Paris Photo between historical figures and contemporary practices

Divergent and alienating, the Digital sector, conceived by Nina Roehrs, brought together 13 galleries and platforms exploring the integration of digital realities in artistic practice. Along the balcony, the Emergence sector presented 20 solo shows with proposals from the French scene and from South Africa, Mexico, Venezuela and South Sudan where contemporary photographic language experiments.

With 42 exhibitors, the Publishing sector testified to the vitality of the photobook and its central role in the history of the medium and also hosted the award ceremony of the Paris Photo - Aperture Book Prize, which honoured Eleonora Agostini for her book published by Witty Books, Hicham Benohoud for his book published by Loose Joints Studio and Generalized Visual Resistance: Photobooks and Liberation Movements, published by ATLAS.

From the outset, the fair distinguished itself by its sustained momentum, characterised by significant sales at international galleries such as Richard Saltoun, Hamiltons and Fraenkel. In the Main Section sales, including solo and group exhibitions, were notable from the very opening of the fair: red flags from Bruce Silverstein on the shots of Ryan Weidemanwho photographed his passengers while working as a taxi driver there between 1981 and 2016, and again on those of Roberto Frank, Dorothea Lange, Adger Cowans, Michael Wolf, František Drtikol, Barbara Morgan, Edward Weston. Vermelho presented the iconic 1970s series by Claudia Andujar, Jackson's previously unreleased prints from Sally Mann and ROSEGALLERY's novelised arrangements of Tania Franco Klein. Rolf Art received much interest with the project by Adriana Lestidowith the black and white series on 'Mujeres presas', 1991-1993, and works on 'Mothers and daughters of Palza de Majo', 1982. At Podbielski Contemporary, the personal exhibition of the Romanian Loredana Nemes with her landscapes and her reflection on the bodies crossed by the loneliness of Covid.

 Between Voices Gauri Gillis the colourful 'The Village on the Highway', 2021, from Vadehra Art Ggallery that represents an unusual architecture of resistance by farmers in northern India to the proposed deregulation of agriculture

Tania Franco Klein, Immagine dalla serie Rage , 2025. Courtesy dell’artista e ROSEGALLERY

The main sector confirmed the strength of demand, with several important transactions. Persons Projects sold an important work by Zofia Kulik to an institution for over EUR 200,000. The historical work by Mario Cresci presented by Materia & Large Glass also found a buyer. M77 registered strong institutional interest in Ming Smith (vintage prints between EUR 15,000 and EUR 60,000). The Zander Gallery sold 22 works by Robert Frank, photographs by Joel Sternfeld and William Eggleston (approximately EUR 50,000) and a work by Tarrah Krajnak (EUR 25,000). Stevenson's works by Guy Tillim were very popular. Pace sold several works by Paul Graham, six works byRichard Learoyd and photographs byJosef Koudelka acquired by an institution. Howard Greenberg sold a rare portfolio by Roy de Carava to a major private collector, as well as vintage prints by Walker Evans and works by Sarah Moon and Dolores Marat. Les Douches sold some 30 prints, some of which fetched €25,000 each. The Rose Gallery presented a solo exhibition byTania Franco Klein, with some twenty works sold and numerous bookings, with prices ranging from EUR 8,500 to EUR 25,000. Nathalie Obadia realised numerous sales for all her artists, to collectors and institutions, in a price range between EUR 10,000 and EUR 50,000. Akio Nagasawa sold a group of works by Eiji Ohashi for 30,000 euro. Hans Kraus sold three of four works by J.M. Cameron (€30,000-35,000) and a daguerreotype by Southworth & Hawes for €28,000. Jecza sold a set of 768 works for a six-figure sum,while Gregory Leroy sold several works by Manuel Álvarez Bravo for around 100,000 euros. Cob reported that many editions were sold out.

In the 'Voices' section, Eva Presenhuber sold several works by Torbjørn Rødland. At Kilchmann's, several works by Shirana Shahbazi (from €10,000 to €25,000) and Paul Mpagi Sepuya (from €6,500 to €18,000) found buyers. Echo 119 also did well with Rinko Kawauchi, whose main works all sold for between EUR 6,000 and EUR 7,000. Higher Pictures also sold out, with a wide selection of unique works. In Devika Singh's selection, Ab-Anbar achieved several sales of works by Mohamed Ghazali, registering strong institutional interest. Several works by Voices will be exhibited at important institutions, confirming the importance of this new curatorial approach.

In the Emerging Artists sector, the socially engaged work of South African photographer Sibusiso Bheka (Afronova) attracted considerable interest, with almost all works sold. The works of Marine Lanier, winner of the Ruinart Prize and presented by Espace Jörg Brockmann, were also acquired in large numbers, with sums of between €1,000 and €3,800. Bérangère Fromont sold seven works for 8,500 euros. For its first participation, Concordia Studio sold several works for between 1,500 and 2,500 euro.

For its third edition, the Digital sector confirmed its importance in exploring new forms of creation linked to technological developments and their impact. For instance, Heft Gallery, which presented the in situ scanning work of Luke Shannon, received 10 commissions. Kevin Abosch sold three works from his 'Ethical Work' series, incorporating pioneering algorithmic work, for EUR 15,000 each. French artist Louis-Paul Caron of Danae Gallery sold four works from his series for between EUR 6,000 and EUR 8,000.

The Elles x Paris Photo programme highlighted the works of 56 artists selected from the exhibitors, several noteworthy sales: from Suzanne Tarasieve's gallery, a work by Mari Katayama found a buyer. Anne-Laure Buffard and In Camera reported significant sales of works by Marie-Laure de Decker, including vintage self-portraits with between €5,000 and €16,000. Carole Lambert, in her first exhibition, sold 16 works by Donna Trope.

"This year's edition marked a significant step forward for the fair. The attendance figures, the quality of the presentation and the energy that permeated the entire week created a clear momentum in sales and public involvement. It was a successful edition, and we look forward to continuing this collaborative work in preparation for 2026,' explains Bourgeois, who is strong on the support of the sposnors, gallery participation and ticketing. And for the future? "After the 2013 to 2015 edition in Los Angeles and the April 2020 edition in New York not even inaugurated due to the pandemic," concludes the director, "the fair knows it has the power to attract the world of photography to Paris and the hypothesis of expansion to other countries depends on new opportunities if opportunities arise to export Paris Photo to reach new collectors and new institutions we will consider it".