Mathieu Pernot: The Crossing at Jeu de Paume, Paris from 11 February to 18 May 2014.
The exhibition at the Jeu de Paume presents a selection of Mathieu Pernot’s series from the last twenty years. It inaugurates a new kind of installation, which aims to encourage dialogue between the many images and objects and takes the visitor on a journey through his body of work ending at up Le Feu, his latest piece which was produced especially for the exhibition.
Whether through his own photographic work or the use of different archive photos and documents, Mathieu Pernot questions the diversity of means of representation and the very notion of how we make use of the photographic medium.
An underlying sense of movement, of passing through or crossing over is omnipresent in his work and a recurrent element of this exhibition at the Jeu de Paume. It is embodied both in the fragile and nomadic nature of the characters his photos portray – gypsies, migrants, etc. – and the repeated presence of these same individuals throughout his entire body of work, transforming them into the characters of stories criss-crossing the passing of time.
“The Crossing“ is the concrete expression of a modern-day narrative with characters who live on the margins of the very society whose story it tells. It represents a transversal and multiform approach to the medium of photography, which is put to the test of its function and its history.
The exhibition starts with Photo Booths, Mathieu Pernot’s first series of photos, taken between 1995 and 1997, of gypsy children in Arles, ending with their portraits taken some seventeen years later, in 2013, for this exhibition. The 2001 series The Shouters, which will form the core of the exhibition, was taken between these two series and features the same characters.
The exhibition also presents works dealing with the issue of human migration (The Migrants, Giovanni, The Afghan Notebooks), town planning (Le Grand Ensemble including Implosions, The Best of All Worlds, Witnesses, Windows) and incarceration (A Bohemian Camp and Panoptic), together with an installation (Le Dortoir) and drawings (The Last Journey) that echo his photographs.
In Fire, a project created especially for the exhibition, the photographer portrays a Romany custom in which, following a death, the deceased’s caravan is burnt. As the caravan burned, he photographed people (faces we recognise from other photos in the exhibition at other moments in their lives) their faces lit by the light of the flames.
The artist and Marta Gili
Exhibition produced by the Jeu de Paume
In partnership with A Nous, L’Architecture d’Aujourd’hui, ParisArt,
Souvenirs From Earth TV and Time Out Paris