The organizers of the French open-air photography festival Les Mesnographies invited Vic Bakin to take part. The exhibition featured 26 photographs from his project ‘Epitome’ — a body of work the artist defines as a ‘collective portrait of Ukrainian youth against the backdrop of the scars of war’. At the request of DTF Magazine, Vic Bakin shares more about the project and the festival
— How did the invitation to participate in Les Mesnographies come about?
— After the success of my photobook ‘Epitome’, which sold out completely in 2025, and following a major exhibition in Cortona, Italy, last summer, the organizers of Les Mesnographies were already familiar with my work and invited me to present part of the project at their photography festival. This marks the sixth edition of the event, which takes place in the small, serene municipality of Les Mesnuls, located about 80 km outside of Paris. For me, it was a great opportunity to present my work in a different environment and on a completely different scale than what is typically achieved in books or gallery spaces.
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— How are the photographs displayed at the festival?
— ‘Epitome’ is a series of photographs that together form a kind of visual diary of the past few years in Ukraine. It was important for me not to present a selection of individual ‘best’ images, but to preserve the feeling of a complete world, where portraits, landscapes, and small details all exist on equal terms. The organizers also wanted to somewhat ‘inscribe’ certain images of ruined Ukrainian landscapes into the peaceful surroundings of the French provincial town.
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— Who came up with the idea of placing some of the photos right on the water?
— That was the organizers’ idea, and it is actually one of the defining features of Les Mesnographies — the works of all participating artists are showcased throughout the park, seamlessly integrated into the natural landscape. Some pieces are printed on fabric and suspended from trees, where they gently sway in the wind.
Part of my work is installed on special structures on the lake, allowing the viewer to see the photographs in a constant dialogue with water, light, and the serene landscapes around them. The structure itself drifts gently across the surface of the water.
— What makes this open-air format so special or rewarding for you as an artist?
— I love how, in this environment, the photographs stop being small, static objects on a wall and instead become an integral part of the surroundings. They are perceived differently depending on the time of day, the reflections in the water, or the movement of the viewer. This presentation style adds another layer of interaction to the work without imposing a specific interpretation — which is exactly what I always strive for in my practice.
I also love how a dialogue between light and water emerges here, especially since the original prints were created using the gelatin silver process, where light and liquid are the very elements that form the image.
The Les Mesnographies festival continues through July 19, 2026. This year, the event showcases pieces by 23 international artists.
