part of the 2006 September of Photography 

Carole Fékété (born 1970, lives in Paris) presents her subjects most often on a neutral background, isolated or in an indeterminate space. With the exception of a self- portrait made up as Pierrot, the figure is absent from her pictures but almost everything alludes to it in traces and remains. The serial aspect of her approach tends to inform the subject from a single frontal view, as the camera, precise in its detail, respects its documentary function. If the analog or digital image is formed by light contact, here its adherence to the real, between index and fiction, becomes one of the issues. The concept of recording involves a principle of traces and marks from which the economy, between balance and loss, questions laws that also regulate memory functions. This rapport that photography maintains with recording and the development of a memory may involve as many topics as variations in the representation of a same pattern. The photographic medium is itself the subject of the creation of images and its form is put to the test with each new proposal. The works make up a heterogeneous pool of images that can become the subject of links based on the principle of assembly. For La BF15, the artist presents two photo-graphic projects in which the bodies are staged in constraint. On the ground floor, the installation of Statues confronts us with sculptures covered with winter tarps. These ghostly presences refer to the figure while keeping it dissimulated. The classical environment of a French garden, barely sug-gested here, serves as a backdrop for these skits, cobbled together to useful ends. The very carefully constructed aspect of highly architected nature opposes the slight irony of a transitional situation that presents Versailles in the light of precarious and ordinary daily life. Upstairs, The Singe series shows the animal behind the glass of a menagerie’s enclosed pen. Driven mad by confinement, this monkey is separated from us by a transparent wall that shows traces of rain and fingers. Two-tone fur, upright stance, presence of hands and range of expressions emphasize the anthropomorphic character of the animal. The choice of the four plates echoes the research and studies of human and animal behavior initiated by photography in the nineteenth century. 

In partnership with Picto