RESIDENCE ARTISTIQUE: 2rd SEP. 2016 — 18th SEP. 2016
SHOW TIME: 17th SEP. 2016 — 31th OCT. 2016 

OPENING: 17th SEP. 2016, Saturday

About this exhibition:

Patrick Tosani's artwork emphasizes on ratio and monuments. Having studied architecture, his very first photography work is over amplifying the objects and symbols. Works exhibited in "Space Exchange" aim to discuss the contradictions between the objects being shot. The broken city has become an ordinary model, or perhaps a theatre for performance of stories. Pictures that project reality disrupt the angle with which we see the world.

Claire Chevrier raises the question about the relationships among space, people, and people’s relationship with work, life, and public environment. So the artist crossed the boarders of cities to enter the urban scenery - construction sites and buildings. When the buildings become a barrier, it circles an undefined zone. The artist searches through many capital cities in the world, and the photos taken in this process constitute "Space Exchange." They witness how metropolises are assumed to be the empty, unusable objects standing in between two worlds.

Artists' Bio:

Patrick Tosani was born in Boissy-l’Aillerie, France. He studied architecture in the 70s, and then turned his passion to photography. He became important in the French photography circle in early 80s, and is one of the most renowned contemporary photographers in the theoretical field. He won the 1983 Kodak Photography Competition and the Nièpce Prize in 1994, and has been teaching at the The École nationale supérieure des Beaux-Arts since 2004.

Claire Chevrier was born in Boissy-l’Aillerie in 1963, and now lives and works in Paris. He was the artist in residence in the Roman Villa Medici project during 2007 -2008. He has been teaching at the École Nationale Supérieure d'Architecture de Versailles since 2012, and is an active member of the French contemporary photography circle.

In these city portraits and models, people don’t need each other. I do not know if it is this common apprehension of discomfort that brings us closer. But in our common experience, this ordinary feeling always afflicts us so much.

It is better to accustom ourselves to the idea that cities will no longer be the places for transformation in the world, but perhaps only testing fields for a series of resistance.

What I catch a glimpse of is this implacable law of contemporary cities - amnesia. It has been a  long time since we still had hope for architecture. Everyone knows that this kind of "art" cannot make us happy. The walls of cities do not ooze boredom but forgetfulness. The cities have no memory, and the buildings look the same as chameleons. They wear make-up of white, raw concrete, and glass, to conceal their unattainability of accuracy and to camouflage injustice.

No one can escape from it. In our homes, commodities take up our time by their deafening, scarcely filtered clamors. We never cease to belong to this mechanism filled with grinding of gestures and free attitudes. The source of such degenerated works are never sufficiently denounced. In general, I think that we always emphasize too much on the architectural plans that we forgive the architects too easily, the first ones to give up.

Nothing will survive in this era. Comments, especially your interpretations. It is astonishing to think that photographs have the faculty of redemption in this weak period. There is something outrageous and almost malicious in the showrooms of Claire or Patrick's models, which presumes the failure of  aesthetic effectiveness. In this case, an anxious ceremony is created. When embarrassment prevails the ceremony, one tries to justify the separation between reality and its interpretation.

At the same time, there is no other solution.

Let us therefore accept the idea of ​​playing with cardboard models, cubes, and projection targets. What look like toys actually turn out to be blitzkrieg decorations. There are two hypotheses: either the image is blocked, interrupted in its trajectory, or it knocks on the door waiting for a hypothetical reception. People met in Egypt invite themselves and express themselves. They contribute nothing here, and have no interest in the walls of the deformed cities. Would the pitiful destiny of modern architecture be only white sheets, receptacles of anarchic images?

What do these photographs of the Arab market, which filled with exotic scenes, want to express? These are lively, sensitive, all-devouring beings in oppose to the white walls.I joyfully see in this pile of scattered notes without history, as if they were human activities and exchanges. The wall needs this flesh to better repress the fossilized time of petty bourgeois interiors. Our eyes wander over the cardboard walls, on the facades of the models. To give back flesh is to refuse the urban decoration. Just sprinkling some paint on it is enough to prove its absurdity. The urban structure that is covered by amusements of ambitious expressionism, admit its weakness.

The buildings seem to have waited long to take on shape with the help of these projections, and to question the clamors of the world. Structures and cities resemble us. Every moment that passes is like an uninterrupted magnetic stream piercing through us. It hides among us, but we do not care, we do not even feel that we are pierced on all sides.

It is the autistics who make the city a deaf and dumb object.

François Cheval (The Director of Nicéphore Niépce Museum)
Nicéphore Niépce Museum locates at Chalon sur Saône, France, where Joseph Necephon Niépce, the inventor of photography, was born.