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Robert Milin works on the principle that the ordinary is invisible, that it holds the key to the poetic, but that it is lost the moment we attempt to study it. And so we must let things and people go about their business, approaching them empathetically, unaffectedly, as if we aren’t even there. This is why the camera in Milin’s work is frontal and the backdrop neutral: for paradoxically this is how the camera is best forgotten. In "French Rail Ticket Checkers" the subjects are having breakfast; in "Veni, Veni, Veni" livestock breeders in France’s Quercy region call to their animals in the local patois. Here the artist settles for the bare minimum, and this is how he reveals the intensity of relationships. For Veduta/Biennale de Lyon, Milin used a residency in Lyon and neighbouring Vénissieux to create a work titled "My Name Means September". Roaming the city, he noted expressions overheard and built them into lightboxes of which seven can be seen in Lyon 8, three in Vénissieux and two at La Sucrière, and one at the Veduta forum.
Robert MILIN
Veni, Veni, Veni, 2005
Photos: Blaise Adilon
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Musée d'art contemporain
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