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Aller aux jardins
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  • One can recognize, in the images of Brigitte Bauer, a divide between the strong attention she pays to architecture, and a deep interest in the surrounding landscape, or more precisely in places and what they hold in terms of spoor and history. On the one hand we discern a focus on design, on construction, on spatial composition, all of which call for a certain abstraction, not to say timelessness; and on the other, an emphasis on that which makes a place specific and an instant unique, the perceptible sign of a moment experienced in real time. The photographs exploit the paradoxical complementarity of this relationship, albeit without defusing its freight of conflict or erasing its contradictions. What holds on and even imposes itself as a harmonious entity is also subverted by the presence of a dissociative force, a discreet tendency to disperse and clash. Of course this has something to do with chance and accident but it also comes from the sly input of the photographer, who slips into the field of vision a tiny roil, an element of play that comes close to stage direction. Here this inner skew gives rise to a narrative strategy, the jumping-off point for potential imaginings. Bauer's garden is a garden of meanders that cause us to move from one place to another thanks to a continuity that is in some ways virtual, always actualized in movement and travel, but powered by its own logic and energy—a logic and energy that are visual, or more precisely photographic. We are led on a ramble that takes us to sites always precisely situated through their relationship to buildings, to the sea, to a landscape, yet never trapped in a specific geographical locale. Seen this way, we are a thousand miles from a 'catalogue raisonné'. What's in play here has more to do with the succession of images, of editing in the quasi-cinematic sense of the term

    Jean Cristofol

    Exhibition presented in the context of the "Contemporary Images/ heritage" program co-produced by the Bouches-du-Rhône general council and the Factotum, with the support of the Provence-Alpes-Côte d'Azur regional council, the city of Arles, the Musée Départemental de l’Arles Antique and coordinated by Justine Flandin. Prints and framings by Voies Off, Arles. .


    Aller aux jardins
    Read the text | Back to gallery

    01 3465-66

    Inkjetprint sur aludibond, cadre bois blanc, 50 x 58 cm
    Édition 2 + 1 exemplaire d'artiste



    03 1242-06

    Inkjetprint sur aludibond, cadre bois blanc, 75 x 87 cm
    Édition 2 + 1 exemplaire d'artiste



    04 1265-06

    Inkjetprint sur aludibond, cadre bois blanc, 50 x 50 cm
    Édition 2 + 1 exemplaire d'artiste



    07 1278-09

    Inkjetprint sur aludibond, cadre bois blanc, 50 x 58 cm
    Édition 2 + 1 exemplaire d'artiste



    08 1276-03

    Inkjetprint sur aludibond, cadre bois blanc, 55 x 63 cm
    Édition 2 + 1 exemplaire d'artiste



    13 2723-24

    Inkjetprint sur aludibond, cadre bois blanc, 75 x 87 cm
    Édition 2 + 1 exemplaire d'artiste



    19 3297-98

    Inkjetprint sur aludibond, cadre bois blanc, 75 x 100 cm
    Édition 2 + 1 exemplaire d'artiste



    14 1271-07

    Inkjetprint sur aludibond, cadre bois blanc, 55 x 55 cm
    Édition 2 + 1 exemplaire d'artiste



    43 1276-10

    Inkjetprint sur aludibond, cadre bois blanc, 55 x 63 cm
    Édition 2 + 1 exemplaire d'artiste



    26 1267-02

    Inkjetprint sur aludibond, cadre bois blanc, 75 x 75 cm
    Édition 2 + 1 exemplaire d'artiste



    69 1246-02

    Inkjetprint sur aludibond, cadre bois blanc, 55 x 55 cm
    Édition 2 + 1 exemplaire d'artiste



    29 1290-12

    Inkjetprint sur aludibond, cadre bois blanc, 50 x 50 cm
    Édition 2 + 1 exemplaire d'artiste



    32 4243-44

    Inkjetprint sur aludibond, cadre bois blanc, 75 x 75 cm
    Édition 2 + 1 exemplaire d'artiste



    36 2581-82-83

    Inkjetprint sur aludibond, cadre bois blanc, 75 x 105 cm
    Édition 2 + 1 exemplaire d'artiste



    68 3914-15

    Inkjetprint sur aludibond, cadre bois blanc, 55 x 63 cm
    Édition 2 + 1 exemplaire d'artiste



    24 3353-54

    Inkjetprint sur aludibond, cadre bois blanc, 50 x 66 cm
    Édition 2 + 1 exemplaire d'artiste



    51 4334-35

    Inkjetprint sur aludibond, cadre bois blanc, 55 x 63 cm
    Édition 2 + 1 exemplaire d'artiste



    56 2821-22

    Inkjetprint sur aludibond, cadre bois blanc, 75 x 87 cm
    Édition 2 + 1 exemplaire d'artiste



    57 3240-41

    Inkjetprint sur aludibond, cadre bois blanc, 75 x 87 cm
    Édition 2 + 1 exemplaire d'artiste



    60 4286-89

    Inkjetprint sur aludibond, cadre bois blanc, 75 x 115 cm
    Édition 2 + 1 exemplaire d'artiste



    63 1267-05

    Inkjetprint sur aludibond, cadre bois blanc, 75 x 97 cm
    Édition 2 + 1 exemplaire d'artiste



    52 4447-48-49

    Inkjetprint sur aludibond, cadre bois blanc, 55 x 71 cm
    Édition 2 + 1 exemplaire d'artiste



    64 1252-10

    Inkjetprint sur aludibond, cadre bois blanc, 55 x 55 cm
    Édition 2 + 1 exemplaire d'artiste



    48 4643-44

    Inkjetprint sur aludibond, cadre bois blanc, 75 x 87 cm
    Édition 2 + 1 exemplaire d'artiste



    37 1287-01

    Inkjetprint sur aludibond, cadre bois blanc, 55 x 55 cm
    Édition 2 + 1 exemplaire d'artiste



    66 4032-33

    Inkjetprint sur aludibond, cadre bois blanc, 75 x 87 cm
    Édition 2 + 1 exemplaire d'artiste



    Vue de l'exposition au Musée de l'Arles Antique 2012


    Vue de l'exposition au Musée de l'Arles Antique 2012


    Vue de l'exposition au Musée de l'Arles Antique 2012


    Vue de l'exposition au musée-museum départemental de Gap, 2013


    Aller aux jardins
    2010 - 2011

    One can recognize, in the images of Brigitte Bauer, a divide between the strong attention she pays to architecture, and a deep interest in the surrounding landscape, or more precisely in places and what they hold in terms of spoor and history. On the one hand we discern a focus on design, on construction, on spatial composition, all of which call for a certain abstraction, not to say timelessness; and on the other, an emphasis on that which makes a place specific and an instant unique, the perceptible sign of a moment experienced in real time. The photographs exploit the paradoxical complementarity of this relationship, albeit without defusing its freight of conflict or erasing its contradictions. What holds on and even imposes itself as a harmonious entity is also subverted by the presence of a dissociative force, a discreet tendency to disperse and clash. Of course this has something to do with chance and accident but it also comes from the sly input of the photographer, who slips into the field of vision a tiny roil, an element of play that comes close to stage direction. Here this inner skew gives rise to a narrative strategy, the jumping-off point for potential imaginings. Bauer's garden is a garden of meanders that cause us to move from one place to another thanks to a continuity that is in some ways virtual, always actualized in movement and travel, but powered by its own logic and energy—a logic and energy that are visual, or more precisely photographic. We are led on a ramble that takes us to sites always precisely situated through their relationship to buildings, to the sea, to a landscape, yet never trapped in a specific geographical locale. Seen this way, we are a thousand miles from a 'catalogue raisonné'. What's in play here has more to do with the succession of images, of editing in the quasi-cinematic sense of the term

    Jean Cristofol

    Exhibition presented in the context of the "Contemporary Images/ heritage" program co-produced by the Bouches-du-Rhône general council and the Factotum, with the support of the Provence-Alpes-Côte d'Azur regional council, the city of Arles, the Musée Départemental de l’Arles Antique and coordinated by Justine Flandin. Prints and framings by Voies Off, Arles. .