SET 2017

Filigranes Editions

AUTORS:Israel Ariño, Leslie Moquin, Christian Sanna

TEXTS: Dominique ROUX, Teacher, critic and photographic historian 

Dimensions: 6. 8 x 9.8 inches
Languages: French/English
Price: 25,00 €
Print run: 500 copies
ISBN : 978-2-35046-433-6

#4 « Le Partage des eaux » (Israel Ariño)
#5 « Qui Sème Le Vent » (Leslie Moquin)
#6 « Carnet de Vol » (Christian Sanna)

Extracts from the texts of Dominique Roux

Israel Ariño (Spain), Leslie Moquin (France) and Christian Sanne (Italia/Madasgacar) form the trio of the edition 2017. Coming from different generations and backgrounds, their photographic expressions question the themes of water, wind and air… in a subjective and assumed authorial vision. These three views, combined for the first time, have entered into a resonance that has given rise to protean and transversal productions, of which this boxed set entitled Traversé[e]s is the showcase. 

In 1985, the British Scott Archer laid down the wet collodion technique, primarily to improve the sharpness of image and reduce the exposure time compared with earlier processes, thus enabling Edward Muybridge, who used it for his research, to study the movement of bodies, and Roger Fenton to take the first war images in the Crimea. In contrast, Israel Ariño now seeks to remove visibility by introducing into the real an element of the imaginary and of poetry. In contrast, Israel Ariño now seeks to remove visibility by introducing into the real an element of the imaginary and of poetry. He does not look for any transparency in the emulsion on glass, but rather an opacity and a mystery, an imperfect beauty due to the operator's gesture, unique to each plate. He takes advantage of flaw of the support, of its defects of adhesion to give back to the photograph its spectral dimension, dear to Roland Barthes: ghostly images that come back to visit us, distracting us from the tranquil evidence of the present, forcing us to look at Toulouse with the eyes of yesterday...

It is this wind, the Autan, Leslie Moquin has decided to photograph. But how to make this phenomenon visible other than through its effects? Photography is far too mute to reproduce its sounds and too fixed to reflect its movements. This is why, under the guise of a conceptual approach, she has chosen to “wander” between two directions: reality and fiction, the document and the simulacrum. Thus, by questioning this wind, she is at the same time questioning the double invention and function of photography: thant of Niépce and Daguerre, dedicated to observation, and that of Bayard with his famous Autoportrait en noyé, turned towards invention, the staging of reality…

Like Mercury, the god of travel “with winged sandals”, he followed by road between Toulouse and the border of Perthus the line taken by the pilots of Aéopostale, in search of these beacons which, in the absence of sophisticated navigation instruments, guided their flights. A real road movie doubled as a treasure hunt to find these beacons and transformers, from village to village, an to photograph the remains and imprints left in the landscape…