Paris Photo 2026
Grand Palais
Avenue Winston-Churchill, 75008, Paris, France
Digital Sector Booth F03
November 12-15, 2026
Thursday to Sunday, from 1 pm to 8 pm (Sunday at 7 pm)
If photography has shaped the way we look at, interpret and construct the world for the past two hundred years, it is equally true that this photographic vision has continually evolved in step with technological change. […] These works are experimental yet rooted in the photographic: they push the boundaries of the medium while remaining open to exchanges with its history, its materiality and its enduring capacity to renew the way we see. As part of the Bicentenary of Photography, the Digital Sector brings its legacy and its future into view at the same time—from the origins of the medium and a technique that revolutionised vision to the emerging forms that will shape the way we look at the world over the next two hundred years (Marco De Mutiis)
Glenda Cinquegrana Art Consulting is pleased to announce its first participation in Paris Photo 2026, in the Digital section curated by Marco De Mutiis. For its debut at the leading international photography fair, the gallery presents a two-person exhibition featuring two of its represented artists: the duo Mazaccio & Drowilal and Silvio Wolf. Both share an engagement with the readymade photographic image and an examination of its persistently ambiguous and problematic meaning. To mark the bicentenary of photography, we have brought together we have chosen to pair the ultra-contemporary practice of two French protagonists of post-photography and the reuse of images from the digital iconosphere—whose bold juxtapositions continually prompt critical reflection on our ability to read and use photography as a vehicle for communication in the age of social media—with that of Silvio Wolf, who investigates the origins of photographic language and its fundamental elements to deconstruct the image on a semantic level.
For Mazaccio & Drowilal, photography is an act of conceptual appropriation from existing sources—advertising imagery, paparazzi photography or social media photographs—which are continually recirculated according to an economy of expressive means also reflected in the duo’s logo. The juxtaposition of images, cut and pasted into analogue and digital collages, transforms their meaning. In the series Iconology, presented for the first time at Paris Photo, juxtapositions of disparate images generate intriguing shifts in meaning. For Silvio Wolf, at his first participation at the fair too, the analysis of the image’s ambiguous nature proceeds through photography’s fundamental elements, such as film and light. Fragments of burnt film, discovered by chance and subsequently digitised and printed at a large scale, enact a shift in the meaning of the photographic image: it becomes a landscape, exceeding the narrow confines of photography and evoking the history of abstract painting. The process of transformation and the rethinking of the sign’s language are radical
