Other Things Visible

Michel Mazzoni

Text: Christine Jamart

MER. Paper Kunsthalle
ISBN 978 90 8931 993 7

Public price: 39€

Press price: 31.20€



Specks of the Present and Stretches of the Past (1)


Situated as it is at the very turn of the century, and questioning from the outset the inflation and desubstantialisation involved in the hegemony of images, Michel Mazzoli’s photographic practice is an image factory or rather an image-thinking factory. An image which outflanks it and decompartmentalises it in multifarious ways, from its installation in situ to its editorial deployment. An image qua cultural artefact in its capacity to link us to the world in a shared sense of perpetual present and of circular time. An image qua material reality pushed to the limits, based on the phenomenology of its perception, hence on its intrinsic quality of enigma.


Other Things Visible, like the corpora of photographic images that preceded it, proceeds from a serial but disruptive logic, and in its installation or in its book version, it derives from a logic of quasi-cinematographic montage giving primacy to what is at play and circulates between the images. Either digital or analogue, mostly close-up, they are subjected to manipulations at the source (luminous, chemical of optical manipulation of the negative) or through post-processing (scans, printing, screens, inversions), in order to degrade them, to shield them from overly indicial information, and provide them with a renewed quality as an attention catcher. The image as fragment, resistant to capture, here acts with a delayed effect, a displacement and a distance which allow it to take place within the time of its differed reception. The delay thus becomes a form of resistance to immediacy and to the ready-to-consume. Our gaze is grazed by the image, which paradoxically tries to shy away from it while reviving it within the frame of its own frustrated iconicity, and out of frame, in its colliding and echoing with others.


[…] In fact the editorial space is conceived and practised by Mazzoni as a genuine exhibition space whose display and reading he nevertheless replays. The intrinsic qualities of the editorial object, variations of paper, of grammage and of printing within a unity of format and of graphic design, contribute as much as the in situ installation to creating with a rare aptness the conditions for the appearance of an elliptic narrativisation.[…]

Christine Jamart

Art Critic AICA


Extract of: Christine Jamart, in Michel Mazzoni, Other Things Visible, MER. Paper Kunsthalle, Gand, 2019


(1)       Gilles Deleuze, L’Image-temps, Editions de Minuit, 1985