France : "L'Oeil de la Photographie"

Publication novembre 2017

In this ten diptych-series entitled "Showroom", Pierre Leblanc brings us inside the universe of drive and basic instincts.

In a peculiar scenery of an old-fashonied hotel room, he questions human sexuality oddities. As a "Showroom" of pleasure, the pictures highlight those "woman of easy virtue" who are seen as objects of desire and "flesh pieces dedicated to satisfaction". It also questions male's sexuality, in which men can hardly focus their desire and love on one woman only : what are they actually searching for in prostitutes' company ? As a way of understanding it, we could quote one of Freud's statement about men sexual confusion : "When they love they cannot desire, and when they desire they cannot love". You can feel a world of loneliness coming out of these diptychs : first of all the loneliness of these women considered as objects of satisfaction, but also the one from the inevitable sexual encounter with another body. In these pictures, fantasies stack up against morality, the unthought part of drive is highlighted ans despite your will, you are facing your own guilty pleasures.

 - CL

Artworks: "Showroom"

Italie : Vogue Italia

Publication septembre 2017

Dans cette série intitulée « Showroom » présentée sous la forme de 10 diptyques, Pierre Leblanc nous plonge dans l’univers de la pulsion.

C’est dans un décor unique de chambre d’hôtel désuet, que Pierre s’interroge sur les bizarreries de la sexualité humaine. « Showroom » de la jouissance, il s’agit ici d’un questionnement sur ces femmes dites de « petites vertues », ces objets du désir, ces « morceaux de chair voués à la satisfaction ». C’est aussi un questionnement sur la sexualité masculine, où l’homme peine à rassembler son désir et son amour sur une même femme : que vont finalement trouver ces hommes auprès des prostituées ? Nous pourrions citer comme élément de compréhension la réflexion de Freud sur l’embrouille sexuelle de l’homme « Lorsqu’ils aiment ils ne désirent pas et lorsqu’ils désirent ils ne peuvent pas aimer ». Un univers de solitudes se dégage de ces diptyques : la solitude de ces femmes d’une part, objets de satisfactions, mais aussi, celle, irréductible de la rencontre sexuelle avec le corps de l’autre… Dans ces clichés, nous sommes face aux fantasmes qui s’opposent à la morale, la dimension acéphale de la pulsion nous apparaît et ainsi s’ouvrent malgré nous, nos questions sur nos propres modes de jouissances.

- CL


Artworks: "Showroom"

France : L'Œil de la Photographie

Publication juillet 2017


" 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.


" 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"