.jpg" /&#62;
(detail)&#38;nbsp;


This image has been created as a 11 meter long installation for the Pont-Aven Museum. 
Other images are be created for other art space. 

.................................................&#38;nbsp;


Huit ans après ME. Here Now, l’artiste est revenue à Paris photographier des personnes en train de prendre des photos et s’est notamment promenée aux abords de la pyramide du Louvre. Elle a ensuite traité ses images en transparence et en superposition, à la façon des vues de monuments, mais sans les accrocher à un axe en particulier, puis les a empilées de façon désordonnée pour intensifier un chaos. 

L’artiste a d’abord conçu ce collage pour offrir un contrechamp à sa série Paris Paris Paris, publiée dans un livre éponyme en 2024 : des visiteurs de passage face à des monuments qui restent figés. Pour cette exposition à Pont‑Aven, elle le déploie à une très grande échelle. Been There (2024) prend la forme d’une frise où certaines silhouettes s’affichent à l’échelle un, voire plus. L’oeuvre s’offre aussi comme un miroir de Photo Opportunities. La multitude explorant les mêmes lieux et générant une multitude d’images prend forme sous nos yeux. Reste à savoir où nous nous situons et si nous sommes prêts à faire un pas de côté...&#38;nbsp;
Anne de Mondenard&#38;nbsp;


Been There, 2024-ongoing  


EXHIBITION / INSTALLATION IMAGES

	
&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/c90a938e36496e9275c704333dc911e1695996cb7fd1b2e361b422ffcfe7327d/16_MPA_CorinneVionnet-EcranTotal_2264b_1000px.jpg" data-mid="239147901" border="0"  src="https://freight.cargo.site/w/1000/i/c90a938e36496e9275c704333dc911e1695996cb7fd1b2e361b422ffcfe7327d/16_MPA_CorinneVionnet-EcranTotal_2264b_1000px.jpg" /&#62;


Musée de Pont-Aven, 2025

 — installation of 11 meter long 


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</description>
		
	</item>
		
		
	<item>
		<title>Monuments</title>
				
		<link>https://corinnevionnet.com/Monuments</link>

		<pubDate>Mon, 13 Apr 2026 16:28:01 +0000</pubDate>

		<dc:creator>Vionnet</dc:creator>

		<guid isPermaLink="true">https://corinnevionnet.com/Monuments</guid>

		<description>Monuments

	
&#60;img width="800" height="1143" width_o="800" height_o="1143" data-src="https://freight.cargo.site/t/original/i/7b9ea7732bd568dfc9565a64c3cc517b37783659f89ef58fa31a6a9cd321e945/CorinneVionnet_Monuments_Planches001.jpg" data-mid="248325765" border="0"  src="https://freight.cargo.site/w/800/i/7b9ea7732bd568dfc9565a64c3cc517b37783659f89ef58fa31a6a9cd321e945/CorinneVionnet_Monuments_Planches001.jpg" /&#62;
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&#60;img width="800" height="1143" width_o="800" height_o="1143" data-src="https://freight.cargo.site/t/original/i/59e06817328c742f774d780ad13c37f44ca39ebee45e09d6fe4be13b8646a2b0/CorinneVionnet_Monuments_Planches003.jpg" data-mid="248325767" border="0"  src="https://freight.cargo.site/w/800/i/59e06817328c742f774d780ad13c37f44ca39ebee45e09d6fe4be13b8646a2b0/CorinneVionnet_Monuments_Planches003.jpg" /&#62;
&#60;img width="800" height="1143" width_o="800" height_o="1143" data-src="https://freight.cargo.site/t/original/i/fc6f944e6fc7b9b671bfeba46c8c354e1775a9365e2fc9a0900a196d99a203dc/CorinneVionnet_Monuments_Planches004.jpg" data-mid="248325768" border="0"  src="https://freight.cargo.site/w/800/i/fc6f944e6fc7b9b671bfeba46c8c354e1775a9365e2fc9a0900a196d99a203dc/CorinneVionnet_Monuments_Planches004.jpg" /&#62;


Monuments by Corinne Vionnet 


.................................................


Monuments, 2024

&#38;gt; 

1,000 images of Monument Valley collected from the Internet _ Installation
 

&#38;gt; 

This project was created for an installation for the solo show at the Musée de Pont-Aven, France.


EXHIBITION / INSTALLATION IMAGES

	
&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/85f3012774e2797bfdff11c5824aafacb5759afeeb846925cd1bd7f0d3568cc5/10_MPA_CorinneVionnet-EcranTotal_2566b_1000px.jpg" data-mid="247137111" border="0"  src="https://freight.cargo.site/w/1000/i/85f3012774e2797bfdff11c5824aafacb5759afeeb846925cd1bd7f0d3568cc5/10_MPA_CorinneVionnet-EcranTotal_2566b_1000px.jpg" /&#62;&#38;nbsp;instainstallation - part of the solo show at the Musée de Pont-Aven, France&#38;nbsp;


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	<item>
		<title>Paris Paris Paris</title>
				
		<link>https://corinnevionnet.com/Paris-Paris-Paris</link>

		<pubDate>Fri, 14 Jun 2024 12:19:39 +0000</pubDate>

		<dc:creator>Vionnet</dc:creator>

		<guid isPermaLink="true">https://corinnevionnet.com/Paris-Paris-Paris</guid>

		<description>Paris Paris Paris

	
&#38;nbsp;
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Following Photo Opportunities, Corinne Vionnet turned her attention to the abundance of images on the internet, focusing her work on the city of Paris and tourism, the artist's main subject. 

Paris is one of the most visited cities in the world. Consequently, it is one of the most photographed cities. Indeed, when we travel, we see a monument, we take a photo. By framing mass tourism sites in our viewfinders, we create photographic memories that are an integral part of the tourist experience. 


Paris becomes multifaceted due to the ceaseless flow of images of
famous monuments that every tourist is invited to see and, above all, to photograph and share on the Internet. The image—the one 
that simply must be taken—feeds on itself. 


This led the artist to examine the way we select the ideal spot to photograph points of interest. Paris Paris Paris is the artist’s commentary on mass tourism and its relationship with digital culture.
By weaving together more than a hundred perspectives and photographic experiences for each composition, Corinne Vionnet has created her own images, attempting to render a poetic Paris free from the coldness of tourist clichés. From the Eiffel Tower, the Arc de Triomphe, and the Moulin Rouge, these images also echo those found in travelogues. The Seine and the gardens of Paris also make an appearance in this Parisian stroll. In the artist’s images, tourists appear as ghostly figures, allowing viewers to step into the photograph and imagine their own encounter with each place. 


Beneath these poetic visions lies a serious concern about
how the persistence of formally repetitive photographic compositions constructs and disrupts our perceptions of
space over time, referencing photography’s deeply entrenched authority to supplant reality. As Sontag so aptly put it, tourist excursions are often scripted sequences of photographic mediations with reality—disturbances that distance us from any direct engagement with our local environment. And this is all the more true today with the smartphone, which obscures even
what we are photographing.

(Translated from French into English with DeepL.com)&#38;nbsp;


.................................................


Après&#38;nbsp;Photo
Opportunities,
Corinne Vionnet s’est concentrée sur l’abondance d’images sur
Internet en orientant son travail sur la ville de Paris et le
tourisme, sujet de prédilection de l’artiste. 


Paris
est une des villes les plus visitées du monde. Par conséquent c’est
une des villes les plus photographiées. En effet, quand nous
voyageons, nous voyons un monument, nous prenons une photo. En
cadrant les sites de tourisme de masse dans nos viseurs, nous créons
des souvenirs photographiques qui font partie intégrante de
l’expérience touristique. 


Paris
devient multiple de part le flot incessant d’images faites des
monuments célèbres que chaque touriste est invité à voir et
surtout photographier et à partager sur Internet. L’image - celle
qu’il faut absolument faire - se nourrit d’elle-même. 


Cela
a amenée l’artiste à examiner la manière dont nous
sélectionnons l’endroit idéal pour photographier les points
d’intérêts. Paris Paris Paris est un commentaire de l’artiste
sur le tourisme de masse et sa relation avec la culture numérique.
En tissant plus d’une centaine de perspectives et d’expériences
photographiques pour chaque composition, Corinne Vionnet a créé ses
propres images tentant de rendre un Paris poétique de la froideur
des clichés touristique. De la Tour Eiffel, l’Arc de Triomphe, le
Moulin Rouge, ces clichés répondent aussi à ceux des Travelogs. La
Seine et les Jardins de Paris s’invitent aussi dans la ballade
parisienne. Dans les images de l’artiste, les touristes
apparaissent comme des êtres fantomatiques, permettant aux
spectateurs de s’insérer dans la photographie et d’envisager
leur propre rencontre avec chaque lieu. 


Sous
ces visions poétique se cache une préoccupation sérieuse sur la
manière dont la persistance de compositions photographiques
formellement répétées construit et perturbe nos perceptions de
l’espace au fil du temps, faisant référence à l’autorité
profondément ancrée de la photographie pour supplanter la réalité.
Comme l’a très bien dit Sontag, les excursions touristiques sont
souvent des successions scénarisées de médiations photographiques
avec le réel - des perturbations qui nous éloignent de tout
engagement direct avec notre environnement local. Et c’est d’autant
plus le cas aujourd’hui avec le smartphone qui nous occulte même
ce que l’on photographie. 


Paris Paris Paris, 2007-ongoing


PUBLICATION&#38;nbsp;Paris Paris Paris&#38;nbsp;


Corinne Vionnetpublished by RVB BOOKS in 2024Foreword by Anne de MondenardDesigned by Nicolas Polli.


29,5x24 cm

Dustjacket 


110 pages, 
85 images

Text: Anne de Mondenard

Design: Nicolas Polli

ISBN: 978-2-492175-38-1

Prix : 38€Buy Here &#38;nbsp;
	
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SPECIAL EDITION


A poetic stroll along the Seine in Paris.


La Seine (#54, 2022), from the Series Paris Paris Paris — edition of 50. 


Archival pigment print on Canson Photographique Rag 310gsm paper, 20x29cm.Buy Here &#38;nbsp;
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EXHIBITION / INSTALLATION IMAGES

	
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solo show at the Musée de Pont-Aven, France&#38;nbsp;

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MOMA of San Francisco, snap+share, transmitting photographs from mail art to social networks

 — 


 curated by Clément Chéroux


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Les Rencontres d'Arles, From Here On

 — 

curated by Clément Chéroux, Joan Fontcuberta, Erik
Kessels, Martin Parr, Joachim Schmid, France


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Printing work at Cadre en Seine, Paris for the solo exhibition at Musée de Pont-Aven, 2025


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	<item>
		<title>Effeuiller [Paris]</title>
				
		<link>https://corinnevionnet.com/Effeuiller-Paris</link>

		<pubDate>Sat, 15 Jun 2024 13:35:13 +0000</pubDate>

		<dc:creator>Vionnet</dc:creator>

		<guid isPermaLink="true">https://corinnevionnet.com/Effeuiller-Paris</guid>

		<description>Effeuiller [Paris]

	
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A composite image is stripped
back by removing successive image layers. The
first image chosen for this series Effeuiller is the
city of Paris with
Sacré Coeur in the distance – such a static view, but one that,
all the same, moves slightly from one image layer to the next. These
images seem at once
simpler and less distinct as each translucent image layer is peeled
back. 


Effeuiller [Paris], 2024 


PUBLICATION&#38;nbsp;Paris Paris Paris&#38;nbsp;


Corinne Vionnetpublished by RVB BOOKS in 2024Foreword by Anne de MondenardDesigned by Nicolas Polli.


29,5x24 cm

Dustjacket 


110 pages, 
85 images

Text: Anne de Mondenard

Design: Nicolas Polli

ISBN: 978-2-492175-38-1

Prix : 38€Buy Here &#38;nbsp;
	
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EXHIBITION / INSTALLATION IMAGES

	
&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/a23d9e4f309f125b468cc0bd0a75832c5b745eb7e497f9109bcdbbf7bc99c325/11_MPA_CorinneVionnet-EcranTotal_2557b_1000px.jpg" data-mid="247136589" border="0"  src="https://freight.cargo.site/w/1000/i/a23d9e4f309f125b468cc0bd0a75832c5b745eb7e497f9109bcdbbf7bc99c325/11_MPA_CorinneVionnet-EcranTotal_2557b_1000px.jpg" /&#62;solo show at the Musée de Pont-Aven, France &#38;nbsp;
Effeuiller [Pointe de Pen Hir]&#38;nbsp;


</description>
		
	</item>
		
		
	<item>
		<title>TOTAL palm Tree</title>
				
		<link>https://corinnevionnet.com/TOTAL-palm-Tree</link>

		<pubDate>Thu, 16 Dec 2021 10:16:10 +0000</pubDate>

		<dc:creator>Vionnet</dc:creator>

		<guid isPermaLink="true">https://corinnevionnet.com/TOTAL-palm-Tree</guid>

		<description>TOTAL Palm Tree


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The Palm Tree is an icon of the exotic and the leisurely: it is a catalyst to think of the sand-coated beach, coconuts with straws, and a warm but pleasant breeze. It is the image of vacations and getting away from it all. The photograph of the palm tree is immediate, operating almost entirely on the level of implied or connoted meanings: we look straight past the tree with its dry bark and fronds, and into a dream. The dream is not of our own making: the shorthand between palm tree and the vacation is a shared cultural imaginary that reveals a desire to be elsewhere. In fact, it is shared, predominantly, by those in cooler climates – to desire or dream the palm tree is precisely to be somewhere other.Corinne Vionnet’s Total Palm Tree presents us with a singular object, tall and close to the water. At first, we are transported to an elsewhere: the image is deep, almost transparent, it’s blue gradients and flash of greens a harmony, it’s light a warm highlight coming from the side (it could be late afternoon or early morning). The image is simple, uncomplicated, spare, without specificity: we cannot locate where, but we need not: it is simply a there which is sufficiently distant. To reach or identify its location would be to spoil its effect. Using a print-on-demand postcard printing service, which she sends to herself before scanning its image and repeating the process multiple times, Vionnet shows how the photograph transforms from an image of the exotic or natural, to become a shifting and telling material that reveals a real disconnected from spectacle.A second, third and then fourth image arrive, the palm tree showing itself as a representation: a flickering, stuttering sky is no longer a continuous graded backdrop, but has patches of noise, speckled transitions between tones of blue. Some images more, and what was distant is now compressed: the sky and distant clouds are frontal, almost aligned with the palm tree, which has darkened as if the sun has begun to set. Our images maintain a sense of perfection, but what do they create: perhaps it is a separation between the world as we want it to be, and the world that we are making? There is a disconnect that Total Palm Tree starts to show to us: what is desired must be supported, and not only consumed.As background tones continue to deepen, increasingly the tree seems scorched, set against a thickening blue. Whilst Vionnet was making the work, examining the repetition of our images of an exotic imaginary, California became covered in wildfires. Home to industries of cinema and the hardware and software of new digital media, California produces images like this, representations of elsewhere – whilst it outsources its technologies, to be manufactured and maintained also at a remove. The palm tree becomes a strange icon, enabled in its disseminated exoticism by places that are both revealed and concealed.A momentum that has begun does not stop quickly. The palm tree becomes a dotted silhouette. As one image continues to supersede the last, the tree appears to wilt, and contract: it’s stem, for a moment a connection to the edge of the image, too disappears. What was an image has become a map, it’s trunk was in fact a bridge: now the tree is an island, contracting, slowly flooding, until it is submerged under blue.


by Duncan Wooldridge, 2021


Total Palm Tree, 2019-2021


PUBLICATION 


TOTAL Palm Tree

Total Palm Tree, Corinne VionnetSelf-published in 2021; 50 pages; size 270x190mm; Indigo printing; softcover with Relicoil binding.120 copies


 &#38;nbsp;Buy: CCCCCC.ch
	
&#60;img width="740" height="800" width_o="740" height_o="800" data-src="https://freight.cargo.site/t/original/i/ed72d0e16f0aa073832c920627f7d62d90e9d3b940af975b075eaf7167e98abf/102_corinnevionnet_totalpalmtree-book-launched_800px.jpg" data-mid="127549218" border="0"  src="https://freight.cargo.site/w/740/i/ed72d0e16f0aa073832c920627f7d62d90e9d3b940af975b075eaf7167e98abf/102_corinnevionnet_totalpalmtree-book-launched_800px.jpg" /&#62;
&#60;img width="800" height="660" width_o="800" height_o="660" data-src="https://freight.cargo.site/t/original/i/c9f4ef9edec2195ef051016569869fe8f71d9b300c3e6725218db46faf1688b1/247362375_4489700754421503_8466789045905991097_n.jpg" data-mid="127549219" border="0"  src="https://freight.cargo.site/w/800/i/c9f4ef9edec2195ef051016569869fe8f71d9b300c3e6725218db46faf1688b1/247362375_4489700754421503_8466789045905991097_n.jpg" /&#62;


EXHIBITION / INSTALLATION IMAGES

	
&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/75781910252a4ec50e42def4b2bbbce64d8d0dbdcbf716fc42b75c789fbfaa88/12_MPA_CorinneVionnet-EcranTotal_2590b_1000px.jpg" data-mid="247136595" border="0"  src="https://freight.cargo.site/w/1000/i/75781910252a4ec50e42def4b2bbbce64d8d0dbdcbf716fc42b75c789fbfaa88/12_MPA_CorinneVionnet-EcranTotal_2590b_1000px.jpg" /&#62;solo show at the Musée de Pont-Aven, France &#38;nbsp;

&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/cf8301e67f10beba74df10f61cee0a986112a9e04c92055b3596571abed62e6d/14_MPA_CorinneVionnet-EcranTotal_2669b_1000px.jpg" data-mid="247136690" border="0"  src="https://freight.cargo.site/w/1000/i/cf8301e67f10beba74df10f61cee0a986112a9e04c92055b3596571abed62e6d/14_MPA_CorinneVionnet-EcranTotal_2669b_1000px.jpg" /&#62;

&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/51aaea2fb3d9a66d58769b9cf1d806619a04ff8b7e991fb1e2f65e8048e320e7/18_MPA_CorinneVionnet-EcranTotal_2251_1000px.jpg" data-mid="247136600" border="0"  src="https://freight.cargo.site/w/1000/i/51aaea2fb3d9a66d58769b9cf1d806619a04ff8b7e991fb1e2f65e8048e320e7/18_MPA_CorinneVionnet-EcranTotal_2251_1000px.jpg" /&#62;


	&#60;img width="800" height="565" width_o="800" height_o="565" data-src="https://freight.cargo.site/t/original/i/3c6bfc5d1cf7c33f6a6f90497cc7ede8e11f62d42775e31da890120606f5d5f3/200_corinnevionnet_totalpalmtree-exhibition003_800px.jpg" data-mid="127549217" border="0"  src="https://freight.cargo.site/w/800/i/3c6bfc5d1cf7c33f6a6f90497cc7ede8e11f62d42775e31da890120606f5d5f3/200_corinnevionnet_totalpalmtree-exhibition003_800px.jpg" /&#62;

</description>
		
	</item>
		
		
	<item>
		<title>TOTAL Flag</title>
				
		<link>https://corinnevionnet.com/TOTAL-Flag</link>

		<pubDate>Thu, 16 Dec 2021 10:16:11 +0000</pubDate>

		<dc:creator>Vionnet</dc:creator>

		<guid isPermaLink="true">https://corinnevionnet.com/TOTAL-Flag</guid>

		<description>TOTAL Flag


&#60;img width="800" height="555" width_o="800" height_o="555" data-src="https://freight.cargo.site/t/original/i/66128299a15dfab634141975bd9f364ed101f3bd819154af48ed03ccf15d5c39/corinnevionnet_flag01.jpg" data-mid="127549221" border="0"  src="https://freight.cargo.site/w/800/i/66128299a15dfab634141975bd9f364ed101f3bd819154af48ed03ccf15d5c39/corinnevionnet_flag01.jpg" /&#62;
&#60;img width="800" height="555" width_o="800" height_o="555" data-src="https://freight.cargo.site/t/original/i/03a19ced80218237aed76933e1999913cd62007e5413fa28b3c439fec8be373e/corinnevionnet_flag02.jpg" data-mid="127549222" border="0"  src="https://freight.cargo.site/w/800/i/03a19ced80218237aed76933e1999913cd62007e5413fa28b3c439fec8be373e/corinnevionnet_flag02.jpg" /&#62;
&#60;img width="800" height="555" width_o="800" height_o="555" data-src="https://freight.cargo.site/t/original/i/807d808e04061e2c8bee15eb7980f1967761c7d7f8954fa83b3709bfa7439c9c/corinnevionnet_flag03.jpg" data-mid="127549223" border="0"  src="https://freight.cargo.site/w/800/i/807d808e04061e2c8bee15eb7980f1967761c7d7f8954fa83b3709bfa7439c9c/corinnevionnet_flag03.jpg" /&#62;
&#60;img width="800" height="555" width_o="800" height_o="555" data-src="https://freight.cargo.site/t/original/i/09581bfff73aca2b9bee6bd39514edc077cc8d77a4e8da1c1b29b3212574f659/corinnevionnet_flag04.jpg" data-mid="127549224" border="0"  src="https://freight.cargo.site/w/800/i/09581bfff73aca2b9bee6bd39514edc077cc8d77a4e8da1c1b29b3212574f659/corinnevionnet_flag04.jpg" /&#62;
&#60;img width="1000" height="554" width_o="1000" height_o="554" data-src="https://freight.cargo.site/t/original/i/36e7613679772d55035565f455ef004270d9f24983a6cc4d544e3dc7aa86b84f/corinnevionnet_totalflag_grid_1000px.jpg" data-mid="127549225" border="0"  src="https://freight.cargo.site/w/1000/i/36e7613679772d55035565f455ef004270d9f24983a6cc4d544e3dc7aa86b84f/corinnevionnet_totalflag_grid_1000px.jpg" /&#62;


American identity depends upon, and is configured for transmission and broadcasting. To encounter America is to have viewed its images, received its advertisements, and absorbed its desire. Directed towards the individual through the subjectivity of dreaming, America is imagined as much as it is actualized. Advertising is its prominent force and economy. Graphic and iconic, it exists through motifs and signs: its shorthand is the Star Spangled Banner, the American flag.Our encounter with America, then, is recurrently through the screen – whether witnessed in person or at a distance. (Corinne Vionnet’s) Total Flag directly engages with this phenomenon. She traces the transformation of images of America through reproducibility. Taking the most charged symbol of American identity, the flag itself, she does not attempt to transform it, or mould it to her wishes. She simply repeats its appearance, showing us the results of a process that the image is always already passing through.We might call her first image a faithful copy: on the screen, the flag sits on a white ground. Its colours are saturated and bright, lines sharply aligned (we can trace them by observing the sharply reproduced cells of the screen itself). Subsequent images are at first very similar: a small shift, as the straight lines of the flag seem to give way lightly to the subtle curvature of the camera lens – little or nothing to has changed. But with each image, an effect is traced growing, a curve becoming a compression, a squeeze, pressure: the reproduction of the flag has begun to transfigure noticeably. Its saturation is at first washing out, before the screen – the mediation of the image, camera and screen, introduces a pink hue, and then a ghost image.Testing repetition in its compulsive form, Vionnet shows how the camera and the screen combine not to precisely repeat, but to adjust, modify and transfigure. Total Flag sees and understands the American flag as an icon, but notes that it’s endless reproduction is also it’s modification. The image is not stable, but moving, altered by changing significations. It is unfixed. A diluted red and blue saturate the screen, until they bleed into each other. The ground gives way to an allover sharpening pink, the flag becoming an apparition and residue. The blue ground of the stars – representing the individual states - takes over, darkening, becoming black and blue like a bruise.Approximately 150 million American flags are sold in the United States each year, a flag for almost every two people. The copy extends, refreshes, and renews. It makes familiar, that familiarity becoming ordinariness, the natural. Like any dream or aspiration, it is different for each person, and this difference, sometimes unifying, is also a source of divergence. How can this be seen, traced in an abstract idea such as America? It is traced in reproducibility itself – lossy and plussy, losing information and gaining noise – which will cease to resemble itself over time. Images function as analogies: here, it seems to suggest that endless repetition will produce radical difference.&#38;nbsp;

by Duncan Wooldridge, 2021


TOTAL Flag, 2018


PUBLICATION 

TOTAL Flag

Corinne VionnetSelf-published in 2018; 48 pages; size 270x190mm; Risograph printing on Fedrigoni paper; softcover with Singer binding. 200 copies

 &#38;nbsp;Buy: CCCCCC.ch&#38;nbsp;
	
&#60;img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/5c3504906d6f27032e15ff6754e13999124abf969db9dded2b7f743ccbef4204/corinnevionnet_totalflag_book01.jpg" data-mid="127549227" border="0"  src="https://freight.cargo.site/w/1000/i/5c3504906d6f27032e15ff6754e13999124abf969db9dded2b7f743ccbef4204/corinnevionnet_totalflag_book01.jpg" /&#62;


EXHIBITION / INSTALLATION IMAGES


	&#60;img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/4ea57457a4e4f6835504d18867cb6c1d2fc62e373916cc1b385b4086a5a43611/corinnevionnet_totalflag_mba02.jpg" data-mid="127549231" border="0"  src="https://freight.cargo.site/w/1000/i/4ea57457a4e4f6835504d18867cb6c1d2fc62e373916cc1b385b4086a5a43611/corinnevionnet_totalflag_mba02.jpg" /&#62;


Musée des Beaux-Arts, La Chaux-de-Fonds _&#38;nbsp; curated by Gabriel Umstätter _ "Replicas - Originality on trial in and around Olivier Mosset's collection"


&#60;img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/5304dc045ce22821e43621f1f58b2ffdbee1e59fdb3357960e2af0d5ca1aad8a/corinnevionnet_totalflag_mba04.jpg" data-mid="127549232" border="0"  src="https://freight.cargo.site/w/1000/i/5304dc045ce22821e43621f1f58b2ffdbee1e59fdb3357960e2af0d5ca1aad8a/corinnevionnet_totalflag_mba04.jpg" /&#62;

Musée des Beaux-Arts, La Chaux-de-Fonds _&#38;nbsp; curated by Gabriel Umstätter _ "Replicas - Originality on trial in and around Olivier Mosset's collection"


Total Flag charts the metamorphoses a picture of the American flag goes through when it is reproduced over and over again. First it was diplayed on a screen, which was photgographed with a digital camera and then shown on the same screen again, then photographed again and displayed again, and so on until it lost absolutely all its features.

by Gabriel Umstätter / curating the show "Replicas - Originality on trial in and around Olivier Mosset's collection"


</description>
		
	</item>
		
		
	<item>
		<title>Scenic Views</title>
				
		<link>https://corinnevionnet.com/Scenic-Views</link>

		<pubDate>Thu, 16 Dec 2021 10:16:14 +0000</pubDate>

		<dc:creator>Vionnet</dc:creator>

		<guid isPermaLink="true">https://corinnevionnet.com/Scenic-Views</guid>

		<description>Scenic Views

	
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&#60;img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/34bf10fff2ef6acda67df2a5e6de4f56d7087d171f472d218211ebe9ce5cc567/corinnevionnet_scenicviews_02.jpg" data-mid="127549257" border="0"  src="https://freight.cargo.site/w/800/i/34bf10fff2ef6acda67df2a5e6de4f56d7087d171f472d218211ebe9ce5cc567/corinnevionnet_scenicviews_02.jpg" /&#62;
&#60;img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/53971c2fdd295c6c1ddc3653cde4472111e8f139156a423028ab90c661eaf958/corinnevionnet_scenicviews_03.jpg" data-mid="127549259" border="0"  src="https://freight.cargo.site/w/800/i/53971c2fdd295c6c1ddc3653cde4472111e8f139156a423028ab90c661eaf958/corinnevionnet_scenicviews_03.jpg" /&#62;
&#60;img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/ca90aaa4e3019d3f1849706f1ef1e5d97eb2a0d0dcd5d05e5fb591b02864f6b5/corinnevionnet_scenicviews_04.jpg" data-mid="127549260" border="0"  src="https://freight.cargo.site/w/800/i/ca90aaa4e3019d3f1849706f1ef1e5d97eb2a0d0dcd5d05e5fb591b02864f6b5/corinnevionnet_scenicviews_04.jpg" /&#62;
&#60;img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/46b45cbc3a91157e284bef77f4d89350f7b358696958bad37187890f8d0f947d/corinnevionnet_scenicviews_05.jpg" data-mid="127549261" border="0"  src="https://freight.cargo.site/w/800/i/46b45cbc3a91157e284bef77f4d89350f7b358696958bad37187890f8d0f947d/corinnevionnet_scenicviews_05.jpg" /&#62;
&#60;img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/7ec7c26aa57d7b6cbbfc39681f4a030952fab12c302d7da3bd70773793792d71/corinnevionnet_scenicviews_06.jpg" data-mid="127549262" border="0"  src="https://freight.cargo.site/w/800/i/7ec7c26aa57d7b6cbbfc39681f4a030952fab12c302d7da3bd70773793792d71/corinnevionnet_scenicviews_06.jpg" /&#62;
&#60;img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/37361551b37af7fbf8c0277683eb47be439cf916b3f7c699c14c68dd36687227/corinnevionnet_scenicviews_07.jpg" data-mid="127549263" border="0"  src="https://freight.cargo.site/w/800/i/37361551b37af7fbf8c0277683eb47be439cf916b3f7c699c14c68dd36687227/corinnevionnet_scenicviews_07.jpg" /&#62;
&#60;img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/1b4c25ea44b6d658fcdb9111d85d7ccdbeb55ca6a0953d9efe7c305af5974439/corinnevionnet_scenicviews_08.jpg" data-mid="127549264" border="0"  src="https://freight.cargo.site/w/800/i/1b4c25ea44b6d658fcdb9111d85d7ccdbeb55ca6a0953d9efe7c305af5974439/corinnevionnet_scenicviews_08.jpg" /&#62;
&#60;img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/74fc7995c6ddaa13c42cf076ffe8462293343a4b8dce81a13fa13099f6fc3841/corinnevionnet_scenicviews_09.jpg" data-mid="127549265" border="0"  src="https://freight.cargo.site/w/800/i/74fc7995c6ddaa13c42cf076ffe8462293343a4b8dce81a13fa13099f6fc3841/corinnevionnet_scenicviews_09.jpg" /&#62;
&#60;img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/1c35fa3765dfad3b24b2af97d436848a5575b8cb93850506d4557a327598e68d/corinnevionnet_scenicviews_10.jpg" data-mid="127549266" border="0"  src="https://freight.cargo.site/w/800/i/1c35fa3765dfad3b24b2af97d436848a5575b8cb93850506d4557a327598e68d/corinnevionnet_scenicviews_10.jpg" /&#62;
&#60;img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/c8f3eb125ae9f66c8285daa001521d7a17e636af6cee3a6fafc49d9f6ef3ae6d/corinnevionnet_scenicviews_11.jpg" data-mid="127549267" border="0"  src="https://freight.cargo.site/w/800/i/c8f3eb125ae9f66c8285daa001521d7a17e636af6cee3a6fafc49d9f6ef3ae6d/corinnevionnet_scenicviews_11.jpg" /&#62;
&#60;img width="600" height="800" width_o="600" height_o="800" data-src="https://freight.cargo.site/t/original/i/5db881354dd8ed73f862dba8c9f303bd37d196f0d46a0265fee1e573a6fe0195/corinnevionnet_scenicviews_12.jpg" data-mid="127549268" border="0"  src="https://freight.cargo.site/w/600/i/5db881354dd8ed73f862dba8c9f303bd37d196f0d46a0265fee1e573a6fe0195/corinnevionnet_scenicviews_12.jpg" /&#62;
&#60;img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/ab371c60a6e664082c56159e61252e2e43ee09ca0ff685147f25e05d08ba9a4d/corinnevionnet_scenicviews_13.jpg" data-mid="127549269" border="0"  src="https://freight.cargo.site/w/800/i/ab371c60a6e664082c56159e61252e2e43ee09ca0ff685147f25e05d08ba9a4d/corinnevionnet_scenicviews_13.jpg" /&#62;
&#60;img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/b3a49aa20dea73b9f481c53d20edf1572d856aed5ade29d57a51b5294072ba42/corinnevionnet_scenicviews_14.jpg" data-mid="127549270" border="0"  src="https://freight.cargo.site/w/800/i/b3a49aa20dea73b9f481c53d20edf1572d856aed5ade29d57a51b5294072ba42/corinnevionnet_scenicviews_14.jpg" /&#62;
&#60;img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/7eb6a248ed232391f29a590220b831852ddcbba81a1ab94d5f0a2bbfb06e3587/corinnevionnet_scenicviews_15.jpg" data-mid="127549271" border="0"  src="https://freight.cargo.site/w/800/i/7eb6a248ed232391f29a590220b831852ddcbba81a1ab94d5f0a2bbfb06e3587/corinnevionnet_scenicviews_15.jpg" /&#62;
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Following the series Photo Opportunities, Scenic Views is oriented towards American Landscapes topics.


Working with multiple images for different landscapes, she collates around a hundred appropriated photographs for each of her layered, ethereal compositions. Underneath these ghost visions is a serious concern with how the persistence of formally repeated photographic compositions affects our cultural and historical awareness. 


Scenic Views, 2006-ongoing


EXHIBITION / INSTALLATION IMAGES

	
&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/355c8910ddaa64f3b13e2265c9f0b5cbb46622747936828541309abca9924eed/06_MPA_CorinneVionnet-EcranTotal_2410b_1000px.jpg" data-mid="247136694" border="0"  src="https://freight.cargo.site/w/1000/i/355c8910ddaa64f3b13e2265c9f0b5cbb46622747936828541309abca9924eed/06_MPA_CorinneVionnet-EcranTotal_2410b_1000px.jpg" /&#62;solo show at the Musée de Pont-Aven, France &#38;nbsp;

&#60;img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/b93c60afa78c0ea8a9a12696a64c91c0b9d3c2ccca8113e6edf0b12fa2d042bf/corinnevionnet_photoopportunities_exhibition13.jpg" data-mid="127549254" border="0"  src="https://freight.cargo.site/w/1000/i/b93c60afa78c0ea8a9a12696a64c91c0b9d3c2ccca8113e6edf0b12fa2d042bf/corinnevionnet_photoopportunities_exhibition13.jpg" /&#62;

MOMA of San Francisco, snap+share, transmitting photographs from mail art to social networks_ 
 curated by Clément Chéroux


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