LOOK, SOMETHING MIGHT HAPPEN - Alain Baczynsky
Because he is as much a man of images as of words, at the end of each session he feels the need to take a photo of himself in the nearest photo booth. Once the curtain has been drawn, Baczynsky re-enacts in front of the lens what was said - or not said - during the session. An intimate mimodrama unfolds in the cramped cabin. Baczynsky bends over backwards, bumps and contorts himself. He reinvents sign language. Once the print is delivered, he hastily scribbles a few comments on the back: "l'autoportrait de rien", "45 minutes de sanglots", "maman, ce gros mot".
Over a period of thirty months, from February 1979 to July 1981, Baczynsky produced 242 automatic self-portraits. This extraordinary collection of "expressive heads", now housed at the Musée National d'Art Moderne-Centre Pompidou, is revealed here. Take a look, maybe something will happen...
An introduction by Clément Chéroux deciphers the artist's gesture and places it in the context of half a century of history of the photobooth, a medium in its own right. The book is completed by an essay by psychoanalyst Horacio Amigorena.
Published by Textuel, 2012
15.4 cm x 20.5 cm, 224 pages, new
ISN 978-2-84597-436-4
Because he is as much a man of images as of words, at the end of each session he feels the need to take a photo of himself in the nearest photo booth. Once the curtain has been drawn, Baczynsky re-enacts in front of the lens what was said - or not said - during the session. An intimate mimodrama unfolds in the cramped cabin. Baczynsky bends over backwards, bumps and contorts himself. He reinvents sign language. Once the print is delivered, he hastily scribbles a few comments on the back: "l'autoportrait de rien", "45 minutes de sanglots", "maman, ce gros mot".
Over a period of thirty months, from February 1979 to July 1981, Baczynsky produced 242 automatic self-portraits. This extraordinary collection of "expressive heads", now housed at the Musée National d'Art Moderne-Centre Pompidou, is revealed here. Take a look, maybe something will happen...
An introduction by Clément Chéroux deciphers the artist's gesture and places it in the context of half a century of history of the photobooth, a medium in its own right. The book is completed by an essay by psychoanalyst Horacio Amigorena.
Published by Textuel, 2012
15.4 cm x 20.5 cm, 224 pages, new
ISN 978-2-84597-436-4
Because he is as much a man of images as of words, at the end of each session he feels the need to take a photo of himself in the nearest photo booth. Once the curtain has been drawn, Baczynsky re-enacts in front of the lens what was said - or not said - during the session. An intimate mimodrama unfolds in the cramped cabin. Baczynsky bends over backwards, bumps and contorts himself. He reinvents sign language. Once the print is delivered, he hastily scribbles a few comments on the back: "l'autoportrait de rien", "45 minutes de sanglots", "maman, ce gros mot".
Over a period of thirty months, from February 1979 to July 1981, Baczynsky produced 242 automatic self-portraits. This extraordinary collection of "expressive heads", now housed at the Musée National d'Art Moderne-Centre Pompidou, is revealed here. Take a look, maybe something will happen...
An introduction by Clément Chéroux deciphers the artist's gesture and places it in the context of half a century of history of the photobooth, a medium in its own right. The book is completed by an essay by psychoanalyst Horacio Amigorena.
Published by Textuel, 2012
15.4 cm x 20.5 cm, 224 pages, new
ISN 978-2-84597-436-4
