Bruno Serralongue
29 Jun - 05 Sep 2010
© Bruno Serralongue
"Land First Mela", Rural Festival on Land Rights, Kandivali, World Social Forum, Mumbai, 2004
Série "World Social Forum, Mumbai", 2004
Tirage Ilfochrome contrecollé sur aluminium
127,5 x 158,5 cm, édition 1/3
Musée d'Art Moderne de la Ville de Paris
courtesy Air de Paris
"Land First Mela", Rural Festival on Land Rights, Kandivali, World Social Forum, Mumbai, 2004
Série "World Social Forum, Mumbai", 2004
Tirage Ilfochrome contrecollé sur aluminium
127,5 x 158,5 cm, édition 1/3
Musée d'Art Moderne de la Ville de Paris
courtesy Air de Paris
BRUNO SERRALONGUE
"Feux de camp"
from 29 June 2010 until 5 September 2010
The series of images Bruno Serralongue produces are the result of protocols which lead him to confort the concrete conditions under which information is produced and disseminated. Breaking with the supposed self-sufficiency of art, he travels regularly to places where news is happening, news he sees as a reservoir of images and where he works alongside of or in the place of photojournalists. The principle of commissioned works is at the heart of the various procedures he uses to produce his work while at the same time readily abandoning some of the prerogatives and decisions that are usually attached to artistic activity. His pronounced refusal of his own signature effects places him in a clear documentary lineage. The originality of his style is based on the effective paradox of a kind of voluntary impersonality resulting from his use of the neutrality of the image, which proceeded from a withdrawal of authorial subjectivity. His critical approach to the status of news images is that of a line of thinking deriving from conceptual art and the interventionist strategies of the early 1990s.
Pascal Beausse
Exhibition organized by Jeu de Paume
Curator: Marta Gili
"Feux de camp"
from 29 June 2010 until 5 September 2010
The series of images Bruno Serralongue produces are the result of protocols which lead him to confort the concrete conditions under which information is produced and disseminated. Breaking with the supposed self-sufficiency of art, he travels regularly to places where news is happening, news he sees as a reservoir of images and where he works alongside of or in the place of photojournalists. The principle of commissioned works is at the heart of the various procedures he uses to produce his work while at the same time readily abandoning some of the prerogatives and decisions that are usually attached to artistic activity. His pronounced refusal of his own signature effects places him in a clear documentary lineage. The originality of his style is based on the effective paradox of a kind of voluntary impersonality resulting from his use of the neutrality of the image, which proceeded from a withdrawal of authorial subjectivity. His critical approach to the status of news images is that of a line of thinking deriving from conceptual art and the interventionist strategies of the early 1990s.
Pascal Beausse
Exhibition organized by Jeu de Paume
Curator: Marta Gili