Cover #1

Keffer (France)
Eric Linard Editions
Photography / color / digigraphy print / 70 x 50 cm
Edition of 30

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About the work

Inversion is often that of values, when the lawful gives way to the wrong, when the prohibition becomes normative, when the social facade reveals a form of inner truth. In Cover, the inversion reaches a sociological and aesthetic scope very particular: it is the moment when the visible - which must logically be exposed, admired, seen and shown from all possible angles - hides, is veiled, drapes itself, and thus opposes to our eyes an end of non-reception as violent as insistent.

Displaying all the moments when the city unconsciously transforms itself into Christo's installation, Keffer unveils at the same time the functioning of desire: he is never stronger than when he is rejected, when the gaze is simultaneously solicited, intrigued and refused. . More striking still, in this series alternating objects of arts and everyday objects or landscape masked and reduced to a form of enigma, the windows of the luxury signs, overprotected at regular intervals and weekly.

It is then the buried truth of this industry which goes back to the surface: what we retain of luxury is first of all the exhibition, the visibility, the ostentation of the materials, the brilliance, the reign of the image. , from the window to advertising. But luxury only works if, while being intensely visible, it remains so deeply out of reach. Cover documents this inversion, the moment when ostentatious consumption reveals its secret operation, this hidden-shown game, its reverse, which is also its truth.

Basically, and more generally, what do we see? Our fears, our hidden desires, our collective unconscious? The dark side of our affects? No clear answer is imposed by a series of photos that offer both the raw objectivity of the testimony and the framing of the eye of the artist. This is the moment when the image turns around, where what is represented represents us, where the photographic plate becomes a mirror and challenges us. To show a phenomenon in all its light without asserting anything, to pose a reality but to reserve its interpretation, to establish a fact without enclosing it in a concept: as many qualities of the photographic image as it is handled here, so many virtues that set the power and ambition.

L’inversion, c’est souvent celle des valeurs, quand le licite laisse place à l’illicite, quand l’interdit devient norme, quand la façade sociale révèle une forme de vérité intérieure. Dans Cover, l’inversion atteint une portée sociologique et esthétique toute particulière : c’est le moment où le visible — ce qui doit en toute logique être exposé, admiré, vu et montré sous tous les angles possibles — se cache, se voile, se drape, et oppose ainsi à notre regard une fin de non-recevoir aussi violente qu’insistante.

Exhibant tous les moments où la ville se transforme inconsciemment en installation de Christo, Keffer dévoile du même mouvement le fonctionnement du désir : il n’est jamais plus fort que quand on le rejette, quand le regard est à la fois sollicité, intrigué et refusé. Plus marquantes encore, dans cette série faisant alterner objets d’arts et objets du quotidien ou du paysage masqués et ramenés à une forme d’énigme, les vitrines des enseignes de luxe, surprotégées à intervalles réguliers et hebdomadaires.

C’est alors la vérité enfouie de cette industrie qui remonte à la surface : ce que l’on retient du luxe est d’abord l’exhibition, la visibilité, l’ostentation des matières, du brillant, le régne de l’image, de la vitrine à la publicité. Mais le luxe ne fonctionne que si, tout en étant intensément visible, il reste aussi profondément hors d’atteinte. Cover documente cette inversion, le moment où la consommation ostentatoire révèle son fonctionnement secret, ce jeu de caché-montré, son envers, qui est aussi sa vérité.

Au fond, et plus généralement, que voyons-nous ? Nos peurs, nos désirs enfouis, notre inconscient collectif ? La face sombre de nos affects ? Aucune réponse claire n’est imposée par une série de photos qui s’offrent à la fois avec l’objectivité brute du témoignage et le cadrage de l’œil de l’artiste. C’est le moment où l’image se retourne, où ce qui est représenté nous représente, où la planche photographique devient miroir et nous interpelle. Montrer un phénomène dans toute sa lumiére sans rien affirmer, poser une réalité mais en réserver l’interprétation, établir un fait sans l’enfermer dans du concept : autant de qualités de l’image photographique telle qu’elle est maniée ici, autant de vertus qui en fixent le pouvoir et l’ambition.

Thomas Mondémé

About the artist



Born in France. Lives and works in Paris, France.

Photographer and multi-disiplinary creative collaborating with various clients, from major international brands to subculture independents.

About the publisher

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Eric Linard Editions

It was in 1970 that Eric Linard began publishing prints in Alsace in his workshop "2A". In 1996, he set up the workshops and the gallery of what became Éric Linard Éditions en Drôme Provençale, to devote himself to screen printing, lithography and engraving. Many local, national and international artists come to work there, from the design to the finishing of their prints. In forty years, Éric Linard sees his small screenprinting workshop becoming an international publishing complex and one of the most famous workshops in Europe, while actively participating in the creation and circulation of the works in his collection in the whole world. Few works leave their workshops without their secret duty, beyond the technical input, some more essential contribution - according to the desires of the artists. Some only want assistance to measure the resources of each process of reproduction: lithography, screen printing, digigraphy, etc. Others claim more, sometimes even the suggestion, or the idea of departure, of the original work, without prejudice to collaboration at all stages of its shaping. Conceptual art is customary for these delegations. These are all the same of an uncommon condition: not a simple complicity between the artist and his interpreter (in this case his publisher), but a concordant intelligence means and parties, latent or manifestos, of the work of art.