Interview with Amélie Samson, General Director of the Circulation(s) Festival

1/ What are the novelties, trends and topics of this new issue of Circulation(s)? 

The Circulation(s) festival has no prescribed theme. However, as the series exhibited are quite topical, they always highlight important contemporary themes. Indeed, trends can be identified every year. In 2025, questions of memory, family history and territorial belonging are really central. They are undoubtedly linked to the current conflicts in Europe and the world, which are leading to significant population displacements, but also to a retreat towards intimacy and proximity that both reassures and raises questions. Increasingly, our artists are turning to multidisciplinary practices using different plastic media, and print media are becoming more and more original and daring! Finally, some of the 23 artists in this edition work on themes that have been present in our program for many years, such as gender, the relationship with the body and systemic violence. These are themes that are sometimes more difficult but are absolutely essential to us. We know that photography has the power to look at these issues through different prisms, which is very valuable. 

2/ Why did you choose Lithuania as your focus? 

Two years ago, we were invited to Lithuania by the Lithuanian Cultural Institute to get to know the local photography scene. This visit was a foretaste of the Lithuanian season in France, which took place last fall. Due to the schedule, it was not possible for us to participate in the season, but we still benefit from the dynamics of this program, which has invigorated the French cultural scene in recent months. In addition, the focus allows us to present a little-known photography scene, and it is true that Lithuania has been little represented in recent years, both in our call for entries and in the festival's program. Finally, this focus on Lithuania is a sad and meaningful successor to our focus on Ukraine, as Lithuania is one of the countries that has hosted the most Ukrainian refugees since the beginning of the conflict. We have found a large art scene that is contemporary and of high quality in its relationship to the image. 

3/ How did WhiteWall support you this year?

The artists, artistic direction and production teams of the festival worked hand in hand to design the stage sets for the festival. Once we had established the 2D intentions, we were supported by the WhiteWall team to make the best choices for highlighting the images while respecting the artists' artistic goals. We also discussed the designs and scenographic choices at length with the Whitewall team. Both the festival team and the artists made a pre-selection of products on the extensive Whitewall website. This was followed by a detailed exchange with WhiteWall expert Vivien Liskovsky, during which various samples were discussed until the final choice was made. We were also assisted in managing the files and given a guided tour of the entire production process, from printing to laminating and framing. A real team effort! 

Photo: Amélie Samson on a visit to the WhiteWall photo lab, looking at a photo printed on Canson Fine Art paper.

4/ What advice would you give to young artists who want to exhibit? 

I think that a good exhibition starts with a clear artistic intention. This is crucial even at the application stage. At Circulation(s), we attach particular importance to providing professional support for our artists at all stages of the festival. I therefore advise young artists above all to create a good environment for themselves. It is often said that it takes a village to raise a child, but it takes just as much to organize an exhibition! In short, overcome the loneliness of creation as soon as it comes to publicizing the project. After that, every decision should be made with a coherent overall concept in mind. There are so many professions and expertise that contribute to the design of an exhibition. Don't hesitate to ask for advice, as this often leads to valuable contacts. The most successful projects are often those where collaboration and trust have been at the forefront.