Exhibition opening

Tuesday 06/03 at Apollonia venue

At 6:30 pm, in the presence of the artists and the exhibition curator Karin GRAFF (free entry)

23 rue Boecklin – 67000 Strasbourg


From 07/03 to 22/04 at Apollonia venue

Wed/Fri – 11:00 am to 6:00 pm

Sat/Sun – 2:00 pm to 6:00 pm

(free entry)

23 rue Boecklin – 67000 Strasbourg


Public reading

Thursday 22/03 from 7:00 pm to 8:00 pm at Apollonia venue

Organized by Robert BETSCHA (free entry)

23 rue Boecklin – 67000 Strasbourg



TEL QU’ELLES doesn’t want to prove anything. The exhibition presents a selection of artworks:


  • Time, music and silence, the gesture and the trace, the movement and the vestige punctuate Valérie GRAFTIEAUX’s installation. On the white background she balances shades of black and grey, artworks that answer and defend themselves.


  • With lots of poetry and humour, Laurence DEMAISON questions the real and plays with violence and passion her partition of life. Unique master aboard, it is with her bare body that she defies the elements and interrogates the origins. “It flows from Sources”, for who understands. She traces alone, leads and drives in the meanders of existence. And too bad for Pluies.


  • Fernande PETITDEMANGE drew on two of her series “Sous réserve I” and “Le Fonds Auguste B”, where she seizes the secret knowledge of objects and gives a reading of the invisible. “Each flint seems to carry a face that evokes the very man who, with his hands, carved these stones.” And, with her abates, she tries less to do a creation of the studio of the illustrious Auguste Bartholdi, than to give a new light on his “unworthy” subjects. Going beyond the nostalgia contained in these funds, she reveals the materiality of the artist’s research, doubts and failures.
  • Nature in its primary elements: water, air, vegetation, mineral are those that Nathalie Savey photographs while leaning towards the ground. She juxtaposes them, without opposing them and they complement each other in their differences, in these landscapes that she imagines by photographing them. The picturesque and the sublime are absent from herimages, in which the union of an objective nature and an intimate sensation plays on the part of illusion that reality sometimes generates.


TEL QU’ELLES, through the artwork of each artist, touches upon the elements that form our world:

The earth, where Nathalie SAVEY walks and captures in nature her points of view of meditation and contemplation ;

The water that immerses and waters the wet worlds of Laurence DEMAISON ;

The air that carries the breath, the speech and the sound of Valérie GRAFTIEAUX’s Pianographies ;

The fire, at the origin of all matter, evoked by the flints of Fernande PETITDEMANGE, founding tools of Humanity.


Each one of the photographers has her universe in focus with her knowledge, her history, her territory and her time. None of them take pictures, but develop a sensitive surface to isolate, fix, and seize an effect, a revelation. They pick from personal experiences, in perceptions, in alternating flashes and perceptiveness to show not a reality but a presence. If these photographers distinguish themselves through their energy, their commitment or their technique, all convoke sensitive dialogues towards other modes, painting, sculpture, music or dance … and their work underlines that the photographic act shows in no case a subject but reveals the one who committed it.


“Before the existence of things and beings, before the repetition and the disappearance, the one and the multiple, the time, the death, we had neither reflex nor habit nor posture. All the conceptual mass, still to come, was condensed in enormous and haunting questions”  (From Jean Christophe Bailly, The Pronominal Scene in THE ENLARGEMENT OF THE POEM, Christian Bourgois Publisher)