Malartre shuts himself away for two years in an apartment in Paris. He questions photography with his hands, with his negatives, and thinks through its plasticity via devices and installations in a stripped‑down space. He wants to make a clean slate in order to free photography from its descriptive dimension, and access its plastic dimension as conceptual art. Photography in and of itself, for itself and by itself.

To unfold his thinking, he applies a serial method to the tangible responses revealed by his Objectales.