Bernard Voïta’s gray images remind one of Gerhard Richter’s paintings of black-and-white snapshots. But here it is photography that recalls painting, rather than vice versa. The alternation of blurred and perfectly focused areas evokes spaces that are unapproachable; in the viewer’s imagination they coalesce into land-, sea-, or cityscapes. The viewer tries to discern the houses, bridges, or waterways that are adumbrated here without ever being able to get a clear view. The images remain puzzling inner, rather than mimetic, landscapes.

Only up close do the blurred contours suddenly give way to