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Ancre 3
abbaye de Jumièges


April 7 - June 10, 2018

Penti Sammallahti, Sandö, Finlande, 1975

Penti Sammallahti, Sandö, Finland, 1975

Pentti Sammallahti

In France, Pentti Sammallahti is probably the best known of the four photographers exhibiting in Jumièges.

He is represented by the Camera Obscura gallery and his work has already been shown at several exhibitions, including at the Finnish Institute in Paris, in 1996. More recently, his work appeared at Rencontres d'Arles in 2012, coinciding with the publication of an important compilation entitled “Actes Sud Ici au loin”. Pentti Sammallahti was born in Helsinki in 1950. He lives and works in Finland..

Jorma Puranen


Finnish school teachers

Timo Kelaranta

Jyrki Parantainen

Jorma Puranen

Pentti Sammallahti

All four photographers are of the same generation, born in the early 1950s (except the slightly younger Jyrki Parantainen). They have, for the most part, taught at Aalto University in Helsinki. Their teaching has helped shape the young talent that the Finnish Taik Persons Gallery brought together and styled “the Helsinki School”.

Jyrki Parantainen, Earth 4

Jyrki Parantainen, Earth 4, 1990

Jyrki Parantainen

He was a student of Pentti Sammallahti before attending Aalto University. In his collections on fire and earth, he explores the myths surrounding humanity's foundation. “I consider my work as the study of beauty and horror, of a moment of sudden and irreversible catastrophe”.

Jorma Puranen, Icy Prospects 47, 2008

Jorma Puranen

Jorma Puranen was born in 1951. He was a pupil of Pentti Sammallahti. He now lives and works in Helsinki and his work has circulated in many European countries. In France, he exhibited “Icy Prospects” at the Finnish Institute (2006) and at the Lille Fine Arts Museum (2010).

Her research has essentially developed at the crossroads of landscape and travel: Jorma Puranen has been working since 2015 on the iconography and painting of Arctic explorations.

Elina Brotherus

Born in Helsinki in 1972, Elina Brotherus today divides her time between Finland and France. She started working with photography in the mid-1990s and had her first exhibition whilst still a student. After initially studying chemistry, she gained a diploma in photography from the University of Art & Design, Helsinki, in 2000. She was a student of both Jorma Puranen and Timo Kelaranta. 

This exhibition is produced in collaboration with
the Camera Obscura galleries, Paris,
and Taik Persons, Berlin.

Timo Kelaranta, Silent lake 1, sd

Timo Kelaranta

Timo Kelaranta was born in 1951. He studied at the University of Art and Design in Helsinki, where he went on to teach. His work is primarily concerned with the visual arts, with geometric themes also being a regular feature.



Elina Brotherus 

« The women of the Maison Carré »


Screening at the Logis Abbatial,
in the exhibition space

It was during the spring of 2015 that Brotherus set to work. Space after space, between the walls as well as outside, she took possession of the Louis Carré house, near Paris, a building designed in 1959 by Alvar Aalto for the art dealer and director of the Louis Carré gallery (1897 - 1977). His work represents an essential stage in the understanding of Aalto's architecture.  This dialogue between spaces is found in many of the other works in this series which skilfully make use of reflections, games mirrors, lights and shadows.

Excerpt from the catalog of the exhibition of Elina Botherus " Les femmes de la Maison Carré ", Maison Louis Carré, 2015 by_cc781905-5cde-3194-bb3b-136bad5cf5 Pettersson, director of the Ateneum Museum in Helsinki.


Conférence d’Ásdís Ólafsdóttir

"De la nature à l'architecture :
l'usage du bois chez Alvar Aalto"

Sunday, June 3, 2018, 2.30 pm - 4.30 p


Ancre 6

Quays of the Seine



June 22 -

September 30, 2018

Petur Thomsen

Pétur Thomsen was born in 1973 in Reykjavik. He lives and works in Sólheimar, Iceland. After studying Art history at l’Université Paul-Valéry in Montpellier, he went to l’École nationale supérieure de la photographie in Arles and graduated in 2004. He was placed 10th in the LVMH des jeunes créateurs in 2004 and selected in 2005 by the musée de l’Élysée in Lausanne to take part in the reGeneration: 50 photographe de demain exhibition. He has shown his work in Europe, the Middle East, the United States and Japan. In 2013, he had an exhibition at the festival des Boréales in Caen which had previously been shown at Transphotographiques in Lille. Its subject was the construction of a hydroelectric station which had dramatically transformed the landscape in the east of Iceland - the environment is one of the central themes of his work. After having been shown at the National Gallery in Reykjavik, his exhibition on the subject, «Imported Landscape», was voted the exhibition of the year 2010 in Iceland. He is a founding member of an association of Icelandic photographers and today co-directs the Icelandic Photo Festival.


Exhibition produced in collaboration with
the city of Duclair and with the support of the Royal Norwegian Embassy.

The Icelandic photographer was invited to work on the landscapes of the banks of the Seine around the town of Duclair. Work completed by a documentary project in the footsteps of a former company of Norwegian origin established in Duclair. 


The Mustad hardware factory, specializing in nails, was founded in 1891 by a Norwegian industrialist, Clarin Mustad. It closed its doors in 1987 when it was still producing, a few years earlier, 90% of the nail market in France. She left an important mark in the region within the local population, even if there is no trace left today on the site where she was installed.

Ancre 5




June 30 - September 30, 2018

Guneriussen Rune was born in 1977 in Norway. He studied at the Surrey Institute of Art and Design, England. Today he lives and works in eastern Norway. It was in 2005 that he began his series of installations of objects in the landscape.

Rune Guneriussen


The work of Rune Guneriusen revolves around two techniques: The use of a view camera for the setting and the photography. However, Rune Guneriussen claims to be first and foremost a photographer, photography meaning to him the ultimate end of his plastic research. Most of his interventions, realized on isolated natural sites, are only visible thanks to his photographs, the only remains and witnesses of what once was. In search of odd places, Rune Guneriussen acts on the landscape using a technique akin to Land Art by handling common objects: lamps, chairs or books that he stages and arranges according to a precise setting in natural spaces. He uses the natural landscape
not as a backdrop but as the very subject of the setting.


He uses ridges and crevices, trees and vegetation and also meteorological phenomena like Snow storms or drops in temperature, to reach the desired effect. Rune Guneriussen brings life to these objects which enchant the landscape and seem to colonize the tree, the valley, the undergrowth, the ice. Their presence in these spaces, far from looking incongruous, seems almost unalterable. No trace of human presence remains, fiction thus prevails and takes us to
a universe filled with these object-like creatures.


The installation by Rune Guneriussen in the grounds of Matmut’s contemporary art centre will echo his photographic work being exhibited inside.

Ancre 4




September 14
January 6, 2019


Karlsson Rixon (1962, Sweden) studied from the early 1990s how photography could deal with issues of identity, community, integration into society or marginalization. In 2016, the artist defended a doctoral thesis on the Queer community. Along with her research, Karlsson Rixon published a photography book about a women's summer camp in Russia. The artist also worked, among others, on the project " Portraits in Nordic Light " initiated in the late 1990s_cc781905-5cde-3194-bb3b-136_bad5cf58d : a series of portraits of a group of artists in dialogue with paintings by Scandinavian painters produced at the turn of the 19th and 20th centuries. Karlsson Rixon teaches at the School of Photography at the University of Gothenburg. His work can be found in institutions such as the Moderna Museet in Stockholm, the Gothenburg Art Museum and the Hasselblad Foundation.

Project carried out in collaboration with the Swedish Institute in Paris and Region Västra Götaland, Sweden

Annica KarlssonRixon

Memorable Mobility


Northern Lights invited Karlsson Rixon to produce a photographic work inspired by the collection of the Museum of Fine Arts in Rouen. Specially designed to be shown in a room of the museum, it is entitled “ Mémorable Mobilité ”. Karlsson Rixon chose to work from a legendary painting in the museum, " Les Énervés de Jumièges ", representing two young princes_ drifting on a fragile raft. This painting can evoke, in a contemporary reading, the refugees who enter, or attempt to enter Europe on overloaded boats, with the hope of a more decent life. It thus constitutes the starting point of an investigation of sites marked by migrations along the Normandy coast, as far as Dunkirk, in the north of France.

The ocean offers opportunities for movement, but at the same time hinders the departure or arrival of other people : different foreign communities found themselves in this part of France, which it is about the Vikings or the current refugees. The landscape is marked differently by these presences : monuments built to celebrate the heroes of the war or everyday objects abandoned by the refugees brutally chased by the police from their temporary camps. The landscape does not always keep visual traces ; it is more often associated with myths or stories related to past traumas that condition our way of apprehending these places.

Karlsson Rixon regularly collaborates with other artists and researchers ; for the exhibition catalogue, Mikela Lundahl Hero, researcher and lecturer at the University of Gothenburg, was asked to design an essay. The artist and the scholar traveled together in the region while working on their respective contributions to the project “ Mémorable Mobilité ”.

Ancre 1


Le Havre


October 13 - January 27, 2019

Trine Søndergaard (b. 1972) is a Danish photography-based visual artist. Søndergaard lives and works in Copenhagen, Denmark. Trine Søndergaard’s work is marked by a precision and a sensibility that co-exist with an investigation of the medium of photography, its boundaries and what constitutes an image. Layered with meaning and quiet emotion, her works are highly acclaimed for their visual intensification of our perception of reality. She has been awarded the Albert Renger-Patzsch Prize and has received numerous grants and fellowships, including a three-year working grant from the Danish Arts Foundation. 

Exhibition produced in collaboration with the Martin Asbaek gallery, Copenhagen,
and with the assistance of the Royal Embassy of Denmark


This exhibition will be presented at the House of Denmark in Paris in 2019.

Trine Søndergaard


Danish artist and photographer Trine Søndergaard creates works of art that prioritize reflection and gives it a visual language. Her photos of traditional regional costumes and empty rooms convey a sense of shared human experience across generations. The exhibit will present under the title “Still” two series: Guldnakke (2012 - 2013) and Interior (2008 - 2013). A painting by Vilhelm Hammershoi, belonging to the Orsay Museum collections, and whose work inspired the photographer, should be set alongside the photographs. 

Guldnakke (2012-2013)

Gold is a universal symbol of wealth, the sublime, or the divine. Gold provokes a feeling of desire in many of us. The bonnets are from the mid-eighteen hundreds, and were popular among the wives of wealthy Danish farmers. The bonnets were a status symbo l. Gilded textiles had previously been reserved for royalty, the nobility and the church. Highly specialized needlewomen made the bonnets, and these experts are early examples of self-employed women who were often able to provide for their families. Linking this kind of female history to a specific garment is something the artist has explored in the past, just as she has also previously explored her audience’s ability to read historical signs. T.S.

Interior (2008-2012)

Over an extended period of time, the photographer patiently created the images for the series Interior by continually revisiting the winter rooms of uninhabited Danish manors. When Søndergaard first arrived, the buildings had been empty for over half a century and stood like a shell of the past with their rooms devoid of any traces of life. These abandoned spaces provided an ideal site for her unique precision and sensibility, and for her continuing interrogation of the photographic image.


The images of Interior contain clear references to the nineteenth century Danish painter Vilhelm Hammershøi, whose paintings of rooms are known for their harmonic palette of grays and an acute awareness and rendering of light.

Hammershoi Vilhelm

IInterior, Strandgade,
March 30, 1904

Paris, Musee d'Orsay

© RMN-Grand Palais (Orsay museum) / Adrien Didierjean

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