Everything You Can See Through That Little Hole
24/01 - 18/03/18

Fr | NL


© Michel Mazzoni, 151016xxx1805, series Amorces, 2017, 40 x 27 cm

My work is based on the transformation of images. The printing process and the techniques used play a special part in my work, in which order and chaos, creation and destruction, dissolving and circular time are key ingredients. For this exhibition at Contretype, I spent a long time thinking about how to integrate my work into the available space, as I always do. The “in situ” layout builds sensory shortcuts, tensions that affect how we see, and reflective experiences whose significance remains incomplete. The installation on the walls represents a subjective mental cartography that leaves plenty of space for the viewers’ own interpretations.

Michel Mazzoni is a visual artist who uses the medium of photography to explore his inner being.
He investigates, and reflects on, the limits of imagery. He uses a fragmentary aesthetic to mix up figurative references and to reveal the materiality of images, placing his work on the border between the figurative and the abstract.

He is aware of the insecure, short-term nature of printing processes and methods of distribution when he asks questions about the status images have today and their fragility. He does not think that photography is a medium that records reality or even one that faithfully reproduces it, and so he distances himself from this concrete vision to create “objects” that challenge our established view of things.
His work is based on the use of images as motifs that have a tendency to disappear. In it, accidents are the result of technical effort and semantic reflection.
Mazzoni uses subtraction in his work and, by this stepping-back, his images become more intriguing: viewers ask themselves what they mean, what they contain and how they relate to each other.

He has a particular fondness for books as a means of distribution, where the relationship between content and form has been meticulously calculated. The arrangement of his images in a space is based around the same principle: they resonate or create counterpoint with each other in a rhythm that takes account of the exhibition space. This confrontation and closeness, scale, spacing, printing technique and presentation method form integral parts of the viewer’s overall perception of the images.

This exhibition at Contretype is mostly composed of images from his most recent collection “Amorces” (“Beginnings”), published by Les Editions Énigmatiques in Paris and by Alt éditions in Brussels.
Mazzoni on this collection in stages, spread over years. This exhibition includes a group of images printed in different sizes and stuck directly to the walls, as well as prints placed behind plexiglass boxes and a video projection screen. The title plays an important role in the presentation of the images in the space.
In his installations, the choice and sequence of the photographs was made using Mazzoni’s own criteria, which he has not divulged to the viewers, so that they can create their own lines of thought. Confrontation, closeness, scale, spacing, printing technique and presentation method form integral parts of the viewers’ overall perception of the images.

Frédéric Collier, 2016
Translation: Chris Bourne



Michel Mazzoni, Amorces
Brussels & Paris, Alt Publisher & Enigmatiques Publisher, 2017.
Size: 24,4 x 16,2 cm,
soft cover under cardboard box,
424 pages, 170 pictures, 15 texts in facsimile.
Limited prints: 300 copies.
ISBN: 978-2-9560841-1-2
Price: 40 €