For the past 14 years, Bernard Faucon has been photographing his memories, dreams, and fantasies. In the beginning, this personal universe took the form of true-false tableaux of his boyhood (no girls, no adults), elaborately, if not obsessively, staged with shop-window mannequins and an occasional live model. Then the mannequins were, as Faucon puts it, “dismissed,” and he turned to the settings alone, staging space, light, color, and time into increasingly emblematic landscapes and interiors that he called “Les Chambres d’amour” (The rooms of love, 1982–89) and “Les Chambres d’or” (The rooms

At the heart of the recent so-called “fictionalist” tendency, Patrick Corillon, a young Belgian artist, has managed to achieve what is accomplished so perfectly in film: an understanding of the delectable connection between reality and narrative. It is not that Corillon’s work is cinematographic; rather he takes part in a distinctly Belgian tradition of surrealism, which explodes the categories of language and objective reality.

In Corillon’s work, the often difficult encounter between the realms of literature and reality, which animates so much of contemporary art, arises from a sort of ethnology