What is Parietism ?

Parietism is a cultural movement initiated in 2019 by an artist and a photographer involved in culture. Art and photojournalism team up for the first time to respond to the conflict of images that marks the urban environment.



This conflict of images finds one of its foundations in the saturation of public space by advertising. As the situationist Guy Debord put it, "through entertainment, the real is diverted from the living just as the individual is ». Images multiply, capitalism deifies them, and advertising in particular sends us back through its codes to falsely familiar forms, making us fantasise about an imagination that is not our own, with the ultimate aim of pushing each individual into consumption. From this observation, it seems indispensable to interfere with this system present in the public space.

Who better than the artist to bear this responsibility? The responsibility of giving back to each individual the choice to see or not to see, the choice to think about the images that surround him or her. This is what parietism is all about. 


Parietism is thus a system of expression and thought allowing the artist to impose his own writing system within an urban spot chosen beforehand by him. Whatever the medium, Man inscribes. Through his own system of representation, the artist responds to the images that surround him. Thus, the artist responds with his work to the images that saturate the urban environment. 

Pariétisme, Camille Sauer, 2019, © Corentin Schimel

The objective of photojournalism

At a time when photography no longer succeeds in setting its own limits in both private and public spaces, photojournalism seeks to associate itself with the action carried out by art and question the viewer within the urban space. This is done by extracting the viewer from the advertised imagination that does not belong to him.


Pariétisme, André An, 2019, © Jade Liesner

Parietism in its form as a media is divided into two parts: a system of expression allowing the artist to respond to the image saturating the public space by intervening in the urban environment, and a media, carried by photojournalists expressing their vision of contemporary art.


Through parietism, the photojournalist becomes the spokesperson for contemporary creation. He is the one who captures the snapshot of the public/artist encounter, i.e. the experience of the work by a spontaneous public not necessarily initiated to Art. In this experience of art, the photojournalist enables a debate on the exercise of art. The reactions of the spectator, his involvement and the depth of the social impact of the movement will depend on the space the artist chooses to occupy. 


Photojournalism thus raises the question of the adaptation and resistance necessary for a work to face an audience whose sensitivity and receptivity to art can vary from one place to another. As John Berger pointed out in his book « Ways of Seeing", there is a close relationship between interest in art and privileged education. 


In its role as a medium, Parietism also highlights, in the form of photographic documentaries, the viewpoint of various photographers on the contemporary art world. Through his association with the artist, the photojournalist underlines the importance of education in any cultural movement. Indeed, if the artist must be educated to interact with his environment through Art, it is also the environment that will have to be gradually accustomed to receive and integrate this art. 


Thanks to parietism, the action of the artist and the photojournalist are complementary. Through art, photojournalism reconnects with the experience it makes of reality within a particular social environment. Through photojournalism, Art questions its very condition of existence. 

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