The history of modernity is associated with a fierce intention to eliminate the fakery of imitation, of what we believe when seemingliness and of simulacre. To such an extent that the history of Art could be understood as a critical enterprise to dismantle the ways we see and it comes to images. The history of photography does also fuel fantasies of truth. Since it veils itself in the cloak of reality and that it is the result of a mechanical recording (said to be neutral), it is considered as the medium of the proof.The landscape in Room 27, with its pictural notes, proposes a different approach. Its intention is to give back to photography its abstraction power, some sort of magic realism.
Lila Neutre was born in 1989. Having completed her master’s degree at École Nationale Supérieure de la Photographie in Arles, she is currently working on a photography PhD in southern France.
Over a span of four years, she has been focusing her work on notions of identity and self-presentation in contemporary society. The social body assumes the role of the ultimate canvas for Lila’s artistic activity. Her research, both photographic and sociological, has even led her to Japan where she has worked with the cosplay community. Most recently, her work has been shown in various group exhibitions in Marseille and Kyoto, in partnership with the Kansaï French Institute and the International Festival Kyotographie.