尼古拉·巴吉尔(Nicolas Baghir)

  • 代表作品

    Passeports Photographiques

    Let the world be born again,
    too many eyes beset it.
    Pierre-Albert Jourdan

    Landscapes - on endless fogs a light wavers in questions. A suspended time pours its drops of light. Airy regrets of blues and mauves veil the open space The Greco gray, rustling, is never far. The borders are vanishing. Let the sky flow, the sea in itself. Backs - despite scarification of the backgrounds, the offering is all the more naked. A body creates the space. And the rose, in its dolence, is equilibrium. And always, lights and colors stretched to our eyes like a bowl of hot milk. A fragrance of light. Thought then leads one life and the eye, another.

    From the first contacts with Baghir's work, a conviction as powerful as it is sweet reaches us. A shock that does not result from any noisy process. Something intimate to our senses: water for our roots to gorge them with all innocence.

    For those who already know his previous works, it will be easy to discern the links that ensure the continuity between the poetic work of Digital Perturbances and the pictorial work of Photographic Passports. The retina of Baghir composes in persistent, elegant, tenuous grace notes. We see as through the folds of an eyelid that would become canvas. The air is dyed with azures and moisture. Nothing stains the light. The air is a bath of colors. Chromatic tenderness. Silence waiting to be broken. Patience of the photographer waiting the moment, spared the painter’s repentance. Just encircled scars.
    Passports, finally, so that an eyelid cannot be closed except in an epiphany. Make a clean place, without delay, for the sole sake of this quivering source and chance that flees us. In carnal mornings, the models of the photographer are the officiants, without their knowledge, of this grace. Baghir has never finished soliciting the visual experience. His virtuoso foreshadows what we persist in waiting for, what we would like to learn to receive. In this world that has become difficult to inhabit, Baghir's photographic work patiently lingers at the window like Vermeer's Geographer: "Let the world be born again, too many eyes beset it."
    Martine Jobbé Duval

    Variations 2.18

    The vision continues to take shape with a new series, as a flux of serial disruptions and expressions of pictorial beauty that serve as a tribute to painting and photography that explores the terra incognita of a dreamlike photographic world. 35mm film on enlarged prints. The original intention must remain pure to maintain the process of this evolutionary creation. Moving from 0 to 1 (Visions I, II, III and IV, 2013-2016), the series passes  from 1 to 2 (Variations 2.18, 2017-2018) and soon beyond (Expressions 40, 2019-2021), with more to come in the near future. Up to 9. No further. Leaving the solitary trees of the plain behind to penetrate the forest, Variations 2.18 simultaneously arrive to break the cycle of strict black and white. The approach is binary, digital. Primary too. Pure like the silence of children playing. Open your eyes to a colored light, then close them long and hard, and look for supernatural colors with new forms projected on the retinal screen. Disrupted forecasts.

    Healthy too. Do not be afraid of the forest anymore. Leave the city rat's robes behind to gain the nobler vestments of the field mouse. If only even for a few hours. The singular line of the horizon is broken by the vertical crossing of trees and their horizontal heights, the utopian inspiration for the City 2.0. Is the big bet to keep closing our eyes and refuse the idea that error is urban? I will continue to close my eyes to better see this augmented reality in the search of daydreams. Nightmares stink. This story is written in silence and is read over time.

    Digital Perturbances

    These images are digital only in name. In fact, Baghir shoots using traditional B&W film and prints with a photographic enlarger on silver gelatin paper. The photographer visualizes his subjects in advance, using his camera and self-designed filters to record the envisioned image as a photograph that is then enlarged without being retouched. An homage to painting as well as black-and-white photography, his works are a study of pictorial beauty, with a subdued, painterly quality that exists in a tangible space outside of direct photographic representation and the fantastic elements of painting. This series was realized over the course of four years in which Baghir took over 15,000 photographs. Each photograph is titled numerically as a means of preserving the imaginative breadth of the image.

    Untitled b&w

  • 人物生平


    法国 , 1974

    尼古拉-巴吉尔·马斯洛维斯基出生于法国。 巴吉尔是摄影师的艺名,也是他祖父的名字,其祖父于1917年布尔什维克革命期间死于俄罗斯。巴吉尔的父亲当时还是一个孩子,随家人逃亡至法国,后来其父亲最终成为一名作家。在巴吉尔8岁时,父亲给了他一部照相机。十分内向的巴吉尔被图像所吸引,他带着相机到处拍摄,逐渐建立起自己的影像世界。

    除了摄影,巴吉尔的第二爱好是音乐。在2000年代初,他在牙买加生活了一段时间,结识了几位音乐家,并且和一位朋友创立Makasound/Inna de Yard的独立唱片公司。他们制作并重新出版了一些雷击音乐杰作,成功在法国推广了牙买加艺术家Winston McAnuff。许多唱片专​​辑的视觉设计都出自巴吉尔的摄影作品。唱片公司非常成功,最终被一家大公司收购。然而,2013年巴吉尔做出了一个让人惊讶的决定,他毅然离开音乐领域,放弃了美好的事业,选择回归到摄影艺术,延续其艺术生涯。

    艺术家经过四年的探索,拍摄了15000张照片之后,推出了《 Numerical Perturbations 》(数值扰动 )系列。具有现代感的摄影作品体现了画意摄影主义运动( pictorialist movement )风格的品质。他采用胶片摄影,通过传统工艺冲印于银盐纸基相纸。所有作品都以数字命名,模糊的影像保持着一种神秘感,观赏者在空间和时间中穿越,仿佛来到一个遥远的地方,此时必须通过诠释的自由才能感悟到图像的唯美之处。 “标题的匿名性增强了每幅图像的可能性,演绎独特的个性,观赏者通过视觉让自己迷失在图像之中,随后找到影像中那一珍贵的时刻。”所有的影像都是对于绘画美感的研究,向黑白摄影和绘画致敬,探索摄影师梦幻世界的未知领域。 “透过 《 Numerical Perturbations 》系列,我旨在传递给欣赏者我所想象到那种美。”

    2017年 :
    Artist in residence, Institut Français de Berlin,德国

    Visions III, Alliance française,洛杉矶
    Art ELysées, 巴黎
    上海影像艺术博览会 Photo Shanghai,上海
    Visions III, Artist's Corner,洛杉矶
    Les rencontres d'Arles, Galerie Huit画廊,阿尔勒
    Art Paris Art Fair,巴黎
    The REEF,洛杉矶
    Visions, Photo12 Galerie画廊,巴黎

    Swiss Art Space, Lausanne

    2014年 :
    Fat Galerie / Sitor Senghor, 巴黎


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