PA­RIS Tad­zio

Art Press - - REVIEWS - Ber­nard Mar­ce­lis

Mai­son eu­ro­péenne de la pho­to­gra­phie / 6 avril - 5 juin 2016 Mais au-de­là de la vir­tuo­si­té tech­nique, l’exer­cice a sans doute ses li­mites. L’ave­nir nous di­ra si ce tra­vail, au de­meu­rant par­fai­te­ment maî­tri­sé, peut en­core évo­luer sans se ré­pé­ter. Une pu­bli­ca­tion, in­tro­duite par un texte de Da­niel Aba­die, par­vient à rendre compte, par sa qua­li­té d’im­pres­sion, de la fi­nesse de ce tra­vail (Éd. Re­gard). If this show were not held in a mu­seum de­di­ca­ted to pho­to­gra­phy, we might be foo­led by the images and think they were abs­tract pain­tings. Since some of them flirt with mo­no­chrome, we can be sure that Tad­zio’s re­fe­rences to pain­ting are not ac­ci­den­tal. This is clear in the large for­mat se­ries Ar­chi­tec­tures. At first we are im­pres­sed by their pre­sence and sense of com­po­si­tion. Then, loo­king more clo­se­ly, the shades of black are stun­ning. The re­sult is so­mew­hat pa­ra­doxi­cal, be­cause what strikes us about these pieces is the dis­tan­cing ge­ne­ra­ted by their cold­ness and an­gu­la­ri­ty. We have to get beyond the dark masses (which turn out to be parts of buil­dings) to ap­pre­ciate, at first, the qua­li­ty of the grey, so­me­times al­most bluish back­grounds, and then dis­co­ver the fine shades of black that ap­pear in these trun­ca­ted geo­me­tri­cal forms made of in­ter­rup­ted tri­angles, sli­ced rec­tangles and tip­ped-over tra­pe­zoids. These forms oc­cu­py a de­ter­mi­nant place in the com­po­si­tion and struc­ture it, even though we can’t iden­ti­fy them—which, af­ter all, is not the pho­to­gra­pher’s in­ten­tion here. Tad­zio’s work clear­ly marks him as a pho­to­gra­pher, even if he al­so prac­tices vi­deo. He ob­vious­ly has a sharp eye that al­lows him to cap­ture and ho­mo­ge­nize a sub­stan­tial en­semble of ar­chi­tec­tu­ral de­tails, shot in To­kyo and Shan­ghai, Li­moges and Nantes, Lon­don and Ba­sel. But there are li­mits to this kind of exer­cise, des­pite his tech­ni­cal vir­tuo­si­ty. The fu­ture will tell if this work, so stri­kin­gly control­led, can evolve wi­thout self-re­pe­ti­tion. The ca­ta­logue, with an in­tro­duc­to­ry text by Da­niel Aba­die, is ex­tre­me­ly well prin­ted and conse­quent­ly a fai­th­ful re­port on the subt­le­ty of Tad­zio’s work.

Trans­la­tion, L-S Tor­goff

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