THE MYSTERIES OF INVENTION, OR THE QUEST FOR THE ABSOLUTE
Archaeologists and paleontologists dig through layers of earth and rubble to reach the earliest levels of ancient caves or long-lost city streets. The history of photography—though just two centuries old—is already buried under billions of dazzling images, making it difficult to trace its true origins.
If you’ve seen the movie The Matrix, you might recall the scene where the Architect, with a touch of irony, presents the survivors with thousands of identical doors: to gain true knowledge, they must choose the right one.
Today, knowledge seems instantly accessible through infinite doorways—reflections multiplied endlessly. But what looks like consensus, or even unanimity, is not the same as truth. Wikipedia, for example, is not an encyclopedia of facts, but a compilation of information presented as commonly accepted.
The invention of photography may well be the key that gave rise to our society of multiplied knowledge. To explore its mysteries is to confront the risks of disembodied knowledge, wrapped in seductive lights.
This exhibition presents original documents, rare authentic objects, and exquisite reproductions of fragile photographs that can no longer travel. A series of compositions—arranged high above like an ancient frieze—celebrates the inventors and the obstacles they faced.
From the moment photography seemed possible, competition erupted—and it came dangerously close to erasing the true inventor from history.
His name was Joseph Niépce. A young science teacher, he was demoted in 1787 for projecting magic lantern images to his students. He adopted the pseudonym Nicéphore, in honor of Nikephoros, a young Byzantine official who participated in the Second Council of Nicaea in 787 and helped bring a halt—at least for a time—to the destruction of sacred images. Nikephoros later became Patriarch of Constantinople, known as Saint Nikephoros the Great. Sometimes, names do shape destinies.
Under this name, and driven by the passion of an inventor, Niépce pursued his research in the early 1800s and invented photography, solving one by one the puzzles of optics and chemistry.
At first cautious, by January 1825 he began reaching out to Parisian specialists in optics and engraving, catching the attention of a well-known theater director, Daguerre. He presented his early results in England in 1827. Financial difficulties led him to partner with Daguerre in 1829. Their collaboration was brief but productive. Niépce died in 1833—six years before the invention was officially adopted by the French Academy and announced to the world under Daguerre’s name in 1839.
The public response was intense: this invention had been long awaited. A few scientists—some who had known Niépce personally, others who had only heard of him—felt compelled to defend his memory. Among them were Franz Bauer, the botanist from Kew Gardens, and Joseph de Hamel, special envoy from the Russian Academy of Sciences.
Then, for more than 150 years, he was largely forgotten.
Just over thirty years ago, a determined French photographer who shared his last name, Janine Niépce, began campaigning to restore recognition of Nicéphore’s work. She devoted her final years to this cause, supporting especially the research of Jean-Louis Marignier, who meticulously retraced the steps of Niépce’s discovery using scientific rigor.
This exhibition is dedicated to Janine Niépce.
FIRST ROOM – WHO ARE YOU Mr DAGUERRE ?
The works presented are authentic originals from their respective eras. For pieces that could not travel, high-quality interpretative pigment prints on handmade Fabriano paper are shown.
These modern prints are clearly identified with the label “pigment print, 2025.”
Along the walls in the first two rooms, you will also find additional pigment prints, created using a mixed process on a digital base with human interventions: collage, engraving, retouching.
Each composition is signed by Pavel Nicotine; these works have inspired the postcard series “The Mysteries of Photography.”