The archive of Franck Pourcel, hyperactive photographer, is almost inexhaustible. To develop this notebook at Zoème / Filigranes, he wanted to revisit it. The idea was to use the experimental framework offered by the Cahiers collection to bring out another perspective. Admittedly, there is a continuity between the reasons which one finds in the books which Franck published in the past (The small sea of the forgotten, Of will or of force – Marseilles at the time of rehabilitation, Ulysse or the Constellations among the most remarkable) and those around which this notebook revolves (factories, workers, waste: the industrial world and its ravages ultimately); but the gaze here is much more distant and cold, which opens onto a world (is it really ours?) that it almost seems extraterrestrial.
Franck Pourcel
Photographe
Franck Pourcel was born in 1965. A hyperactive photographer, he pays particular attention to the faults of our time and the regions they damage – including the intimate space of bodies. Concern and poetic documentaries define his gaze, which constantly runs along the dividing lines between the habitable and the uninhabitable. Territories, objects, techniques, gestures: accumulation plays an important role in his work. It is, in a way, an inventory of the forms and lifestyles prevailing in a world ravaged by capitalism, to better understand its possibilities of reinvention – on which our survival depends.
Pourcel is regularly exhibited in France and abroad. He has published several works: Stèles de Camargue (Paranthèses, 2003), Néoruraux, vivre autrement (Le Bec en l’air, 2004), De mer, de pierre, de fer et de chair – Histoires du port autonome de Marseille (Éditions Cheminements, 2006), Vous qui tuez le temps (Le Bec en l’air, 2006), La petite mer des oubliés (Le Bec en l’air, 2006), De gré ou de force – Noailles à l’heure de la réhabilitation (Éditions P’tits papiers, 2007), Au crépuscule (Le Bec en l’air, 2008), Ulysse ou les constellations (Le Bec en l’air, 2013), Comme un souffle de poussière (Le Bec en l’air, 2015).
