Pour accéder à toutes les fonctionnalités de ce site, vous devez activer JavaScript. Voici les instructions pour activer JavaScript dans votre navigateur Web. Brigitte Bauer - Rond-Points

Rond-Points
Read the text | Diaporama | Back to gallery


  • Brigitte Bauer's photographic oeuvre spans more than a decade with great coherence but without the concern for system that this term sometimes calls up. Initially known for her colour photographs of the Sainte-Victoire mountain, she has since pursued her reflection on the contemporary landscape through two series respectively dealing with roundabouts and the new tended green spaces in city centers or on their outskirts. This evolution has allowed for a more subtle appreciation of her work, which might have seemed to adhere to a purely contemplative current of photography, as a result of the grandiose and majestic silhouette of the Sainte-Victoire as a leitmotif. With the roundabouts and the public parks, the dialectic sustaining her approach to landscape becomes clearer; our images of nature confronted with the modifications exerted by socio-economic mutations on the territory.
    By dealing with the roundabouts she replaces the experience of a unique « museumized » site with a collection of micro-landscapes whose situation destines them to an ephemeral and distracted vision. Brigitte Bauer invites us to decipher these places without past, springing up ex-nihilo on the sites of the roundabouts. From one to the next, following the assemblages of disparate elements borrowed from landscape representation (rocks, columns, and cypress trees), the roundabouts appear as places injected with a memory, the memory of a tradition that survives through quotations and stereotypes. Her photographs realized in parks extend this thematic: removed from their historical context and recycled in their new environment, the medieval paddock, the Japanese bridge, and classical perspective become empty signs, purely decorative, the objects of an erudition which doesn't always escape kitsch.
    In this series, the artist more specifically deals with the place of the vegetal in the urban space. Not without a discreet irony, she underlines the intrusion of references to the agricultural world in the city environment: le verger, the garden, weeds, archetypes that transform the public garden into a conservatory of our preconceived notions and the theatre of bucolic nostalgia. In the purest documentary tradition, Brigitte Bauer reports what she sees in a way which is however neither bitter nor austere. The obviousness of the compositions, the transparency of the light, and the subtlety of the tones owe nothing to chance. Visual seduction is a concerted trap the artist sets for, us to protect herself from all Manicheism. The spectator will be surprised, in the same manner as the author perhaps, to enjoy these artificial, prepared landscapes, these places belonging to a culture which will be more than ever what remains once all has been forgotten.

     

    Christophe Berthoud, 2007


    Rond-Points
    Read the text | Back to gallery

    Agrigente 2000 599-09

    C-print, 48 x 48 cm

    Edition de 5



    Alexandrie 2005 1027-04

    C-print, 48 x 48 cm

    Edition de 5



    Anduze 1997347-08

    C-print, 48 x 48 cm

    Edition de 5



    Arles 1995 170-03

    C-print, 48 x 48 cm

    Edition de 5



    Barcelone 2000 583-12

    C-print, 48 x 48 cm

    Edition de 5



    Caen 2000 619-04

    C-print, 48 x 48 cm

    Edition de 5



    Caissargues 1997 349-11

    C-print, 48 x 48 cm

    Edition de 5



    Carpentras 1999 491-04

    C-print, 48 x 48 cm

    Edition de 5



    Catania 2000 594-09

    C-print, 48 x 48 cm

    Edition de 5



    Chambéry 1997 357-06

    C-print, 48 x 48 cm

    Edition de 5



    Chambéry 1997 357-08

    C-print, 48 x 48 cm

    Edition de 5



    Charolles 1999 554-12

    C-print, 48 x 48 cm

    Edition de 5



    Fos s_ Mer 1997 344-09

    C-print, 48 x 48 cm

    Edition de 5



    Fos s_Mer 1997 323-07

    C-print, 48 x 48 cm

    Edition de 5



    Grenoble 1997 356-08

    C-print, 48 x 48 cm

    Edition de 5



    Istres 1995 169-11

    C-print, 48 x 48 cm

    Edition de 5



    Jérusalem, 2004 901-10

    C-print, 48 x 48 cm

    Edition de 5



    La Clusaz 2001 655-02

    C-print, 48 x 48 cm

    Edition de 5



    Lille 2000 647-08

    C-print, 48 x 48 cm

    Edition de 5



    Marignane 1997 333-12

    C-print, 48 x 48 cm

    Edition de 5



    Marignane 1997 334-05

    C-print, 48 x 48 cm

    Edition de 5



    Nimes 1997 350-01

    C-print, 48 x 48 cm

    Edition de 5



    Noizay 2000 640-10

    C-print, 48 x 48 cm

    Edition de 5



    Paris 1999 480-06

    C-print, 48 x 48 cm

    Edition de 5



    Pélissanne 1999 492-10

    C-print, 48 x 48 cm

    Edition de 5



    Pont de Crau 2003 494-07

    C-print, 48 x 48 cm

    Edition de 5



    Port Saint Louis 1997 315-06

    C-print, 48 x 48 cm

    Edition de 5



    Redessan 1998 378-04

    C-print, 48 x 48 cm

    Edition de 5



    Salon de Provence 1999 493-09

    C-print, 48 x 48 cm

    Edition de 5



    Sassnitz, Allemagne 2002 733-09

    C-print, 48 x 48 cm

    Edition de 5



    Rond-Points
    1997-2005

    Brigitte Bauer's photographic oeuvre spans more than a decade with great coherence but without the concern for system that this term sometimes calls up. Initially known for her colour photographs of the Sainte-Victoire mountain, she has since pursued her reflection on the contemporary landscape through two series respectively dealing with roundabouts and the new tended green spaces in city centers or on their outskirts. This evolution has allowed for a more subtle appreciation of her work, which might have seemed to adhere to a purely contemplative current of photography, as a result of the grandiose and majestic silhouette of the Sainte-Victoire as a leitmotif. With the roundabouts and the public parks, the dialectic sustaining her approach to landscape becomes clearer; our images of nature confronted with the modifications exerted by socio-economic mutations on the territory.
    By dealing with the roundabouts she replaces the experience of a unique « museumized » site with a collection of micro-landscapes whose situation destines them to an ephemeral and distracted vision. Brigitte Bauer invites us to decipher these places without past, springing up ex-nihilo on the sites of the roundabouts. From one to the next, following the assemblages of disparate elements borrowed from landscape representation (rocks, columns, and cypress trees), the roundabouts appear as places injected with a memory, the memory of a tradition that survives through quotations and stereotypes. Her photographs realized in parks extend this thematic: removed from their historical context and recycled in their new environment, the medieval paddock, the Japanese bridge, and classical perspective become empty signs, purely decorative, the objects of an erudition which doesn't always escape kitsch.
    In this series, the artist more specifically deals with the place of the vegetal in the urban space. Not without a discreet irony, she underlines the intrusion of references to the agricultural world in the city environment: le verger, the garden, weeds, archetypes that transform the public garden into a conservatory of our preconceived notions and the theatre of bucolic nostalgia. In the purest documentary tradition, Brigitte Bauer reports what she sees in a way which is however neither bitter nor austere. The obviousness of the compositions, the transparency of the light, and the subtlety of the tones owe nothing to chance. Visual seduction is a concerted trap the artist sets for, us to protect herself from all Manicheism. The spectator will be surprised, in the same manner as the author perhaps, to enjoy these artificial, prepared landscapes, these places belonging to a culture which will be more than ever what remains once all has been forgotten.

     

    Christophe Berthoud, 2007