Madrid

Hervé Guibert

Conde Duque

In the introduction to his book of photos Le seul visage (The only face, 1984), Nerve Guibert defined his relationship to photography in terms of resistance, as a “reluctant, prudent form, distrustful of practicing it.” Imbued, perhaps, with this cautious practice, Guibert’s images fall into the idea of absence, into a a certain sense of lightness, of dreaming. Without a doubt, it is not a definitive, excluding absence; on the contrary, the objects portrayed point to the presence of an Other which, without always being visible, may appear at any moment. Such is the case in those photographs that pick up the traces of human presence: shoes arranged to be used, a book next to a window whose reading will be undertaken once again, texts on a table that wait for the writer. In other pieces, alterity becomes tangible thanks to the insertion of the photographic act itself—the instant in which

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