10 Jul 2019
In Cover, the inversion reaches a sociological and aesthetic scope in particular: it is the moment when the visible – which must logically be exposed, admired, seen and shown from all possible angles – hides, drapes itself, and thus opposes to our eyes an end of non-reception as violent as insistent.
Displaying all the moments when the city unconsciously transforms itself into Christo’s installation, Keffer unveils at the same time the functioning of desire: he is never stronger than when he is rejected, when the gaze is simultaneously solicited, intrigued and refused. More striking still, in this series alternating objects of arts and everyday objects or landscape masked and reduced to a form of an enigma, the windows of the luxury signs, overprotected at regular intervals and weekly.
It is then the buried truth of this industry which goes back to the surface: what we retain of luxury is first of all the exhibition, the visibility, the ostentation of the materials, the brilliance, the reign of the image. , from the window to advertising. But luxury only works if, while being intensely visible, it remains so deeply out of reach. Cover documents this inversion, the moment when ostentatious consumption reveals its secret operation, this hidden-shown game, it is reverse, which is also its truth.
Basically, and more generally, what do we see? Our fears, our hidden desires, our collective unconscious? The dark side of our effects? No clear answer is imposed by a series of photos that offer both the raw objectivity of the testimony and the framing of the eye of the artist. This is the moment when the image turns around, where the photographic plate becomes a mirror and challenges us. To show a phenomenon in all its light without asserting anything, to pose a reality but to reserve its interpretation, to establish a fact without enclosing it in a concept: as many qualities of the photographic image as it is handled here, so many virtues that set the power and ambition.