Autrefois, le fer et le verre des pavillons Baltard accueillaient maraîchers et badauds en tous genres dans les Halles de Paris. Ces matériaux nobles ont aujourd hui cédé leur place aux miroirs, vitrines, plexiglass, à un espace qui incite le passant à la consommation frénétique. Métro, boutiques, cinémas, espaces verts, nourrissent le fourmillement incessant des journées…puis, la nuit tombe… prémices d’une vie jusque là sous jacente, un autre battement s’installe, propice aux rituels qui orchestrent la face cachée du lieu. Son rythme est beaucoup plus lent, il devient plus humain. L’espace aussi prend une autre dimension, les miroirs salis par la pluie séchée renvoient la lumière des néons abandonnés sur les vitres brisées. Il est alors minuit. Les indigents s’installent tranquillement comme de vieux reptiles sur le carrelage fatigué, tandis que les petits dealers déambulent dans la pénombre, sous l’,,il furtif du passant qui se hate. Rencontrer ces hommes et ces quelques femmes marginalisés, les approcher pour comprendre leur regard lucide, surprenant de vérité, qui, entre deux gorgées d’ivresse interroge notre vie. Le projet est de présenter une série de portraits fixes puis en mouvement, dans le but de confronter le spectateur à cette beauté émergeant de la détresse. Loïc lautard
Les Halles de Paris
About me: Loic Lautard,
Born in France in 1978 near the Italian border, Loic Lautard studied at the Fine School of Art of Marseille before continuing to study as a a graphic designer at the Gobelins School in Paris. Fascinated by moving pictures, he began to use photography and video to create his own artistic expression. It was in New York that he discovered a marginal style, out of the occidental society.
Back to Paris he went to shoot the homeless, and the drug dealers of the Halles, people from the light city who are not supported by her. Traveling in India after September 11th, he was looking for a new perspective. Excluded, unaccessible, silent persons, people without voices confide in him. With a documentary approach his artwork mixes two worlds: report photography and art video. Between poetic fiction and raw reality he makes a link between two different social classes who live in the same place but not talking together. He finds the way to show us the divinity through the misery. He tries
to see behind the first impression.
V.Beaudet
chalut mon lapin!!!chava????tu fé koi??????je voulais savoir si cela serais possible de dormir chez vous(encore) le vendredi 18 juillet??????????seras tu a la maison????merci mon lapin bizous gini
Merci!... Au fait. Silver Apples passe le 6 mars au Nouveau Casino à Paris! ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆ ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆ YOU AND I - COULD WALK TOGETHER YOU AND I - COULD TALK TOGETHER YOU AND I - COULD HAVE EACH OTHER YOU AND I - COULD TOUCH EACH OTHER
WE DONT HAVE TIME FOR THE LITTLE THINGS NO THERE JUST AIN'T ROOM FOR THE LITTLE THINGS - WHY?
YOU AND I - COULD FLY TOGETHER YOU AND I - COULD HIDE TOGETHER YOU AND I - COULD SEE EACH OTHER YOU AND I - COULD LOVE EACH OTHER
BUT WE DONT HAVE TIME FOR THE LITTLE THINGS NO THERE AIN'T NO ROOM FOR THE LITTLE THINGS - BECAUSE
LIFE IS FUUULL OF 'IMPORTANT THINGS LIFE IS FULL OOOF NECESSARY THINGS LIFE IS FULL OF FREAK MACHINES
AND THERE AIN'T NO ROOM FOR THE LITTLE THINGS -- ' WE DON'T HAVE TIME - TO DELIVER THINGS - WHY ?
YOU AND I - COULD WALK TOGETHER YOU AND I - COULD TALK TOGETHER YOU AND I - COULD HAVE EACH OTHER YOU AND I - COULD TOUCH EACH OTHER
WE DONT HAVE TIME FOR THE LITTLE THINGS NO THERE AIN'T NO ROOM FOR THE LITTLE THINGS - WHY?
YOU AND I - COULD FLY TOGETHER YOU AND I - COULD HIDE TOGETHER YOU AND I - COULD SEE EACH OTHER YOU AND I - COULD LOVE EACH OTHER
BUT WE DONT HAVE TIME FOR THE LITTLE THINGS NO THERE AIN'T NO ROOM FOR THE LITTLE THINGS - BECAUSE
LIFE IS FUUUULL OF 'IMPORTANT THINGS LIFE IS FULL OOOF NECESSARY THINGS LIFE IS FULL OF FREAK MACHINES
AND THERE AIN'T NO ROOM FOR THE LITTLE THINGS NO THERE AIN'T NO ROOM FOR THE LITTLE THINGS ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆ ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆ ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆ ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆ ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆ ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆ ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆ ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆ ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆ ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆