“It’s part of the photographer’s job to see more intensely than most people. He must have and keep in him something of the receptivity of the child who looks at the world for the first time or the traveler who enters a strange land. “(Bill Brandt)
Photographing any type of perspective is a challenge. Film or photo sensors being shot, it takes trickery to make the brain believe that a volume or scenic space can enter in it. That is a problem submitted to artists, technicians and scientists since ancient times. As many solutions as civilizations, eras, schools or even artists, playing with the imagination. For Science Day 2018, the Caenese exhibition offers a sample of the author’s photographic solutions.
If the main types of perspective are restored in the exhibition – architectures well vertical, extended panoramas, aerial views or “riders” – the digital allows any daring and creative freedom. To enrich and exceed the norm: psychological or Dadaist spaces, and even the impossible geometries of Escher. These non-academic perspectives generated by software assembly often have too many flaws, that the creative mind draws on its advantage by anticipating them to correct them … or to exaggerate them at the “infra-thin interstices” of the visual logic; thank you Marcel Duchamp! This requires as much attentive presence and imagination as rigor and logic! Maurice Blanchot says somewhere that “all art originates from an exceptional defect”, this is exactly the case.
The photographer here flirts with the General Semantics of Alfred Korzybski: the photo is not what it represents, it is a work in itself. These photo perspectives are epic in the theatrical sense of Bertolt Brecht. Visual & narrative condensation for each complex situation, such as this “ultimate voyage of Columbus Columbus” whose tomb makes a notable procession against the backdrop of the “invisible appearance of a caravel” – Christlike paranoia image as Dali – because, as Brecht says we must “show that we show”, which will be duped: the spectator? Let him emancipate himself from his conditioning in the libertarian arcana of Art.
And that we have fun to spot small errors of algorithms (piously preserved) that fill here and there certain images, that we observe everything and that we enter their imaginary epics where time, roles, objects, places and people intermingle happily.
Then Life may seem to you the absolute marvel of the universe. What the A.I. can not perceive. “Artist”, that is to say the penetrating gaze of a Picasso, Dalì, Cartier-Bresson or Salgado, on this world that the irrational economic methodically puts in ruins. Emancipate Brecht way, smiling as Prévert. In Photography too, “revelation” makes the mind healthy.
An exhibition in partnership with the University of Caen and its Common Documentation Service (SCD), the Caen ESPE and “Surface Without Target” (Caen Association for the Defense and Promotion of the Current and Creative Image).
Two exhibition spaces:
Ecole Supérieure des Professeurs d’Ecole (ESPE) of Caen, 186 rue de la Delivrande in Caen; visible on business days from October 8 to December 5, from 8:30 to 18:00.
Rosalind Franklin University Library (BURF / Sciences-STAPS) campus 2 of Caen; from December 6 to January 31, 2019, Mondays from 10 am to 7 pm, Tuesday to Friday 9 am to 7 pm, Saturday 10 am to 7 pm
A virtual flickr booklet of the exhibition is available on the BURF website with the link https://www.flickr.com/photos/97346339@N05/45225718271
Conference “The prospect? Its epic in art and science is pedagogical usai “co-animated by the photographer and the mathematician (educational trainer) Jean-Pierre Legoff, specialist of the Perspective in the History of Art. on November 16th at the ESPE de Caen.
Perspective papers and devices presented by the Nicolas Oresme Mathematical Laboratory (University & IREM of Caen) in addition to the photo exhibition at the Rosalind Franklin Library, in December and January.
The author, duchampien photographer
Retired professor of Applied Arts, former teacher of Maths-Sciences and founder of the Paul CORNU Art Gallery in Lisieux, black belt of Aikibudo, music partner partner photo of the Normandy Regional Orchestra since 2013 and some Jazz(wo)men caen.
Transdisciplinary, he is interested in creative processes such as the neuropedagogy of art which he was one of the pioneers in France, or in contemporary art in spatial imagery, the extra-sensory perception of artists or ” mystics “[eg. Teilhard de Chardin], the “intuitionist” revision of the Theory of Numbers. In 1995 he invented a systemic and dynamic “metagrolis” to rationally classify ideas or theories [eg. on the evolution of living things].
In 50 years of photography he explores films, effects and special framing in a pictorial and surreal vein. Worthy son of an excellent Cézanne painter, he regularly exhibits his images at the BU Rosalind-Franklin (campus 2, Cæn): photo-manifesto “No one owns the eyes of others”, “The Way of Photography”, “I’m 10 years old” (order for the anniversary of the BU Sciences-STAPS), “Harmonies alpestres” half-photo half-BD reportage on a concert of altitude and the geology of the Alps. In 2016, he joined Surface Sans Cible (SSC, association dedicated to the “promotion of current and creative photography”) in which he participated in Normandy Impressionniste as well as with the photo collective OI-14 & La Fabrique au Chemin Vert in Cæn.
Epic Perspectives exploits the formal & geometric resources of digital photography. The images come from a personal technique of photographic fusion associated with a creative-martial presence in complex situations (shooting), to provoke automatic assembly mistakes, inconvenient for reason but of delicious surrealist poetry from “objective chance” descending a staircase on a large glass.
École Supérieure des Professeurs d’École (ESPE) de Caen / Bibliothèque Universitaire Rosalind Franklin (From December 6 to January 31)
186 rue de la délivrande 14000 Caen France
October 08, 2018 to January 31, 2019