Catlin Langford: Paris Residency Fellow 2023

The focus of my residency at the Cité internationale des arts was exploring and examining the history and culture surrounding the Autochrome Lumière, the pioneering colour photography process released commercially by the French Lumière Brothers in 1907.  My previous work has considered the history and culture surrounding the autochrome in Britain. The residency thus offered a valuable opportunity to gain a greater sense of the autochrome in the country of its invention. 

As a French invention, there are numerous collections of autochromes in Paris and throughout France and Europe. Autochromes are commonly not exhibited, and sometimes not removed from storage, as contemporary conservation standards dictates they can only be viewed for short periods of time on a lightbox. I was therefore grateful for the opportunity to visit collections and meet authorities at the Nicéphore Niépce Museum, Musée des Arts décoratifs, Donation Jacques Henri Lartigue, Médiathèque du patrimoine et de la photographie, and viewing the Société française de photographie collection at the Bibliothèque nationale, as well as collections at Photo Elysée in Switzerland. Notably, I also visited the relatively recently reopened (2022) Le musée départemental Albert-Kahn. Comprising over 70,000 plates, it is the largest collection of autochromes in the world. A tour by Anthony Petiteau, Head of Conservation, Documentation and Research at the museum, revealed the significant thought that inspired the display of the collection, given the original plates cannot be exhibited. I was also fortunate that my residency coincided with two exhibitions of autochromes, ‘1, 2, 3… COULEUR ! L'autochrome exposée’ at Château de Tours in collaboration with Jeu de Paume and ‘Les Couleurs de la Mode’ (‘The Colors of Fashion’) at Palais Galleria, which provided valuable insights into how public institutions are illuminating the history of autochromes and navigating the limitations surrounding their display. I also visited the Rodin Museum and Giverny which utilise autochromes in their interpretation, and as part of their restoration. 

The three-month residency gave me the opportunity to meet noted individuals working with autochromes, including Nathalie Boulouch and Bertrand Lavédrine, and make regular use of the reference library at the Maison Européenne de la Photographie (MEP) to access key texts which are unavailable in Australia. Through these regular visits and meetings, I formulated new and expanded understandings in my approach to the autochrome and its significance in French culture and history. I used these understandings to present a workshop at the Cité on ‘Exhibiting the “Unexhibitable”’, gaining valuable connections with photographers at Cité, and my research will also inform upcoming publications in academic journals. 

I was also grateful for the opportunity to explore leading cultural organisations throughout the residency, including tours organised by Cité at Le BAL and MEP, and the regular open studios on Wednesday which exposed me to a vast range of different artistic practices and approaches. 

The residency has significantly enhanced my understanding of early colour photography, its history, contemporary display and storage. The three-month residency was invaluable in allowing me to cultivate relationships with organisations and numerous leading authorities on autochromes, as well as gain a holistic overview and appreciation of artistic culture, both in France and on an international scale, via the unique setting at Cité. I will be forever grateful for the opportunity to be immersed in an organisation which so actively celebrates creative thought and practice. 

The Fellowships are made possible thanks to the generous support of Nicholas Curtis AM and Angela Curtis.