Asselin recalls the various modern figures of the walker and the modalities of their aesthetic contemplation. The photographer bears a resemblance to the Baudelairean figure of the flâneur, torn between aestheticization of his marginality and the incontrovertible realities of the world of the marketplace. He is forced, a little like a ragpicker, to recycle the aesthetic values of his images for that marketplace.
Best known as a painter, Wanda Koop is also a gifted videographer who produces scrolls of video stills as well as large-scale installations combining video projections and painting. Many of her images, such as those in See Everything/See Nothing, originate in travel, and reflect on belonging and alienation, familiarity and strangeness, home and away.
Our leisure activities are less and less distinguishable from models of productivity. Organized leisure has tentacles. It is probably to escape this logic that people meet spontaneously in less domesticated urban zones to partake freely of activities of relaxation.
De villes en déserts qu’Alain Chagnon a réalisé en 1998 est un parfait exemple de ces « photos d’errance » qui lèvent le voile sur le monde et sur le soi. En présentant ses photos sous la forme d’un ruban narratif, Chagnon nous livre la chronique de ses voyages et de ses découvertes dans le sud-ouest des États-Unis.