Place de la Victoire
Bertrand Gadenne uses the principle of video-projection in order to assert the considerations of the fictional appearance of the image relating to the places of exhibition and
the use of public space that becomes the theater for strange nocturnal appearances. In that way, more than one passer-by strolling down the street must have jumped with fright or fascination after
seeing a disproportionately large owl observing the urban setting. Here, we are close to surrealistic digressions, in the urban and architectural meanders in which the animalistic appearance becomes
a mental construction, a subject to ponder. This stroll outside the walls, these beginnings of stories imply ambivalent thoughts between humor and repulsion, fascination and horror, revelation and
disaster. It’s also a reflection on the modes and ways of representation, on the unfathomable complexity of the relation to animality.
Jean Marc Huitorel
Betrand Gadenne develops a work in which the projected slide and, more recently video, invite the viewer to rediscover, either in an exhibition or just strolling down the street, a wonder that has been forgotten for a long time: that of the materialization of an image in space.
By designing luminous devices that are unusual and specific to each of the natural objects or living beings for which he thus creates the appearance, Bertrand Gadenne produces situations with a certain magical quality and, consequently, favorable to meditation on both the technical and poetical links that his work weaves between "the nature of things" and the fragile miracle of their visibility.
Bertrand Gadenne lets us catch a glimpse of a discreet weakening of some certainties that support the visual relation to the world, which is ordinarily forgetful of the extreme physical singularity of light and phenomena of projection.
7 rue du Terrail
'With the lightness of a feather, the work only seems to want to brush against our consciences, but it leaves a trace much deeper and acute than - appearances - would have us believe.'
Place de la Victoire
A piece of sugar thrown into a glass of water, this image has been used in theater classes to show students how they can inspire their dynamic acting in the interpretation of drama, of tragedy. Fascination for the look of an ineffable hero who is disappearing and which was the origin of the series Le drame du sucr.
Born in 1966 in Paris, Philippe Fontes lives and works in Saint Etienne. Starting in 1985, he studied photography during his many trips to the United States. At the end of the 90s, he collaborated with improvising musicians; video proved to be an efficient medium during interventions in concerts. In 2004, he and other artists founded the group PLUSMOINS in which he is currently continuing his work.