Jean-Marc Bustamante

Galerie Daniel Templon / Galerie Nathalie Obadia

Jean-Marc Bustamante's new photographs, part of the “Tableaux” he has been working on since 1970, were taken in 2001 on a trip to Japan. Developed in Cibachrome by a Swiss laboratory in the largest possible format (most often vertical), they are framed in dark wood. But don't look for anything picturesque; Bustamante's Japan is not the land of triumphant modernity nor of ancestral traditions but, as is his wont, that of the urban periphery, indeterminate zones where nature blends with human traces (roads, bridges, electrical pylons and power lines, banal or prefab architecture) in ways that prove strikingly similar throughout the world. A few clues (the shape of rooftops, signage, even Mount Fuji in the background) allow us to situate the image, but, when all is said and done, this Japan strangely resembles the Switzerland of Bustamante's “LP” series, 2000, shown last year at the Neues

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