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Thus, time seems to have stopped when she photographs industrial districts and disused infrastructures in several European cities, giving light the leading role (Souriez, on se détruit, Ainsi va la lumière). With Les portes du St Pierre (published by Le Passager Clandestin), she meets women in a suburb of Nice as their insalubrious building, already half-abandoned, is about to be destroyed.

 

Invoking the buried memories of childhood, the cradle of the first emotions, she gathers audio testimonies, bordering on the dreamy (Do not watch the fox go by). With Nostalgia of the Present, a nod to the world of Paul Auster, she confronts the faces of children and adults: “Everything is already inscribed in a child’s face, “* she notes, and the double portraits she proposes bring out in a troubling way the astonishing resemblance of a face that time cannot alter.

 

Often, Simone Simon relies on the participation of anonymous people (On the passage of a few people through…) and whatever the problem posed, the images, stories and testimonies speak a common language to all. The artist highlights mental images, convictions, regrets or dreams, taking the time to listen, with the strong will of not staging anything, but simply seizing a subjective reality in which everyone can find a little of himself and his relationship to others. This was also her approach when she directed the film Boxing-club with Eric Antolinos, shot in a boxing club in the suburbs of Nice. There, she leaves the word free and lingers on the sporting gestures and on the attitudes which make the link between these inhabitants of all the generations and confused communities.

 

In her current work of photographs and testimonies, Le vent se lève, she brings together some thirty testimonies of women in the often troubled relationship they have with their bodies. Posing naked in an intimate setting, these anonymous women assert their desire for freedom: they rise up against cultural diktats and aesthetic codes, often alienating.

 

Without ever lapsing into pathos, nor claiming any kind of militancy, she nevertheless evokes how people’s lives are affected by political decisions of all kinds. Benevolence and slowness make this poetry so particular, where time seems suspended.

 

* Paul Auster in, The Invention of Solitude, ed. Actes Sud, 1993

 

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2020

1 meter distance
Group exhibition with Benoît Barbagli and Aimée Fleury, Tom Barbagli, Arnaud Biais, Evan Bourgeau, Pauline Brun, Anna Byskov, Marc Chevalier, Joseph Dadoune, Nicolas Daubanes, Kristof Everart, Anne Favret and Patrick Manez, Forstner Gregory, Camille Franch-Guerra, Jacqueline Gainon, Marie Genin, Anne Gérard, Alexandra Guillot Alice Guittard, Laurie Jacquetty, Sandra Lecoq, Gilles Miquelis, Frédérique Nalbandian, Gérald Panighi, François Paris, Charlotte Pringuey-Cessac, Caroline Rivalan, Omar Rodriguez Sanmartin, Justin Sanchez, Simone Simon, Cedric Teisseire, Florent Testa, Ben Vautier, Agnès Vitani, Agathe Wiesner, Anne-Laure Wuillai and Junko Yamasaki.
Eva Vautier Gallery, Nice

 

 

 

 

CURSUS

 

1975-1978

Photo Assistant, Paul Genest, Plateau Sud, Rungis 1978-2002 Photographer

 

2002-2015

Photographer and videographer

 

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