[Le récit] it is first of all a prodigious variety of genres, themselves distributed between different substances, as if all matter were good for man to entrust his stories: the narrative can be supported by the articulated, oral or written language, by the image, fixed or mobile, by the gesture and by the orderly mixing of all these substances; it is present in the myth, the legend, the fable, the tale, the short story, the epic, the story, the tragedy, the drama, the comedy, the pantomime, the painted painting (which we think of the Sainte-Ursule de Carpaccio), the stained glass, the cinema, the comics, the miscellaneous fact, the conversation.

Roland Barthes, « Introduction à l'analyse structurale des récits », Communications, 1966
Olivia Gay, Fatimatou

_ par Raphaelle Stopin

Les visages d’Olivia Gay sont tous féminins. Ces femmes – ou devrait-on dire ses femmes tant elles semblent faire communauté autour d’elle, dans une sorte de sororité -, paraissent toutes volontaires ; quand bien même elles subissent, elles sont présentées agissantes. Olivia Gay les photographie dans leur cadre de vie, de travail, parfois de privation […]

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Olivia Gay, Grace

Droit de regard, droit de cité
_ par Dominique Baqué

Les femmes d’Olivia Gay ne sont pas encore des révoltées, moins encore des militantes : mais elles persistent à exister, elles défient la cécité d’une société fracturée dans l’écart devenu incommensurable entre ceux que le hasard a dotés de tous les biens et qui, sans cesse, se montrent, s’exposent, s’affichent, et ceux qui n’ont rien, et dont l’on voudrait nous faire croire qu’ils ne sont rien. […]

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Olivia Gay, Les ouvrières sur fond rouge

Olivia Gay, le style documentaire
_ par Caroline Bach

Olivia gay emprunte clairement le style documentaire. Dominique Baqué, interrogeant justement la notion de document, écrit : «Or, il ne s’agit pas d’en revenir au document comme preuve infaillible. Pas plus que l’art, le document ne «donne» le réel : il le construit, lui donne sens, au risque des faux sens, des contresens, mais il n’est pas et ne sera jamais l’épiphanie du réel.» […]

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sintitulo gallery

Espaces creux, espaces communs
– par Joelle Zask

Parmi les sculptures d’Arnaud Vasseux, il y a des petites choses et des grandes, des objets en bois, en polyéthylène, en résine ou en carton, des dessins et des sculptures, des bas reliefs et des éléments mobiliers. Où se trouve leur communauté ? La première chose à dire, c’est qu’elles n’ont pas d’unité, et c’est tant mieux. L’unité suppose l’identité, pas nécessairement des formes, mais des mobiles de leur invention. […]

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The Artificial Reality Of The Rough Within Beauty Sublimation
– by Cristina Albertini Bahnarel

To the images of the fragments of body covered by wax add now real indoor scenes about which we would not know to say if they are glimpses of a boudoir, beauty salons, simple workshop views or what else… It could be about a fiction narrative, some kind of dystopia, or the psychedelic expression of the genre of Twin Peaks. A narrative of that personal story of the cult of the image… With these images, Marta awakes this phrase that Louise Bourgeois (…)

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Photography As A Mask Of Reality
– by Bruno Dubreuil

So here we are in the world of trompe l’oeil, of this illusion that aims at the perfect repetition of reality.
This is a genre well identified and codified in the history of art, the meaning of which has evolved over the years: first memic virtuosity, then subtle play with reality.

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What Is Left Afterbeauty?
– by Zofia Krawiec

The series by Zgierska depicts an unusual, intimate self-portrait. Each sheet features the artist’s face imprinted on it moments earlier. However, traces of her image remain concealed, blurred and obliterated in the photographed forms. The concept of “taking off the mask” is a cultural archetype.

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Post – by Christian Caujolle

The sharpness of the images combines with the permanence of the light that makes it possible. With its consistency, its repetition. An extremely white light, paradoxical, flattering at the same time as sculpting. A formidable light, excavating details but not enhancing them. An operating room light. Surgical.

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About Metroplex
– interview with Jean Christophe Nourisson

On the occasion of their exhibition “Metroplex #1” at Atelier Soardi in 2008, this interview with Jean-Christophe Nourisson evoked the main questions that his own work has in common with the research of Anne Favret and Patrick Manez: our urban condition.

The interview was published in “Exporevue” at the time of the exhibition.

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– by Sophie Braganti

How to make liveable what so often resembles disorder, neglect and veneer of absurd plans and policies tending to minimize, to reduce the place of the human. Our eyes sort, agency, reorganizes. It invents or reinvents.

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