Sigmar Polke is honoured at the Ball, a place dedicated to photography. We know more about the painted work of the German artist than his photographic work. And the exhibition "Sigmar Polke's photographic infamies" presents an original and unpublished collection of photographs taken by the artist in the 1970s and 1980s. We discover that very early on, Sigmar Polke used the photographic medium, both in a documentary way to create his paintings, but also independently. His approach to photography is, from the beginning, both artisanal and amateur. Polke has always insisted on developing and printing his photographs himself, in defiance of the rules on the subject (heterodox exposure times, use of outdated papers and products), casually practising under-exposure, over-exposure and double exposure. No hierarchy in these images where family photos, self-portraits taken with the complicity of his companions, souvenir photos, documents intended to be treated pictorially, graphic and chemical experiments, travel photos, images taken under the influence of drugs.... All Sigmar Polke's art is in this pleasure to grasp what is happening. Painting contaminated by photography, photography poisoned by painting: all of Polke's art stands in this comings and goings. Polke does not try to "save" painting through photography, or to give photography its letters of nobility through painting. On the contrary, it amplifies the respective bad reputation of each of these enemy sisters.