Matthieu Boucherit / Thierry Fournier / Danièle Gibrat / Matthieu Lor / Hélène Marcoz / Lisa Sartorio / Rafael Serrano / Michael Wittassek
Matthieu BOUCHERIT Born in Cholet in 1986. Lives and works in Paris.
Graduated in visual communication in Nantes and a Master in visual arts at the University of Toulouse 2.
Represented by the Valérie Delaunay Gallery, Paris.
The wounds, Series of 252 laptopograms, not revealed, fixed on black and white silver paper. 2008-2018 (3 frames of 132 × 165,5 cm)
Blurred, diaphanous, the series of laptopograms seem to embody a latent image, of which we do not know if it is about to disappear or appear. Made by contact with the screen of our computers (laptop) and fixed by silver chemistry without being revealed, these images literally seem “exposed”, as if they were touched by thought. Started in 2008, this series manifests a confusion between the archive and the hazy memory, it affirms the will to act on the images failing to be able to act on the world. This is why, to consider these last, something resists. The void that crosses them embodies a violence more palpable than what they hide. Rather than adding images to images, Matthieu Boucherit persists, in a sort of compulsion to repeat, to reverse propaganda retouching practices, in order to attenuate their effects. If he subtracts its content, it will therefore be to better reveal it or to affirm its denial. The scars close, the bullet holes disappear, the bodies and the traces of blood on the ground disappear. Only the image, as a memory medium, is subjected to the violence of the screen by sunstroke. For Matthieu Boucherit it is not a question of making visible but of making sensitive the excess that makes people.
Thierry FOURNIER Born in Oullins in 1960. Lives and works in Aubervilliers.
Graduate of the National School of Architecture of Lyon.
No need, series of three digital prints, fine art paper on dibond, 3 ex + 1 ea
No need is a series of bombing photographs found on the web, in which the part that would allow you to see and locate the action is replaced by Photoshop's checkered wallpaper pattern. The collision between this surface and these truncated images testifies to an irreducible distance vis-à-vis reality. The term "dismissal" means the abandonment of legal proceedings, due to the impossibility of prosecution. Here, the gaze somehow joins the condition of the drone operators who produced these strikes, questioning what a technology also makes it possible not to see.
Danièle GIBRAT Born in Suresnes in 1957. Lives and works in Paris.
Horitzò: the roots. Piece on the ground: photography on pvc, photography on paper, wood 134cmx164cm / Piece on the wall: polyester layer, pen-ball, tongs64cmx63cm.
Horitzó is the Catalan name for "horizon". This is the title of a series started in 2016 and which evokes a specific place, a farmhouse, found thanks to Googlemaps. This is a place where “something happened” for a long time. Since my childhood, this silence has surely registered a form of confusion in my mind, but above all it made me take the side of my gaze. Without insisting on the biographical part (my “shadow part” as Ellroy called his), anecdotal, I wanted to deal, for once head-on, with the theme of secrecy and its revelation. Even when I didn't formulate it clearly, everything I did was haunted by this theme, but not limited to it. What the series tends to show, simply, is what the gaze is aimed at, what lies beyond. I wanted to guess what we see (saw?) From the threshold of the house when we turn our backs to it and we stand out: a landscape, which I have never seen "in real life", mountains, which look like folds ...
Matthieu LOR Born in Paris in 1990, lives and works in Paris.
Graduated from the Ecole des Beaux Arts in Nantes with a DNSEP.
The eighth continent, paper, scratch ink, triptych 80x120cm.
On Earth, resources are becoming scarce. Some people then think about the exploitation of what they consider the eighth continent: the Moon.
On this satellite without atmosphere, where each action has an irreversible impact, what will become of these lunar landscapes?
These images printed with a scratch ink, place the viewer in front of a dilemma: should we scratch this surface, this landscape selene, or should we leave it intact to preserve the work?
This process that refers to the game of money, allows us to draw a parallel with our reality. Only here, we scratch the landscape, and under the ink, there is nothing to gain.
This project induces a reflection on our landscapes and their fragilities, invoking a more distant subject, that of the Moon, a place fantasy and still untouchable.
Hélène MARCOZ Born in 1974 in Vincennes. Lives and works in Lille.
Graduate in 1999 from the Ecole Nationale Superieure des Beaux-Arts of Bourges.
Concrete jungle, cross-laminated prints on dibond, 90 x 90 cm.
Several images superimposed on the same silver negative record the movement of shadows in dehumanized architectural spaces. To the question of gray gradations is added the desire to reinterpret the chiaroscuro and play, at the level of composition, with simple geometric patterns, coupled with their shadows.
These static architectures, both subjects and supports of their own representation, naturally produce only one shadow in the light of the sun. But here, under the effect of the rotation of the Earth and the process of photographic recording, a form of tension is established between the fixed, almost immutable architectural subject and the superimposition of this shadow which is multiplied and becomes dynamic or even kinetic. .
Lisa SARTORIO Born in Tunisia in 1970. Lives and works in Paris.
Trained at the Ecole des Beaux-Arts in Paris and at the Institute of Advanced Studies in Fine Arts.
Represented by the Binome Gallery, Paris.
Series Here or somewhere elsePigment inkjet print on Awagami Murakumo kozo paper, framed 43,5 x 43,5 cm, 30 x 30 cm.
Starting from the critical observation of images disembodied and smoothed by the media, Lisa Sartorio captures photographs of cities ravaged by bombing, which she prints on paper Awagami kozo. She then comes to manually work the surface by exfoliation, wrinkling or crumbling. By altering these photographs of places, of which she keeps only the name of the conflict in subtitle, she brings the viewer to the epidermis of the image. By modeling her fingers, she calls forth new signs. She lays the paperwork of an experiment, when in her flatness, photography was no longer enough to evoke the story of a tragic moment. From these fleeting stories, whose traces fade from our memories Lisa Sartorio proposes to restore a materially sensitive and impacted form. The Ici ou ailleurs series therefore redoubles the collapse of the representation of contemporary conflicts by media photography. It restores our consideration of the other and the living, by interrogating by the sense of touch, the distance taken with these images.
Rafael SERRANO Born in Caracas in 1977. Lives and works in Paris.
Master's degree in photography and contemporary art from Paris 8 University.
Represented by ABRA Gallery, Caracas, Venezuela.
Relaxed photographic objects, Canvas, 90 x 60 x 20 cm.
Invitation to conceive the photographic image not as a flat, two-dimensional surface, but as a volume that questions certain elements of the perspectivist representation system. Particular attention is paid to the physical support of the image. This work seeks to mix the fields of sculpture and photography.
The direct consequence of this photographic form which does not want to be exclusively flat is that of questioning the informative possibilities specific to the photographic medium and to favor a displacement of the referent. They are abstract sprites that confront the notion of document. They are rather a kind of anti-document, an opaque object, without context and of variable form.
Michael WITTASSEK Born in Bergisch (Gladbach, Germany) in 1958. Lives and works in Bergisch Gladbach.
Mélanographie, 11 b / w photographs, 181 x 112 cm each, steel cable, total dimension 300 cm, ø 150 cm.
The installation Mélanographie is an imposing black sculpture, composed of several intertwined large-format prints, which will occupy the space, as an obstacle to circumvent. These are images that have lost their reference to a recognizable reality and that then show us things from a disconcerting point of view. An air stream generated by the visitor passing through this place will move the photographic paper. Contrary to its heavy appearance, the work then shows its lightness.