Emoplux

For the hanging at the Reuter Bausch Gallery, Christian Aschman reconsiders his project on Tokyo made in 2014, the images of which were first published in “The Space in between“, an artist’s book published in 2015 and edited by Théophile’s Papers*.
Varying the way he exhibits his images – he sometimes sticks them on posters in public places in the streets of Paris or exhibits them deconstructed – he decided this time to show the full image. Nine years after their date of shooting, these photographs with simple forms constitute a body of images that can be randomly placed in space.In a conversation with Christian Aschman, the critic Stéphane Léger made the following statement: “When I look at your photographic production in the metropolises and capitals of the world over nearly twenty years, I cannot qualify it as architectural photography, even if the latter constitutes its substance or matter. I also have the feeling that these simple forms that you have been photographing for a long time cannot be exhausted, that in their simplicity they open up a multiplicity of gazes in a temporal continuum.”
As for Laurianne Bixhain, she provided the text below written by Chloe Chignell in conversation with her photographs.
“I am preoccupied with ordinary affects. I am not interested in the depths of my personal experience. I work hard to stay on the surface, to keep my head above water, to breathe, as they say. It takes practice. I repeat gestures again and again, to understand their banality. If a gesture elicits a sort of higher or lower affect than usual, I slow it down or speed it up to empty it of its depth. Knowing that a cry can be illustrated by a series of repeated ahs is comforting.
What remains is a partial thing that we have been able to retain.“