PORTFÓLIO MARGUERITE BORNHAUSER

MARGUERITE

BORNHAUSER

Etoile Retine

Flavien Berger

Artist, songwriterand composer

Excerpt from the book Marguerite Bornhauser

- Percevoir, Ed. Lamartinière

The One, ashes in her energy drink can, eyes fixed on the

Other’s wrist. They had mingled the flight of sparrows with

the warmth of cicadas on Doppler, as their irises changed

to globes of ivory. Points undulate in an invisible incubator.

Shadows shy away from surfaces, exposing vivid memory,

which burns beneath the same star that witnessed its birth.

The Other puts her hand out the window. The metal burns

her palm, but, focusing on the feel of the wind, she is able to

rest it on the chassis of the car, gradually growing

accustomed to the conflicting sensations. Assa, with her

pearly muzzle, had abandoned herself to dreams of

holidays, confined by her prophetic palindrome. Her name

inevitably evokes her feline face. Each summer, she traverses

a scorching split, engraved in the lava of a second, one

during which the arm of Orion stretches forth,

imperceptibly. The hand on the steering wheel detaches

itself, gently landing on the nape of the Other’s neck, at the

hairline, its thumb caressing the carotid, sensing the

pumping of her heart mingling with the throb of the engine.

Virgule no longer followed the caprices of signs. She had

moved on, updated her software. Her tactile furrows were

darkened by an infinite number of magnetic hieroglyphs.

She caressed the skin of virtual parchments, a carnal Braille

of sarcophagic images. The tips of her fingers had become

the arbiters of a capacitative reality. She believed in what

she touched. The sonorous space inside the car becomes

saturated by the wind, the various spectra brimming like so

many colour slides. They had not spoken for a long time,

drinking in the intoxicating regular heartbeat thudding in

their ears. The car decelerates, a sign reads “Etoile Retine”.

Chimera

with Léa

Dumayet

Chimera

1. (Mythology) fantastic monster whose body is a hybrid of

different animals.

2. Idea unrelated to reality.

Chimera is the result of a collaboration between the

photographer Marguerite Bornhauser and the sculptor Léa

Dumayet. Each piece consists of a photograph printed on

light silk revealing the image throught the transparency of

the fabric. This is stretched, distended, held by industrial

materials. Black and twisted lines of metal evoking the spine

of an sometimes chimerical animal, a luminous and fluid

monstrous.

Air, water, plants as matter for contemplation. Always at the

margin between materials and colors, tensions and

wavering, distortions, reflections, this conversation of two

mediums is an invitation to reverie and wanderings.

When Black is

Burned

Simon Baker

Director, MEP, Paris

The overall effect of Bornhauser’s practice, however, is to

remind us of the way in which colour can echo, not only

from one image to another, but from one place, or one

moment in time, to another. Colour as subject-matter, or

rather, colour as a means of producing photographic

representations of the real world that surpass the sum of

their parts, becomes a kind of psychological projection into

or onto the everyday. In a sense this is why Bornhauser has

so much in common with writers like Hammett, painters

like Henri Matisse, or theorists like Gaston Bachelard, each

of whom were sensitive to colour in their own unique and

personal way. More in common, one could say, with

pictorial or linguistic abstractions derived or drawn from

colour, than with other photographers for whom colour

is simply a technical issue to be resolved and exploited. In

her most recent work, moreover, Bornhauser has sought to

engage not only with colour within the visual field but in

the process of producing photographs as objects in the

world. From sumptuous Cibachrome prints (for many, the

holy grail of colour photographic reproduction) to new

experiments with moving image and printing on fabrics,

Bornhauser has taken the practice of re-showing the world

around us as a brighter and more beautiful place to the

next level in the terms by which her images occupy space,

while never straying far from the unique truths at the heart

of the way that only she sees things."

Untitled 2021

Fujiflex Prints mounted on dibond 2mm,

Natural wooden frame

60 x 40 cm | Ed. 5 + 1 AP

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Photo London 2021

stand Carlos Carvalho Arte Contemporânea

Photo London 2021


Paris Photo 2021


Paris Photo 2021


Paris Photo 2021


Paris Photo 2021


Red Harvest

Manon Demurger

Curador Curator

Texto sobre a exposição Text about the

exhibition Moisson Rouge na Maison

Européenne de la Photographie

Nesta temporada, no Studio, apresentamos o

trabalho da fotógrafa francesa Marguerite

Bornhauser. A exposição Moisson Rouge,

especialmente concebida para a Maison

Europééne de la Photographie, segue o

programa nas galerias principais, pedindo

emprestado o título “Red Harvest” do romance

escrito pelo americano Dashiell Hammett. A

artista apresenta uma seleção de fotografias

recentes que, quando vistas em conjunto,

parecem fornecer os pontos de partida para

histórias enigmáticas. As imagens evocam um

mundo de céus de verão, figuras lânguidas e luz

manchada que são subitamente interrompidas

por pistas de 'algo' que poderá ter acontecido.

O trabalho de Marguerite Bornhauser combina

cenas aparentemente espontâneas com

composições cuidadosamente construídas,

obscurecendo as fronteiras entre realidade e

ficção. Ao recusar legendar suas imagens e

situá-las no contexto em que foram tiradas, a

artista faz de cada fotografia o ponto de

partida para uma narrativa deliberadamente

subjetiva. A sua linguagem fotográfica,

caracterizada por cores vivas, sombras

implacáveis e close-ups, oferece uma

interpretação livre da realidade. Manon

Demurger

Para esta exposição, Marguerite Bornhauser

trabalhou com o Cadre en Seine Choi, um dos

últimos laboratórios fotográficos a trabalhar

com papel e produtos químicos Cibachrome

(estes são os grandes formatos de impressão

para emolduramento). O processo

Cibachrome, desenvolvido pela primeira vez na

década de 1960, é conhecido por produzir

impressões de arquivo duráveis com cores

vivas e brilhantes e uma superfície vítrea.

Permaneceu popular na década de 1980, mas

quase desapareceu completamente do uso

convencional. Graças ao stock de papel e de

produtos químicos ainda sobreviventes e aos

técnicos, ansiosos por preservar a memória da

técnica, o processo Cibachrome foi

disponibilizado para uma geração mais jovem

de fotógrafos.

This season in the Studio we present the work

of the French photographer Marguerite

Bornhauser. The exhibition Moisson rouge,

specially conceived for the MEP, evokes the

programme in the main galleries, borrowing its

title from Red Harvest by the pioneering

American detective novelist Dashiell Hammett.

The artist presents a selection of recent

photographs, which, when seen together, seem to

provide the starting points for enigmatic stories.

The images conjure a world of summer skies,

languid figures and dappled light, suddenly

interrupted by clues to ‘something’ that might

have happened.

Marguerite Bornhauser’s work combines

apparently spontaneous scenes with carefully

constructed compositions, blurring the

boundaries between reality and fiction. By

refusing to caption her images and situate them

in the context in which they were taken, she

makes each photograph into the starting point

for a deliberately subjective narrative. Her

photographic language, characterised by vivid

colours, implacable shadows and close-ups, offers

a free interpretation of reality. Manon Demurger

For this exhibition, Marguerite Bornhauser

worked with Cadre en Seine Choi, one of the

last photographic laboratories to work with

Cibachrome paper and chemicals (these are the

large format framed printson show). The

Cibachrome process, first developed in the

1960s, is renowned for producing durable

archival prints with vivid, brilliant colours and a

glassy surface. It remained popular into the 1980s

but subsequently almost completely disappeared

from mainstream use. Thanks to surviving paper

stock and chemicals, and technicians eager to

preserve the memory of the technique, the

Cibachrome process has been made available to

a younger generation of photographers.

Sem título Untitled (da série from the series Moisson Rouge), 2019

Impressão Cibachrome montada em alumínio anodizado

Cibachrome print mounted on anodized alluminum

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Red Harvest | (vista da exposição exhibition view) Maison Européenne de la Photographie, Paris, 2019



Paris Photo | (vista da exposição exhibition view) Paris, 2019

Le Bruit des

Cactus

Le Bruit dês Cactus| | vistas da exposição exhibition views, Galerie Made, Paris,, 2019


Le Bruit dês Cactus| | vistas da exposição exhibition views, Galerie Made Paris,, 2019



Hameau dês Baux | (Soleil Plomb Léger) 2017

Eight

Ícones | vistas da exposição exhibition views Atelier du Midi 2016

Ícones | vistas da exposição exhibition views Atelier du Midi 2016

Festival MAP | vistas da exposição exhibition views, Toulouse, 2016

Plastic Colors

Plastic Colors | vistas da exposição exhibition views, Issy-les-Moulineaux, 2016

Plastic Colors | vistas da exposição exhibition views, Issy-les-Moulineaux, 2016

Back to Dust

Book | Red Harvest

Red Harvest

Published by Poursuite

32x23 cm Hardcover

Printing : Graphius, October 2019

ISBN 978-2-4901-17-6

" (...) But in Moisson Rouge the sunshot

bodies, too-bright waters, burning skies and

broken shadows do something quite different.

Rather than proposing a false reality in which

we can lose ourselves, they take us away from

life as it is lived, or at least, as we ordinarily

experience it on the surface, leading us deep

into an ever-present, super-saturated alternate

truth. And, as with the fictional blossoming

red tie in the book Red Harvest (Dashiell

Hammett), the colours here are never purely

or merely symbolic, signifying anything specific

or narrowly defined. Instead, colour itself

signifies, in its presence and appearance,

variety and intensity, organization and

disposition, that here we are in an original

world, and seeing it differently."

Simon Baker, Director, MEP

First Self published Edition Sold out

21 copies Hand made 51 pages 19 x 29 cm

© 2018 Marguerite Bornhauser, images

© 2018 Poursuite

Book | 8

Poursuite Editions 2018

Format 19 x 28,5 cm

60 pages Hardcover

November 2018

ISBN 978-2-490140-13-8

"L'oeuvre d'un écrivain est un univers.

Ses mots dessinent des paysages,

nourrissent des mondes et inspirent des

images. Des planches au casino de

Deauville, Marguerite Bornhauser s'est

lancée à la poursuite du fantôme de

Françoise Sagan. Dans son

autobiographie "Avec mon meilleur

souvenir", l'auteure de "Bonjour Tristesse"

y raconte ses romanesques soirées

normandes...Quid de l’achat du Manoir

de Breuil, et de ce chiffre 8 qui revient

dans les dates, les heures et le prix de

vente ? « Personne ne sait si c’est vrai,

mais peu importe, souligne la

photographe Marguerite Bornhauser.

C’est ce qui fait littérature. »

Clement Ghys, Le Monde.

Book | Plastic

Colors

Edition du Lic 2017

In association with Galerie Madé

Format 16 x 24 cm

32 pages Softcover

Offset printing

ISBN 978-82-93341-21-5

Plastic Color's dummy has been short-listed for

the 2015 First book Award, Mack.

Plastic Colors intends to open up and to lead you

on a path where the world, its scenery and

everyday objects and simulacra connect. "A

delightfully effervescent musing on the

hallucinatory nature of the lurid and synthetic

nature of the colors that surround us in modern

life."

Greg Hobson, National Media Museum

© 2017 Marguerite Bornhauser, images

© 2017 Editions du Lic

https://www.theguardian.com/artanddesign/gallery/2021/sep/

09/photo-londons-emerging-photographer-award-in-pictures













256

Publié le 19/06/2015

Ce sont peut-être les futurs Jean-Paul Goude. Retrouvez les en Arles ou sur le site du Club

des Directeurs Artistiques.

Le Club des Directeurs Artistiques

Julien Benard La photocopieuse Marguerite Bornhauser Plastic

Colors Amélie Chassary & Lucie Belarbi Huis-clos Laure Ledoux Fight Night Marie

Leroux Fantasmagories Mathilde Magnée Canopée Morvarid K Preserved for a better day

Grégoire Perrier Aplats. La Galerie

www.influencia.net/fr/actualites/design-lab,pas-manquer,8-jeunes-photographes-connaitre-avant-tout-monde,5523.html 1/6

23/03/2020 La narrazione del reale – Red Harvest | | Sprea Fotografia

Moisson Rouge, Red Harvest © Marguerite Bornhauser

Nel numero 321 de IL

FOTOGRAFO, in edicola da

questa settimana, vi parliamo

di interessantissimi libri che

trattano della narrazione del

reale. Tra questi, Giada

Storelli, che gestisce la nostra

rubrica Book Show, ha

selezionato Red Harvest di

Marguerite Bornhauser.

https://ilfotografo.it/libri/la-narrazione-del-reale-red-harvest/ 1/10

Marguerite Bornhauser (Paris, França, 1989)

elabora uma forma de escrita visual marcada por

cores intensas, formas gráficas e sombras

expressivas que estreitam a diferença entre o real

e o fictício. A artista expande os detalhes:

contornos de plantas, edifícios e corpos humanos

em que, isolados e descontextualizados, apontam

para o domínio da abstração.

Marguerite Bornhauser acrescenta

trabalho editorial à sua pesquisa

fotográfica. O seu primeiro livro, Plastic

Colors, foi selecionado entre os

finalistas do First Book Award of Mack

books em 2015 e publicado em 2017.

O livro "8"de 2018 e Red Harvest de

2019 foram publicados pela Poursuite.

Das suas exposições individuais

destacamos as realizadas na Maison

Européenne de la Photographie, 2019,

no Musée Dupuy, Festival MAP

Toulouse, 2016, e no Cincinnati Art

Museum, 2015. Em relação às

exposições colectivas distinguem-se as

que ocorreram na Nuits de la Photo

Switzerland, 2020, Nord Pinus,

Rencontres d'Arles, 2015, Eglise Saint-

Julien, Arles, 2015, Le BAL, Paris, 2015

e Palais de l'Archevêché, Arles, 2015. O

trabalho foi destacado nas publicações

da Fisheye Magazine, 2019, France

Fine Arts , Rádio, Entrevista, 2019,

Konbini, 6 exposições de artistas

femininas, 2019, Bonbon, Quand la

photo rencontre le film noir, 2019, Le

Parisien, La culture photographique est

vivante à Paris, 2019, Maze, Exposition

à la Maison Européenne de la

photographie, 2019, L’intervalle, 2019,

Polka Magazine, 2019, Pyramyd

editions, 2019, Connaissance des Arts,

2019, Le Beau Bug, Marguerite

Bornhauser ou la force délicate de la

de la photographie, 2019, Maze,

Exposition à la Maison Européenne de la

photographie, 2019, L’intervalle, 2019,

Polka Magazine, 2019, Edições Pyramyd,

2019, Connaissance des Arts, 2019, Le

Beau Bug, Marguerite Bornhauser ou la

force délicate de la photographie, Março

2019, L’oeil de la Photographie, Janeiro,

2019 e Agosto de 2015, Le Monde Mag,

Entrevista e portfólio julho de 2018 British

Journal of Photography, The Book club,

Junho 2015 e Lens Culture, Janeiro 2017.

Marguerite Bornhauser (Paris, France, 1989)

elaborates a visual writing form filled by intense

cores, graphic forms and deep shadows that

narrow the difference between the real and the

fictional. The artist expands all the details: plants

outlines, building shadows and human bodies in

which, isolated and decontextualized, are close to

the abstract realm.

Marguerite Bornhauser adds editorial

work to her photographic research. Her

first book, Plastic Colors, was selected

among the finalists of the first book

award of Mack books in 2015 and

published in 2017. Her book "8" was

published by Poursuite in 2018. In

2019 she published Red Harvest with

the same publisher.

We also have to mention her solo

shows at Maison Européenne de la

Photographie, 2019, at Musée Dupuy,

Festival MAP Toulouse, 2016, and at

the Cincinnati Art Museum, 2015, also

in the group shows Nuits de la Photo

Switzerland, 2020, Nord Pinus,

Rencontres d'Arles, 2015, Eglise Saint-

Julien, Arles, 2015, Le BAL, Paris, 2015,

and Palais de l’Archevêché, Arles, 2015.

Her work has been featured in Fisheye

Magazine, 2019, France Fine Arts,

Radio, Interview, 2019, Konbini, 6

expos d'artistes femmes à voir, 2019,

Le bonbon, Quand la photo rencontre

le film noir, 2019, Le Parisien,La culture

photographique est vivante à Paris,

2019, Maze, Exposition à la Maison

Européenne de la photographie, 2019,

L’intervalle, 2019, Polka Magazine,

2019, Pyramyd editions, 2019,

Connaissance des Arts, 2019, Le Beau

Bug, Marguerite Bornhauser ou la force

délicate de la photographie, March

photographique est vivante à Paris, 2019,

Maze, Exposition à la Maison Européenne

de la photographie, 2019, L’intervalle,

2019, Polka Magazine, 2019

Pyramyd editions, 2019, Connaissance

des Arts, 2019, Le Beau Bug, Marguerite

Bornhauser ou la force délicate de la

photographie, March 2019, L’oeil de la

Photographie, January 2019 and August

2015, Le Monde Mag, Interview and

Portfolio July 2018, British Journal of

Photography, The Book club, June 2015

and Lens Culture, January 2017.

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PORTFÓLIO MARGUERITE BORNHAUSER

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