Foucault

1983 · 62310 — s. l.: Par l'auteur 1983. Fine. Par l'auteur s. l. 1983 22 x 22 cm une feuille FOUCAULT Michel Portrait of Michel Foucault. Original artist's photograph. Large original photographic portrait in black and white by Marc Trivier. Original unsigned silver print like most of Trivier's works. Small tear to upper edge. A handsome original silver print proof by the famous Belgian photographer one of the most secretive contemporary artists who - despite early international success - preferred to limit his output to preserve the coherence of his oeuvre. Marc Trivier doesn't do after-prints of his old portraits and in any case the paper he used for printing is no longer sold. The artist ""prints his images himself on Ilford baryta paper devoting several days of work to each. He pays special attention to rendering the whites contrasted with unusually dense blacks. A Marc Trivier print is like none other. When he does agree to exhibit his images he suspends them in self-made stainless steel frames giving the paper the freedom to live its life"" Xavier-Gilles ""Marc Trivier et la tragédie de la lumière Marc Trivier and the Tragedy of Light"" in Le Monde Libertaire 2011. This ""life of the paper"" participates in the work in the same way as the various changes that the photographs undergo when they're exhibited: ""In the boxes the prints buckle but so what: it's the photographer who's giving rise to this sort of accident"" Claire Guillot ""Les face à face sans échappatoire du photographe Marc Trivier The inescapable encounters of the photographer Marc Trivier Le Monde 2011. Marc Trivier has a particular sensibility for the material aspect of his work. Though photography essentially relies on the multiple this intervention by the artist in the entire process of creation gives these prints an autobiographical air. Whether photographing artists mad people trees or abattoirs Marc Trivier approaches all his subjects with a gaze that is as precise as it is intense. ""In his cosmogony each thing each being whether plant animal or human deserves the same respect. Because all are confronted by the same cast-iron law: solitude"" Luc Desbenoit. The beauty that emanates from his photos comes from this nakedness. There is no retouching and no reframing. One finds throughout his oeuvre the same square format underlined by the squares of the negative that Trivier leaves on his images. This frame traps our gaze in the photographs where the artifice of color is rejected for a cutting black and white. All artificiality gone we are faced not with the arrangement of a subject but a presence exacerbated by the radiant and singular light testimony to a lived moment and not a pose. It is this light tied to the photographic medium that unites Marc Trivier's various series: ""Marc Trivier's photographs write a tragedy of light which does not welcome beings - humans trees or animals - but rather burns them before disappearance"" Xavier-Gilles in Le Monde Libertaire. It is also this tragedy of light freed of all artifice that gives his works the air that makes them so immediate. This ""burning"" of the light throws us back into a real moment to the ""that happened"" of Barthes Camera Lucida 1980: ""Of thirty-five years of photography of various obsessions perhaps this is what is left: a singular way of recording the burning of the light carried through one image after another in a succession of propositions that seem to resemble one another and yet each is just as singular as the fraction of the moment to which it refers"" Marc Trivier. ""Photography says only one thing: 'that happened.' You can only record what has been. If there is a tragedy to it it is in this"" Marc Trivier Warhol Foucault Beckett Dubuffet etc.: the most famous writers and artists posed for Trivier. At the same time the artist was just as interested in the margins of society to what people did not wish to see. He therefore photographed the mentally c Par l'auteur unknown