Gilles Saussier

Galerie Zürcher | Paris

First of all, there are the photographs, among them four close-ups of women shooting rifles, flanked by the president of the Hunting Association of Timis (Shoot I–III, each dated 2004, and Shoot IV, 2005) and two of scenes deserted by their actors: a gallery with abstract sculptures lined up on shelves and glasses lined up on a table—Day of the Opening, 2005—and The Paupers’ Cemetery, 2005, a snow-covered graveyard on the outskirts of town, where a freshly dug ditch awaits the return of the gravediggers who have left their tools and other belongings there. Finally, two scenes with characters: a female metalworker indifferent to the presence of a statuette placed on the ground and of the photographer behind her (Elba Press Factory, Timişoara, 2005); in a field, a cameraman filming a reporter crouched down before a row of dead pheasants. Tableau de chasse (Hunting Picture), 2004, is the

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