In the name of the name, the sensible surfaces of graffiti ( Au nom du nom, surfaces senseibles du graffiti)

The signature is a sign of authenticity, anonymous and self-portrait. But graffiti emerges to disappear, leaving only traces and wounds, to steal Henri Michaux's Les maux. The ultra-visible combines with the unspeakable, absence, belief and complaint - so the photographic medium crosses graffiti from the secrecy of the silver age to that of digital algorithms, for graffiti is also a network of images and mythologies on sensitive surfaces. Bringing together some forty international artists, Au nom du nom gathers and connects visions of disorder to deploy an imagery of disorder. Documentary photography, atmospheric photography, action photography, intimate archives, burnt-out, forgotten memories, pictorial photography, police photography: the exhibition stretches out a thought in the negative of graffiti, seen as a revelation of what life(ll)e stirs up.