The seventh Mulhouse Photography Biennale, themed “Sédimentation(s),” delves into the intricate relationship between images, land, and human experience. Located in France's Alsace region, a land historically shaped by geological processes, the festival features over a dozen exhibitions by artists and curators exploring stratification, geological formations, and psychological landscapes. Through diverse artistic interpretations, the biennale offers fresh perspectives on global narratives and the challenges faced by artists from the Global South.
Mulhouse Biennale Unveils Diverse Perspectives on Land and Identity
Mulhouse, France – The seventh edition of the Biennale de la Photographie de Mulhouse, running until July 5, 2026, invites audiences to contemplate the profound connections between the environment, human history, and visual art. Under the overarching theme of “Sédimentation(s),” which metaphorically mirrors Mulhouse's geological origins as a seabed, the festival presents a rich tapestry of photographic and mixed-media works.
Among the featured exhibitions, Tiago Casanova's “Which Way the Wind Blows,” showcased in the historic Saint-Jean Chapel, offers a futuristic lens on the Mediterranean, intertwining migration narratives with regional myths. At the Fine Arts Museum, Jenia Fridlyand's “Limits of Control” explores Cuba through the artist's unique perspective, drawing parallels with her Soviet upbringing. Meanwhile, Pablo Castilla's “Altiplano,” displayed along the scenic Berges de l’Ill/Quai des Cigognes, transports viewers to the sparsely populated Spanish region, imbued with a shamanic, almost psychedelic influence.
The biennale also highlights six thematic group exhibitions, expanding on the “Sédimentation(s)” concept. Anne Immelé curates “Sédimentation(s) – A constellation,” a dynamic collection of contemporary and archival works centered on rocks and stones. This evolving exhibition, featuring a site-specific installation by Eugénie Shinkle and pieces from the Nicéphore Niépce Museum, promises a fresh experience throughout its run at the Fine Arts Museum. Concurrently, Magali Avezou presents “Bruissments (Whispers)” in a captivating 14th-floor apartment setting.
A pivotal exhibition, “Settled,” curated by Ange-Frédéric Koffi, is housed within the striking glass-and-steel architecture of La Filature, a former cotton mill. Koffi, an artist born in the Ivory Coast, aims to bridge a perceived gap in the discourse surrounding art from the Global South. He emphasizes the need for diverse perspectives in interpreting landscapes and creating historical narratives, stating, “They give us a possibility to understand our landscape and be poetic about how we can make history, because they propose a different perspective about how we can see ourselves.”
The exhibition title, “Settled,” thoughtfully chosen for its multiple interpretations in French, examines how artists engage with their land. It commences with Jennifer Douzenel's “Mirage” series, featuring silkscreen transfers on glass that subtly nod to early photographic techniques. The exhibition further includes innovative works such as Eric Gyamfi's interactive overhead projector piece and Otobong Nkanga's light-wood installations adorned with pale stones. Kapwani Kiwanga's “Subduction Studies” explore geological processes through collaged images, while Adji Dieye's textile creations transform photographic materiality into three-dimensional forms. Léonard Pongo's experimental film, “Tales from the Source,” captures Congolese traditions through multispectral imaging. A late but welcome addition is Mahmoud Alhaj, a Palestinian artist whose work delves into the relationship between people, land, and history.
The Mulhouse Photography Biennale, particularly through exhibitions like “Settled,” offers a critical examination of how varied cultural and environmental contexts influence artistic production. By bringing together artists from diverse backgrounds, the festival encourages a broader, more inclusive understanding of photography's role in shaping our perception of the world. It underscores the importance of acknowledging the unique challenges and creative solutions employed by artists globally, particularly those from the Global South, thus enriching the overall artistic discourse.