Né en 1978 à Lille, François-Xavier Gbré est un photographe franco-ivoirien qui vit travaille entre le Marais Poitevin en France et Abidjan. L'oeuvre photographique de cet artiste métis d'origine ivoirienne qui a grandi dans le nord de la France appréhende l'architecture, le paysage et l'urbanité dans la forme d'un témoignage documentaire qui évoque la photographie d'architecture de Lewis Baltz, Stephen Shore et Guy Tillim. Du Mali à Israël, de Lille à Rabat, François-Xavier Gbré photographie des architectures à l'abandon portant en elles les traces de l'histoire sociale et politique de leur pays. Ses photographies posent un regard distancié sur les bâtiments et la charge symbolique que leur confèrent l'Histoire et l'historicité. Elles s'intéressent au passé, à l'histoire sourde des lieux, révèle les invisibilités du quotidien et pétrifient des fragments du monde des fragments d'un monde en perpétuelle mutation. Dans une douce radicalité, il témoigne de l'entre-deux, de ces instants de basculement révélés avec force par l'architecture. Le travail de François-Xavier Gbré est présent dans entre autres dans les collec tions du Centre Pompidou (Paris), de la Tate Modern (Londres), du Smithsonian Institution (Washington), du Queensland Gallery of Modern Art (Brisbane), Philadelphia Museum of Art (Philadelphie), du Chazen Museum of Art – University of Wisconsin (Madisson), de la Walther Collection (Ulm), des Rencontres d'Arles (Arles), du le Fonds National d'Art Contemporain (Paris) et du Musée des Confluences (Lyon). En 2020, François-Xavier Gbré est lauréat du Prix Louis Roederer des Rencontres Internationales de la Photographie d'Arles. Baptiste Manet est un architecte spécialisé dans le domaine du patrimoine contemporain. Il est le co-fondateur et directeur, avec Yann Legouis, de l'agence Sapiens architectes. Il est également le co-fondateur de l'association Éditions Cosa Mentale et enseignant à l'École nationale d'architecture de Paris-Belleville (Paris). En 2022, Baptiste Manet a participé au programme résidentiel expérimental pour la recherche et l'étude de la pratique et de la pensée artistique, organisé par la RAW Académie de Dakar et l'Institut d'Art Contemporain de l'Université de Pennsylvanie (Philadelphie). Martial Manet est docteur en droit et diplômé en philosophie de l'École normale supérieure de Paris. Il a été Visiting Scholar à l'Institute for African Studies de Columbia University (New-York). Il enseigne à l'université Paris I Panthéon-Sorbonne (Paris).
Radio Ballast
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- Nombre de pages103
- FormatGrand Format
- PrésentationRelié
- Poids0.684 kg
- Dimensions22,7 cm × 27,1 cm × 2,0 cm
- ISBN978-2-36511-459-2
- EAN9782365114592
- Date de parution16/10/2025
- ÉditeurAtelier EXB
- ContributeurClément Chéroux
- ContributeurSandrine Colard
- Contributeur Gauz'
Résumé
For over a year, François-Xavier Gbré travelled the territories crossed by the railway, photographing wagons, stations, maintenance workshops, but also the diversity of the landscapes. François-Xavier Gbré is an Ivorian photographer whose artistic practice explores territories and revisits history. His work is particularly interested in the language of architecture as a witness to memory and social change.
As part of his prize-winning "Latitudes' program, he has chosen to embark on the railway line linking Abidjan to Niger. Built in the former French West Africa (AOF), the line was once dedicated to transporting raw materials from Côte d'Ivoire, Burkina Faso and Niger, as part of an extractivist approach, and is still active today, but only for freight. The small stations, typical of colonial modernist architecture, and certain sections of the railway are now abandoned : the luxuriant nature of the regions crossed has gradually infiltrated, invading waiting rooms, sheds and dilapidated ballast...
For over a year, François-Xavier Gbré travelled the territories crossed by the railway, photographing wagons, stations, maintenance workshops, but also the diversity of the landscapes. His images are charged with a certain melancholy : that of a look at the passage of time on matter. In counterpoint to photographs of landscapes bathed in light and exuding the humidity of the earth, there is a series of images of fragments of matter : surfaces peeled back by the passage of time or eaten away by rust...
Little by little, an old-fashioned atmosphere emerges from these places, a sensation of suspended time : the journey to which the photographer invites us speaks of a history that may be long gone, but whose echoes still resonate in territories long divided by the colonial presence, and whose imprint endures despite the vagaries of nature and man. As Clément Chéroux, curator of the eponymous exhibition to be presented at the Fondation Henri Cartier-Bresson this autumn, explains, the title of the present work, Radio Ballast, evokes "the jargon of railwaymen, the expression designating rumors of unknown origin : vague and unfounded news, a mixture of presuppositions and gossip, layers of intermingled and often contradictory discourse'.
As part of his prize-winning "Latitudes' program, he has chosen to embark on the railway line linking Abidjan to Niger. Built in the former French West Africa (AOF), the line was once dedicated to transporting raw materials from Côte d'Ivoire, Burkina Faso and Niger, as part of an extractivist approach, and is still active today, but only for freight. The small stations, typical of colonial modernist architecture, and certain sections of the railway are now abandoned : the luxuriant nature of the regions crossed has gradually infiltrated, invading waiting rooms, sheds and dilapidated ballast...
For over a year, François-Xavier Gbré travelled the territories crossed by the railway, photographing wagons, stations, maintenance workshops, but also the diversity of the landscapes. His images are charged with a certain melancholy : that of a look at the passage of time on matter. In counterpoint to photographs of landscapes bathed in light and exuding the humidity of the earth, there is a series of images of fragments of matter : surfaces peeled back by the passage of time or eaten away by rust...
Little by little, an old-fashioned atmosphere emerges from these places, a sensation of suspended time : the journey to which the photographer invites us speaks of a history that may be long gone, but whose echoes still resonate in territories long divided by the colonial presence, and whose imprint endures despite the vagaries of nature and man. As Clément Chéroux, curator of the eponymous exhibition to be presented at the Fondation Henri Cartier-Bresson this autumn, explains, the title of the present work, Radio Ballast, evokes "the jargon of railwaymen, the expression designating rumors of unknown origin : vague and unfounded news, a mixture of presuppositions and gossip, layers of intermingled and often contradictory discourse'.
A propos de François-Xavier Gbré
Radio Ballast
Grand Format
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