Press

France : L'Œil de la Photographie

Publication juillet 2017

"Traumas"

" Qu’est-ce qui vous a traumatisé ? ", voilà la question que Pierre Leblanc aurait pu poser aux personnages qu’il met en scène ici. Par son jeu d’ombres et de lumières, Pierre révèle la trace que chacun d’entre nous peut s’évertuer à chasser ou méconnaitre et qui conditionne pourtant le prisme de notre existence. L’autre, les discours, les actes, qu’ils soient réels ou reconstruits, fantasmés ou vécus, voilà ce qu’il nous met sous les yeux avec cette pente qui nous pousse, une fois de plus, à l’introspection.

"Traumas"

" What has traumatized you? ", this is the question which Pierre Leblanc could have posed to the characters whom he constructs in scene. In a play of shadow and light, Pierre reveals the trace which each one of us can make every effort to chase away or to not acknowledge at all and that nevertheless colors the prism of our existence. The other, the speech, the acts; either real or reconstructed, fantasized or lived, this is what he puts before us and pushes us, one more time, to introspection.

- CL-

Artworks: "Traumas"

Italy : Vogue Italia

Publication novembre 2016

Publication de la photographie "Le lieu de résidence" de ma série "Discriminations" dans Vogue Italia (Novembre 2016)

The Existential Prisons of Pierre Leblanc

Le 116, a contemporary art center based in Montreuil, welcomes Belgian photographer Pierre Leblanc’s exhibition "Discriminations".  This series portrays individuals in cells which incarnate the twenty discriminations* prohibited by law, ranging from sexual orientation, health, and even to handicaps.  The images are on view through April 16th.

Pierre Leblanc offers, with a razor-sharp acuteness, a new series of his photographic vision of the human comedy.  Assisted by his head cameraman David Le Mevel, he perpetuates his vigorous, satyric and poetic gesture of dead weight.

Here, in the narrow,  deleterious and suffocating space of a prison which metamorphosizes existential isolation cells (physical, psychological, or mental), he returns with a fierce, tender, virulent and despairing production of all these kinds of  traps that ensnare and incarcerate man.  He tirelessly pursues this sort of x-ray of the species.  One feels like Leblanc is a cinematic professional.  The look that he offers, to increase the violent sharpness created by the work of art,  is a stationary moment treated with a confidant virtuosity:  breathtaking lighting, polished composition and staging, expressive acting, magnificent color palette, and acute sense of atmosphere.

- Denys-Louis Colaux (Excerpt)

*20 grounds of discrimination :

Age/ physical appearance/ real or supposed affiliation to an ethnicity, nation, and race/ affiliation or non-affiliation to a religion/ state of health/ sexual orientation/ sexual identity/ pregnancy/ marital status/ handicap/surname/ sex/  union activities/genetic characteristics/ traditions and customs/ political opinions/ background/ place of residence.

(Source: défenseur des droits)

Chine : Photo PopArt HK

Publication août 2016

Nouvelle publication papier en Chine (Hong Kong) dans Photo PopArt. Une double page avec interview sur les séries "Le banc" et "Intérieurs".

The bench

In the construction of his human comedy, Pierre Leblanc culminates in the coherent conciliation of social and artistic dimensions. This balance is pretty rare to be indicated. More than a moralist, Pierre is an inspired aesthete who invents the visual pamphlet. He exhausts and sends signs of solidarity, messages of tenderness, he carries by the picture, in a brutal and incisive way, noble ideas, he does not hesitate to intersperse its visual declarations of unusual and funny bombs and on the stage of its objective, all the human theatre is played, sordid to funny, vile to poignant. The purpose here is not (only) to entice but to impact, rattle, destabilize, fluster, affect. The aim is to perforate the membrane of shifty and superficial look. Its photographs are occasions of duels, or embraces, confrontations or complicities, pictures which generate tensions, reactions, which take out the viewer of this kind of floating placidity which characterizes too often the look of the cultural tourist…

- Denys-Louis Colaux

Artworks: "Le banc"

Chine : Photonews

Publication juin 2016

Publication le 07 Juin 2016 dans "Photonews Magazine" (Hong Kong) des séries "Intérieurs" et "Le banc"

The bench

In the construction of his human comedy, Pierre Leblanc culminates in the coherent conciliation of social and artistic dimensions. This balance is pretty rare to be indicated. More than a moralist, Pierre is an inspired aesthete who invents the visual pamphlet. He exhausts and sends signs of solidarity, messages of tenderness, he carries by the picture, in a brutal and incisive way, noble ideas, he does not hesitate to intersperse its visual declarations of unusual and funny bombs and on the stage of its objective, all the human theatre is played, sordid to funny, vile to poignant.

Everything is played out, everything takes place in the great human barnum, splendour and misery. Everything, with an acuteness, a devastating efficiency, is said about the being: the monster, the fallen angel, the animal, the meat, the flesh, the cold vertebrate, the ugly, the soiled, the malicious, the puppet, the shiver, the emotional, the misfit, the overwhelming… Work also consists of uncompromising radiography of humankind.

The purpose here is not (only) to entice but to impact, rattle, destabilize, fluster, affect. The aim is to perforate the membrane of shifty and superficial look. Its photographs are occasions of duels, or embraces, confrontations or complicities, pictures which generate tensions, reactions, which take out the viewer of this kind of floating placidity which characterizes too often the look of the cultural tourist…

- Denys-Louis Colaux

 

Artworks: "Le banc"

France : Vivre l'Art Magazine

Publication juin 2016

Dans l’édification de sa comédie humaine, Pierre Leblanc culmine dans la conciliation cohérente des dimensions sociale et artistique. Cet équilibre est assez rare pour être désigné. Plus qu’un moraliste, Pierre Leblanc est un esthète inspiré qui invente le pamphlet visuel. Il éreinte et adresse des signes de solidarité, des messages de tendresse, il porte par l’image, d'une façon brutale et incisive, des idées nobles, il n’hésite pas à parsemer ses déclarations visuelles de bombes insolites et drôles et sur la scène de son objectif, tout le théâtre humain se joue, du sordide au drôle, en passant par l’ignoble ou le poignant. Tout advient dans des lieux confinés : un banc dans un petit square, une automobile ... Ces microcosmes (ces foyers, lieux ardents de l'âtre humain) sont non point des réductions du monde mais des métonymies : tout s'y joue, tout y a lieu du grand barnum humain, splendeurs et misères. Tout, avec une acuité, une efficace foudroyante, y est dit de l'être : le monstre, l'ange déchu, l'animal, la viande, la chair, le vertébré froid, l'affreux, le sale, le méchant, le guignol, le frisson, l'émouvant, le paumé, le bouleversant. L'oeuvre consiste aussi en une intransigeante radiographie de l'espèce. Elle est également exhaussée d'icônes bouleversantes, profondes, remuantes...

- Denys-Louis Colaux

 Vivre l'Art Magazine (Juin 2016)

Artworks: "Le banc"