press .pdf


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YES FUTUR
yes futur

ALEXIS BERTRAND

PHOTOGRAPHY/VIDEO
From 13 to 20 november
berlin artstudios

FB : facebook/modul.home

ALEXIS BERTRAND
(1986,France)
Self media, Photographer, moviemaker, picture collector.
His self media practice is a reaction in front of his every day life
as an explorator of contemporary
globalize society.
His main worry interrogate the
fate of human being in the social
space, represent their discord,
their balance of power. He use
photography to seeing world with
a new and distanced viewpoint, a
stranger’s viewpoint to the world’s
strangeness
Consequences of the fact that the
world is crowded by a representation’s overflow, Alexis Bertrand
extract his own pictures from the
«society of the spectacle» is a
way to reclaim, to re-appropriate
by himself this representation, to
examine there interactions with
the world, with people, to extract
from this interactions a sensible
and critics vision. His photography practice compares in the
pictures, signs, people, objects,
to interrogate what unites it and
what separate it.
When he’s building a picture, he
use his frame like a mounting and
collage tools to match the different signs, the difference plans
who will be confront on the picture. This approach bring him to
practice video and to collect found
pictures.
Coming from a traditional street
photography vision, Alexis Bertrand start to remove localiza-

tion, to make room for a synthetic
vision of the individual location
in the post-modernity. A world
without main story, without linear
history, and who seems not belong to us.
In his picture, each place could be
find everywhere in the world, it’s
important to him to anterritorialize them in the way of overcome
them from a specific social purview. His point is to act out what
is collective, universal, politic, in
this common, fragmentary, intimate instant.
How the figure confers a presence
to what is around him? How individual apprehends space, appropriates it, protect themselves
from it, crosses it ?
We could assimilate his work from
what Allan Sekula calls the critical realism in photography. in
reference of the french literature
movement, in the 19 century.
A second time of his work is the
joint between his pictures. With
time, he build a large photography atlas. It’s in this atlas that he
extract few of this photography,
in order to create singular set. his
work ends up to use the form of
installations and books. This form
are thoughts like montage exercise between the few picture he
selects. This montage practice is
a privileged place to give a visibility to our contemporaneity in all
it multiplicity.


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