Ultimate photography<\/strong><\/p>\n Joseph Dadoune became known in the West and the Middle East in the early 2000s for his remarkable video installations and original photographic work. On the occasion of a solo exhibition (Khamsin Photography, 2007) at the B\u00f6hm Trade Center in D\u00fcsseldorf, he declared: “Today I tend to think that the filmed image is the most appropriate semantics, and that cinema allows us to talk about a subject by concentrating its multiple aspects […] The installation, by its format (montage, lived scenes, device) also poses the question of how to place a camera in front of these lived things while putting at a distance pathos or sentimentality. If my intention is to start from documents, I do not wish to make a documentary work. [I do not seek to create a fiction from a reality. Rather, I seek to open doors to make connections possible.”<\/p>\n
Joseph Dadoune’s work has consistently questioned Judaism, post-colonialism, the periphery and homosexuality. His films and photographs shed light on this arch-contemporary symbolic violence.<\/p>\n
For any creator – with a sense of history – a question is always asked: what stone to add? For Dadoune, it would be more like: what image to add to the images already there? Alain Badiou would have spoken of new fictions.<\/p>\n
Like Ad Reinhardt, Joseph Dadoune has decided to bury the image, without making a clean sweep of the figure, the sign. Reinhardt liked to think of his Black Paintings as “a free, unmanipulable, useless, unsellable, irreducible, unphotographable, unreproducible, inexplicable icon.” Joseph Dadoune’s Black Boxes are, in their own way, part of the modernist logic of Reinhardt’s Ultimate Paintings. These works, as dry, hermetic and closed as they may be – to use the artist’s words – nevertheless echo very tangible realities. Counter Composition V (2011) evokes a vulva as much as Theo van Doesburg’s eponymous work (1924), which is why it was presented by the Galerie Le Minotaure last October at the Fiac, alongside works by Hans Bellmer, Marcel Duchamp, Louise Bourgeois, Man Ray or Pierre Molinier. With contemporary history never far away, Black Tunnel (2013) symbolizes one of the underground galleries built by the Palestinians to transport food between Gaza and Egypt. Palm Box overturns the fifties epinal imagery of the resort. As for Black Museum (2011), in front of which, a champion of relational aesthetics could fantasize multiple collective fictions, we prefer to take the time to wonder about the future lives of the White Cube. What is behind the White Cube? What symbolic violence? What ideology? What utopia seals the Black Museum? Brian O’Doherty’s essays appear then of a burning topicality and necessary (see “Inside the White Cube: The Ideology of the Gallery Space” in Artforum, 1976).<\/p>\n
These photographs, conceived in a studio with windows without frames or shutters – like eyes without eyelids – open to the outside world, in permanent contact with the street, neighbors, passers-by, life, necessarily refer to an exteriority, to an Other. Each photograph attempts to answer the questions that run through this set: what happens beyond the image? behind the image? behind the black box?<\/p>\n
Like the artist’s studio, these photographs are not closed works, on the contrary, they impose neither authoritarian point of view, nor doxa. They are open works in the sense that Umberto Eco meant it.<\/p>\n
Elodie Antoine, 2014<\/p>\n<\/div>\n
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