In the series bunkers, Leo Fabrizio, through photographs and bunkers scattered throughout the Swiss territory, questioning the policy of his country, including its theoretical neutrality. With "Dreamworld", he confronts us also political will, to charges of globalized social and cultural patterns that are gradually profile of the urban cities of the world .
Photographs of "Dreamworld" are in Asia, Bangkok, more precisely. Leo Fabrizio, therein, is probing these areas suburban, these gaps or extensions in which are taking place, new buildings, people and communication networks: building blocks of modern cities and development related thereto. It is this book for a real autopsy and investigation: Leo Fabrizio's approach is in line with documentary photography, following an Alan Sekula, with whom he also common not to consider the documentary work as an attempt to return illusory objective reality. His work involves a bind when thinking substance and form. From
globalized world we live in, results a form of standardization more or less marked. Particularism, whether in the way of life, to build, understand space, cons just erode the battering of the monster that is this global model, a Western model. The resistance to this uniformization varies between countries, some find themselves overwhelmed.
Apichatpong Weerasethakul humorously emphasizes in the preface devoted to the exhibition catalog:
"As has always been said, Thailand was never a colony west. And that may be why so she loves hunting exotic animals from the West. They face on his glorious body like hunting trophies. Take for example these animals concrete called Baan Judsan or, literally, "the units allocated. Once captured, they are adapted proudly, they were reorganized and they show them in the zoo of our contemporary landscape. "
and multiplies throughout the planning model consists of subdivisions s'atomisent, islets impervious to each other: residential areas and residential areas of work, no man's land, ghettoized areas where those who are relegated have no access to the new global dream.
The dominant model in most countries, especially in emerging countries, appears to be the United States and with the aim of creating the illusion of perfect happiness in the home as neat film of all Tim Burton "Edward Scissorhands", a dream as places of attractions such as Disney Land "and Las Vegas. The exhibition "Dream Land" at the Centre Georges Pompidou, Paris revealed to us the impact of this amusement park on the architecture. The title "Dreamworld" by Leo chooses Fabrizio indirectly refers to the idea.
Bangkok Asian city, of course not immune to this phenomenon. Deal with this city, its urban development, at Leo Fabrizio takes a universal value, it is just one example among many: an example of political will required by the military junta in Thailand, such a enriched class seeking its models on the side of the United States, a country that still exports the vehicle and share fantasy, a little cheap.
"Bangkok is cheap as the adaptation of the American dream in the suburbs southeast of the Empire. One can observe the phenomena of accelerated development process, common to the metropolises of the Pacific coast of Asia, their dimensions in architectural and urbanistic "
Beausse Pascal, exhibition catalog
In urban areas driven by Leo Fabrizio come also transcribe other reports. It seems to play in a battle between the photographs the shadow and light, between the exposed and underexposed, between the top and bottom.
text books arts, architecture emerging in the illuminated night, surrounded by dark zones opacified. In high light, dreams, magic, fantasy "Dream World" but is hiding there, downstairs in the dark? A portion of the population who is sidelined and the dream is dark in the immateriality of negligible and excluded. Leo Fabrizio also instills this dimension in photographs where large billboards dominate in makeshift housing.
The documentary series presented by Leo Fabrizio constantly elaborated by confrontation. First, a formal confrontation between these parts of the architecture contrasting lights, bubbling up from the night exposed on light boxes and the frontal, the uniformity of light which are dealt with, taken in residential areas and sets that recall the work of Becher: this work serial where these flags are available architectures so bland that no longer resembled anything by dint of similarity, they are frozen in the same model on the same declination. Universal Pictures shared these areas without souls are housed in which the desires and dreams philistine. Tosani spoke of "Face" by evoking the real his own work here, Leo Fabrizio surface inanity, the obsolescence of these petty-bourgeois dreams. His bias for frontal, sharpness, distancing, reducing somewhat the thickness of the photograph reinforces this sense of futility against these houses without a body.
Confrontation between day and night, between visible and invisible (invisible taken to mean that we would evacuate, return): the exposed world of appearances, the pavilions, miniature golf courses, swimming pools , all protected, monitored in Kampanga and the other world, of those excluded dream whose salaries are paid out of these islands ...
A preferred browse photographs of Leo Fabrizio, a malaise takes us gradually. Something anxiogenic noise behind these flags, these works of art, these billboards, these spaces fallow
Bangkok ... it would figure in future model?
"Bangkok appears as a laboratory of the future city. A city of thought control by an urbanism of fear, stifled by individualism, neuroleptics of the consumer society and the desire for private property as the ultimate goal bloodless lives. "Pascal
Beausse in the exhibition catalog
" Dreamworld "Leo Fabrizio
Gallery Triple V
24 rue Louise Weiss 75013 Paris
www.triple-v . en
+33 (0) 6 07 66 02 79
Gallery Triple V
24 rue Louise Weiss 75013 Paris
www.triple-v . en
+33 (0) 6 07 66 02 79
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