7 
N°II 2025   MuseoMag 
EXHIBITION 
tute, Pallot employs various approaches, including 
gathering waste and seaweed from the beaches 
of Brittany to use as photographic filters, letting us 
see “through the prism of pollution” as Constance 
Nguyen phrases it. A similar approach is used by 
Finnish photographer Jorma Puranen. With a painted 
and varnished black board acting as a textured 
black mirror, Puranen captures natural landscapes, 
imbuing them with a painterly vibe. 
Joan Foncuberta’s Rerum Natura, at first glance, 
appears to be just another series of black-and-white 
photographs of plants, aligning with the tradition of 
botanical photography throughout art history. How- 
ever, the plants he presents do not exist. Generated 
by artificial intelligence, the Catalan artist uses them 
to comment on the shift from a disappearing organic 
world to an emerging artificial and immaterial one. 
In contrast, Jessica Backhaus creates colourful 
compositions using paper sheets and sunlight, 
playing with transparencies, soft tonalities and harsh 
shadows. This abstract approach – new for the 
German photographer – aligns her work with mini- 
malist movements in modernist painting, such as 
colour-field painting in abstract expressionism. 
Joost Vandebrug’s compositions of handmade 
paper cards explore the nature of recollection and 
memory, leaving gaps for the viewer to fill in. Printed 
using various techniques, often layered and imper- 
fect, and sometimes accentuated by hand-painted 
details, Vandebrug addresses themes such as light 
pollution and the connections between past and 
present experiences. A dual nature can also be 
found in the works of Letizia Romanini, a visual artist 
from Luxembourg based in Strasbourg. She presents 
silkscreen prints on glass, using mirror ink to create 
semi-transparent, semi-reflective objects that play 
upon the notion of (simultaneous) presence and ab- 
sence, crystallising fleeting moments in time. 
Marta Djourina, who explores the processes and 
limits of analogue photography, uses light – whether 
from lasers or bioluminescent organisms – as her 
material. In her darkroom, the photosensitive paper 
becomes a canvas, shaped by gestures or technical 
movements. The large-scale artworks she presents 
in the exhibition space lean more towards sculp- 
ture than traditional photography. The scenography 
of our exhibition Beyond the Frame. Rethinking 
Photography will also display these projects in a 
way that challenges the norm; moving into space 
and staging installations, it will guide visitors through 
the many possibilities of the photographic medium. 
Michelle Kleyr 
The exhibition Beyond the Frame. 
Rethinking Photography is on view 
at the Nationalmusée um Fëschmaart 
from 26 April to 11 November 2025. Free entry. 
Jorma Puranen, Icy prospects No. 38, 2007, c-print, diasec, framed, 160 x 198 cm, Arendt Collection. 
© 
jorma puranen