Created in 1997, the event which would rapidly become the Liege International Biennial of Photography and Visual Arts evolved into BIP in order to become, on the occasion of its 10th anniversary-edition in 2016, the Biennial of the Possible Image. This change of name, in which the direct reference to photography disappears, pertains to a strong fundamental movement which has progressively transformed the physiognomy of the Biennial since its creation.
Like many photo festivals which came into being at the end of the 1990s and the beginning of the years 2000, that of Liege immediately took an interest in emergent forms. The Biennial presents artists who bear witness to the revolution, one might even say the upheaval, which photographic practices have undergone over the past twenty years. In the heterogeneity of its forms and positions, in its multiple uses and practices, in its confrontation with other types of image, photography is subject to profound mutations in also coming into contact with the transformations society is undergoing and through its inclusion in the practices of contemporary creation.
Since BIP2016, the Biennial of the Possible Image has been taking cognisance of, no longer strictly the movements of photography when it runs up against its limits, but, on a larger scale, the systems of circulation of the contemporary image which blithely traverses, in forms and aspects ever more supple and increasingly hybrid, the private, media, political, economic, sociological and anthropological fields.
The Biennial of the Possible Image is today an event which espouses those artists who offer an awareness of these traverses and these porosities. The BIP presents photographs, videos and visual arts installations in various combinations. Through the arts productions it has selected, the BIP interrogates contemporary images and the relationships we engage in with them.
Photography by Andy Simon