Douglas Kirkland is the legendary photographer who captured the Hollywood elite. Kirkland has been at the cutting edge of fashion, photojournalism and portraiture, working for the world's most reputable magazines for more than 50 years. As a young photographer in 1961 he was assigned to shoot Marilyn Monroe over several hours in a closed studio one night, and he captured a stunning portfolio of alluring and intimate images that survive to this day as a testament to her beauty and vulnerability. Kirkland was born in Toronto, Canada and started out as an assistant to Irving Penn when he first moved to New York at the age of 24. After an early stint working for Look Magazine, he joined Life Magazine as a staff photographer. He worked there in the '60s and '70s - an era often referred to as the golden age of photojournalism. Known for his charming and gentle attitude, Kirkland has served as the only photographer on the sets of hundreds of films, from The Sound of Music to Titanic. His extensive archive of A-list portraits includes Elizabeth Taylor, Coco Chanel, Jack Nicholson, John Travolta, Michael Jackson, Brigitte Bardot, Andy Warhol, Naomi Campbell and Nicole Kidman. Text in English and Italian.

The Musee international de la Croix-Rouge et du Croissant-Rouge owns a unique collection of posters from around the world. From the beginning of its history, the Humanitarian Movement uses this support to spread its messages and values. For the presentation of the Red Cross and Red Crescent, the recruitment of volunteers, the request for donations, the call for blood donation, the promotion of hygiene rules, the prevention of diseases or disasters, the dangers of mines or the teaching of first aid, posters challenge the public, inform and try to rally to the humanitarian cause. More than a means of communication, they are also witnesses of an era capturing the events that are shaking the world and the concerns of the regions in which they appear. Mirrors of society, the posters carry with them the history of the Movement, its actions, its necessity and, even more, its universality.

Alain Grosajt explores the question of trace and writing as an insatiable archaeologist. Writing, collage, scratching, dripping, engraving, drawing, painting, are all plastic means experienced for try to make this trace visible. His work runs in series, each dealing with a country, a religion, of a work or of a time, trying to trace the contours of a presence by through the variations obtained. Text in English and French.