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Because he is as much a man of images as he is of words, he feels the need, at the end of each session, to take a photo of himself in the nearest photo booth. Once the curtain is drawn tight, Baczynsky reenacts in front of the lens what was said—or not said—during the session. It is an intimate mimodrama unfolding within the cramped confines of the booth. Baczynsky bends over backwards, bumps into things, and contorts himself. He reinvents sign language. Once the print is delivered, he hastily scribbles a few comments on the back: “the self-portrait of nothing,” “45 minutes of sobs,” “Mom, that bad word.”
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 analyzes the artist’s work and situates it within half a century of the history of the photo booth, a medium in its own right. The book is rounded out by an essay by psychoanalyst Horacio Amigorena.
Published by Textuel, 2012
15.4 cm 20.5 cm, 224 pages, like new
ISN 978-2-84597-436-4
Because he is as much a man of images as he is of words, he feels the need, at the end of each session, to take a photo of himself in the nearest photo booth. Once the curtain is drawn tight, Baczynsky reenacts in front of the lens what was said—or not said—during the session. It is an intimate mimodrama unfolding within the cramped confines of the booth. Baczynsky bends over backwards, bumps into things, and contorts himself. He reinvents sign language. Once the print is delivered, he hastily scribbles a few comments on the back: “the self-portrait of nothing,” “45 minutes of sobs,” “Mom, that bad word.”
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 analyzes the artist’s work and situates it within half a century of the history of the photo booth, a medium in its own right. The book is rounded out by an essay by psychoanalyst Horacio Amigorena.
Published by Textuel, 2012
15.4 cm 20.5 cm, 224 pages, like new
ISN 978-2-84597-436-4
