L’empreinte du vide
August 28 - October 2, 1999
As part of the photography month, Galerie Trois Points, in conjunction with Galerie Clark, will present the works of Belgian artist André Jasinski, an exhibition curated by curator Jennifer Couëlle. His works can be found in numerous collections, including the Bibliothèque Nationale de Paris and the Museum of Fine Arts in Houston, United States. Its presence in Europe was marked by a series of individual and collective exhibitions, for example, in 1992, that of the Miro Foundation in Spain. Although he exhibited more in Europe, Jasinski is not at his first exhibition in Canada. In 1997, we enjoyed his photographic works at the Center Vu in Quebec City.
The work of André Jasinski corresponds essentially to the ways of being of the places, to this unassailable link between the image and the witness as an experiment.
purified, naked, of the reality that experiences. The work is qualified by the meeting of the look of places with that of the artist. Indeed, more than the glance at the watchful eye of this photographer, even more than the evocative power of ridiculous places he frequents, it seems that it is the symbiosis of the two that defines both flesh and frame of his landscapes.
His formal interests are clarified in the early 1990s, through a schematization and a stylistic deprivation succeeding more theatrical achievements. This decade was marked by the grandiloquence of his imagery, where the artist, for example, watched nights during the spectacular natural of a chablis imbroglio under the blazes of a flashlight.
Regarding Chantiers, a collection of nocturnal views of Brussels and Geneva made between 1993 and 1995 as part of a photographic mission, André Jasinski posted his equipment in front of the penetrating immobility of fuzzy grounds and industrial sites deserted for a time of prolonged exposure. Respect, which has become a medium in his work, seeks here to tame the limited territories by inviting them to reveal themselves. The series Czechia (1996), realized by day this time, reveals a concise and patient look through the limits of a tight framing, on the fragility and richness of an exile ravaged by the extraction of lignite in the open. It gives life to these peaceful landscapes but torn by the annoyance of deprivation and whimsical exoticism.