Serial galerie

Salinas

Denis Darzacq,

2003

 

Photographie couleur,

épreuve numérotée, signée

 

Tirage jet-d'encre pigmentée

sur papier photographique perlé

36 X 41 cm, Blanc tournant 3 cm

Format fini 40 x  47 cm

 

Edition à tirage limité

à 25 exemplaires


non encadrée


600,00 €

DD-1

Disponibilité :






« C’est l’individu dans ses relations sociales, affectives, amoureuses ou 

familiales qui est au cœur du travail de Denis Darzacq. Qu’il capte hommes 

et femmes dans une ambiance de fête aux couleurs fluo (Only Heaven) ou 

dans une grande ville dominée par des bleus et des bruns (Ensembles), il 

souligne les fils invisibles qui relient les personnes. À partir de ces duos, 

trios, quatuors qui se croisent et se téléscopent dans une image, il raconte 

l’histoire de ces mouvements multidirectionnels. Des éléments d’une foule 

apparemment anonyme, il arrive à reconstruire les liens éphémères ou 

permanents. Certains individus semblent s’ignorer, d’autres se rencontrent, 

d’autres se rapprochent, d’autres enfin s’enlacent. Un geste ou un regard 

en disent parfois plus qu’un roman. Si quelquefois il s’amuse à mettre 

en avant certaines codifications vestimentaires, certaines attitudes 

anecdotiques, Darzacq, par la contrainte de ses vues plongeantes, tente 

une abstraction gestuelle, une mise en perspective des êtres entre eux. » 

 

GUy BOyER, IN DENIS DARzACq, ACTES SUD/ALTADIS, 2001

Ce travail a reçu le prix altadis 2000 et a été expo


 

 

Denis Darzacq’s candy-colored photographs of young men and women gliding, floating, and falling through 

French grocery store aisles have a sort of cinematic quality. He gets at that Matrix-like tension, balancing 

frenetic energy with an ethereal (and sometimes eerie) sense of calm. Titled “Hyper,” and on view at New 

York’s Laurence Miller Gallery through March 27, Darzacq’s new body of work is as much about process as 

it is about clean lines, contrast, and beauty. The subjects of his photographs are dancers, jumping, twisting, 

and tumbling with the sort of stamina and grace that comes only with years of disciplined training. 

 

But these aren’t Adonis-types. Baggy, pedestrian clothing hides their lean muscles; there are no perceptible 

rock-like calves, no prominent triceps or pectorals. It’s an approach that differs from most dance photography 

(which tends to center around artists’ fascination with these extraordinary physiques) and one that brings to 

mind the suited subjects of Robert Longo’s excellent “Men in the Cities” series from 1979. But while Longo is 

said to have thrown tennis balls and stones at his models to induce odd and compelling poses, Darzacq 

steps back a bit to let his performers do their thing. I like that he captures those in-between moments—not 

necessarily the poses or peaks of each jump, but rather the ascents, the descents, the near catastrophes 

and the awkward transitions. The resulting effect is like one of those falling dreams—the kind where you feel 

yourself sink suddenly and your mattress becomes a dark, scary void. 

 

Darzacq’s backdrop is familiar as well. It’s hard to enliven the supermarket-as-setting canon post-Andreas 

Gursky and I wonder what the same subjects would look like frozen mid-air on busy Parisian streets or in 

graveyards or cathedrals, energizing something so somber and still. The stop-motion look (enabled, of 

course, by a lightning-fast shutter speed) starts to stale after a while too, and tubs upon tubs of Greek yogurt 

and crème fraîche don’t add much to the effect. What does suggest another layer, however, is a small 

historical show on view at the gallery concurrently. Titled “Body Language,” the exhibition offers some 

interesting black-and-white counterpoints to Darzacq’s hovering shoppers. There’s Gary Winograd’s 1975 

shot of Texas cheerleaders in laborious-looking leaps; Harry Shunk’s famed Leap into the Void from 1960; 

and Philippe Halsman’s photograph of a giddy (and slightly levitating) Richard Nixon from 1955—there’s a 

faint smile on the then-Vice President’s face and it’s hard to imagine what could have possibly inspired this 

zippy little jump. It’s fodder that maybe 35 years from now Darzacq’s grocery stores and falling patrons may 

have some historical relevance as overwhelmed (and overstocked) emblems of a specific time and place. 

 

Rachel Wolff is a New York-based writer and editor who has covered art

for New York, ARTnews, and Manhattan. 


 
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