From the encounter between Lee Shulman and Omar Victor Diop was born Being There series, at the crossroads of the two artists’ universes.

Introducing the well known Senegalese artist  into the vernacular slide images of The Anonymous Project , the collection takes ona new meaning. Photgraphy, staging and re-assembling of the images orchestrated by Shulman, the series revisits in about sixty works the archetypes of the Trente Glorieuses society. These augmented pictures question the foundations of our contemporary society. By repairing absence, Being There opens a conversation on our history.

With Déjà View, Lee Shulman, founder of The Anonymous Project, and photographer Martin Parr create a visual dialogue between amateur photography and artistic practice. By placing anonymous family photographs alongside Parr’s images, the project reveals striking similarities in framing, subjects, and situations.

The Anonymous Project gathers hundreds of thousands of colour slides taken by amateurs, forming a collective memory of everyday life. A pioneer of colour photography, Martin Parr has long drawn from these ordinary scenes, observing them with irony and precision.

Placed side by side, the images create a powerful sense of déjà vu. The randomness of amateur photography at times seems to meet the deliberate eye of the recognised photographer, calling into question notions of authorship and artistic value. Déjà View thus offers a reflection on our shared visual culture and the quiet beauty of the ordinary.

The first exhibition by Lee Shulman / The Anonymous Project, The House, was one of the highlights of the Rencontres de la Photographie in Arles in 2019. Designed as an immersive experience, it goes beyond simply displaying images by recreating the atmosphere of the 1950s. At a time when family photography was an intimate and discreet act, the exhibition invites visitors into a space where objects, light, and images interact to revive everyday gestures and memories.

The photographs are not merely hung on the walls but integrated into a domestic setting  kitchen, living room, bedroom creating a familiar environment shaped by time and memory. Carefully selected furniture and lighting allow visitors to feel the era and sense the lives hidden behind the images.

The House thus becomes a place where the past takes shape. More than a collection of visual memories, it is a sensory experience and a tribute to ordinary lives and fleeting moments that form the fabric of our existence.

I often imagine myself sitting on a train, my face pressed against the window, watching the landscape pass by like a long ribbon. My gaze settles on the horizon, that wavering line which quietly structures the world before me.

While our eyes are often drawn to the details of the foreground or the shifting scenery in the distance, it is this continuous line that holds my attention. The horizon feels like a gentle bridge between past and future, a steady mark that also carries the promise of what lies ahead.

At sea, it appears as a calm monochrome division between sky and water, revealing nothing of the turbulence that may lie beneath. On land, it becomes more irregular and dramatic, a shifting silhouette against the quiet permanence of the landscape.

These horizons form the backdrop upon which our lives unfold. A thin line stretched between what we once were and what we are yet to become, reminding us that all our paths move forward along the same invisible trajectory of time

Lee Shulman