Menu Close

Andamento lento

04 feb. 2021 — 30 jun. 2021

Richard Pak

Les Fiancés

The photographs in this exhibition belong to the series Les Fiancés, realized in Naples in 2010.

“I came to Naples to visit Cristina. I liked the idea of discovering the city from her dented old Fiat. Night had come; we were driving along Via Manzoni which overlooks the Gulf of Naples, tossed about by the asphalt studded with cobblestones and lacerated at regular intervals by the roots of umbrella pines. It was then that I saw a first one, parked on the pavement, the windows entirely covered with newspaper pages. And a second... a third... until the long curve revealed a motionless procession of cars. The windows were sometimes carefully covered, sometimes with obvious haste. Cristina explained to me laughing: ‘They are making love!’.
A few years later I went back to photograph the lovers of via Alessandro Manzoni. I found them parked there, behind their makeshift curtains, young lovers in search of intimacy or old illegitimate couples. Day and night, with an animalistic gregarious instinct, seeking the security of the multitude against solitary predators. At dawn, the pavements of the deserted street are strewn with crumpled newspapers, like wrinkled sheets, the only witnesses of yesterday’s pleasure.
The street is so aptly named after Alessandro Manzoni, a prominent figure of nineteenth-century Italian romanticism, that I borrowed the title of his main novel, I Promessi Sposi.” (R.P.).



[FRE] Les Fiancés — Les œuvres présentées dans l’exposition font partie de la série Les Fiancés, réalisée à Naples en 2010.

“J’étais venu à Naples voir Cristina. J’aimais l’idée de découvrir la ville depuis sa vieille Fiat cabossée. La nuit s’était affalée; nous roulions sur la via Manzoni qui surplombe le golf de Naples, chahutés par le bitume constellé de flaques de pavés et lacéré à intervalles réguliers par les racines des pins parasols. C’est alors que j’en vis une première, garée sur le trottoir, les vitres entièrement recouvertes de pages de journaux. Et une deuxième…une troisième…jusqu’à ce que le long virage dévoile un cortège immobile de voitures. Les fenêtres occultées tantôt méticuleusement, tantôt dans une hâte manifeste.
Devançant ma question, Cristina me révèle alors, dans un grand rire blasé: ‘ils font l’amour!’
Quelques années plus tard, je revenais photographier les amants de la rue Alessandro Manzoni. Je les retrouvais garés là, derrière leurs rideaux de fortune, jeunes amoureux en quête d’intimité ou vieux couples illégitimes. De jour comme de nuit, cherchant dans un réflexe grégaire et animal la sécurité du nombre face aux prédateurs isolés. Au petit matin les trottoirs de la rue désertée sont jonchés de journaux chiffonnés, comme les draps froissés et les seuls témoins des ébats de la veille.
La rue porte si bien le nom d’Alessandro Manzoni, figure de proue du romantisme italien du XIXe, que je lui ai emprunté le titre de son roman phare, Les Fiancés.” (R.P.)

 

Biography
Multidisciplinary artist born in France in 1972.
Photography is his main medium, to which he also associates video and storytelling.
Since his first works he has been interested in representing intimacy in the private and public sphere.
From 2003 to 2009 he spent long periods in the United States where he shared the daily life of those he photographed, breaking free from the boundary between the viewer and the observed, from the inside and the outside.
With Je ne croirai qu’en un Dieu qui danse he chooses emotion as the theme of his works to question the dynamics between the crowd and the individual through a process of accumulation and seriality.
The Les Fiancés series also questions the intimacy experienced in public space.
In 2014, during an artistic residency, he spends a year meddling in the daily lives of ‘not exactly alike’ twin brothers. The series (photography, video and narration) addresses the theme of normality and society’s gaze on those on the margins.
Although the common thread of his artistic research is to observe how his contemporaries live and represent their ‘struggle for life’, he is also interested in the photographic landscape. In 2016 he began an anthology on the island space of which La Firme is the first chapter. The series takes us to Tristan da Cunha, the most isolated inhabited territory in the world, an attempt of ‘eutopia’ dating back two centuries.
His photographs are part of public and private collections, including that of the Bibliothèque Nationale de France. He regularly exhibits in France and abroad.

www.richard-pak.com