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Clarisse Hahn, CRACK!, 2021, silver-digital print, 80 x 120 cm

Clarisse Hahn, Les Fils de la Plus Grande France, Tiré d'une archive de la première guerre mondiale. J'ai vu... 2eme année, N°47, 9 octobre 1915. L'Edition française illustrée. 2021, silver-digital print, 90 x 64,29 cm

Clarisse Hahn, Pas de futur(e), 2021, silver-digital print, 90 x 60 cm

Clarisse Hahn, Iftar I - Rupture du jeûne, 2021, silver-digital print, 80 x 120 cm

Clarisse Hahn, L'argent I, 2021, tirage argento-numérique, 60 x 90 cm

Clarisse Hahn, L'argent II, 2021, silver-digital print, 60 x 90 cm

Clarisse Hahn, Iftar II, 2021, silver-digital print, 80 x 120 cm

Clarisse Hahn, Complot, 2021, silver-digital print, 80 x 120 cm

Clarisse Hahn, Cercle, 2021, tirage argento-numérique, 80 x 120 cm

Clarisse Hahn, Etreinte, 2021, silver-digital print, 60 x 90 cm

Clarisse Hahn, La Reine des neiges I: Bleu-Noir-Rouge-Blanc, 2021, silver-digital print, 120 x 80 cm

Clarisse Hahn, La Reine des neiges III: Feu de bois, Sandwichs, 2021, tirage argento-numérique, 80 x 60 cm

Clarisse Hahn, LA Reine des neiges II: Sous le pont du métro aérien, 2021, silver-digital print, 60 x 80 cm

Clarisse Hahn, La Reine des neiges IV: Disparition de personne vulnérable, 2021, silver-digital print, 120 x 80 cm

Clarisse Hahn, Outrage, 2021, silver-digital print, 120 x 80 cm

Clarisse Hahn, Lines I, 2021, silver-digital print, 60 x 90 cm

Clarisse Hahn, Lines II, 2021, silver-digital print, 90 x 60 cm

Clarisse Hahn, Annaba Grill, 2021, silver-digital print, 80 x 120 cm

Clarisse Hahn, Annaba Grill II, 2021, silver-digital print, 60 x 90 cm

Clarisse Hahn, Café Royal, 2021, silver-digital print, 60 x 90 cm

Clarisse Hahn, La blessure, Tiré d'une archive de la première guerre mondiale, J'ai vu... 2eme année, N°92, 19 aout 1916. L'Edition Française illustrée. 2021, silver-digital print, 90 x 77,64 cm

Clarisse Hahn, Le prisonnier, 2021, silver-digital print, 80 x 120 cm

Clarisse Hahn, SUBUTEX, 2021, silver-digital print, 60 x 90 cm

Clarisse Hahn, SUBUTEX - Troubles, 2021, silver-digital print, 60 x 90 cm

Clarisse Hahn, SUBUTEX - Calcul et filtres, 2021, silver-digital print, 60 x 90 cm

Clarisse Hahn, SUBUTEX - Sommeil léger, 2021, silver-digital print, 60 x 90 cm

Clarisse Hahn, Du Gras, 2021, silver-digital print, 120 x 80 cm

Clarisse Hahn, SUBUTEX - Matin fragile, 2021, silver-digital print, 60 x 90 cm

Clarisse Hahn, SUBUTEX - Matin Doux, 2021, silver-digital print, 60 x 90 cm

Clarisse Hahn, Famille, 2021, silver-digital print, 60 x 90 cm

Clarisse Hahn, Brune, sans filtre, 2021, silver-digital print, 60 x 90 cm

Clarisse Hahn, Repose, 2021, silver-digital print, 60 x 90 cm

Clarisse Hahn, Ombre, 2021, silver-digital print, 100 x 150 cm

Clarisse Hahn, Printemps, 2021, silver-digital print, 100 x 150 cm

Clarisse Hahn, Spirale, 2021, silver-digital print, 100 x 150 cm

Clarisse Hahn, Grille, 2021, silver-digital print, 80 x 120 cm

Clarisse Hahn, Père et fille, 2021, silver-digital print, 80 x 120 cm

Les Princes de la Rue

CLARISSE HAHN

2021

silver-digital prints

3 editions + 1 artist proof

 

A working-class neighborhood in Paris: its market, its informal trades, its kebab shops, bodies brushing past one another and sometimes putting themselves on display. Money circulates as quickly as glances. Cigarette sellers rule beneath the elevated metro at Barbès. The men there are masters of observation – nothing escapes them. Princes de la rue is part of “Boyzone,” a long-term project in which Clarisse Hahn observes situations where men’s bodies choreograph their relationship to public space as well as to intimacy.

Bodies and gazes: Hahn’s films and photographs devoted to communities and rituals go beyond the consent of the Other to be looked at. They show how the social being can turn the gaze cast upon him into a means of expression: to make oneself visible without being taken in.

An artist rather than an ethnographer – a documentarian, since the term fits best – Clarisse Hahn rejects any egotistical stance. She effaces herself, staying as close as possible to the bodies so as to let them express their strength, their fragility, and their pain – but also their history.

Drawing on archival images, she creates a desynchronization that reveals invisible genealogies. These young men are the descendants of French heroes recruited during the colonial era. Through irony – or the cunning of History – heroes and antiheroes become one and the same here. Barbès, a court of miracles, shelters both the Elders and the Excluded. They, in turn, bear the marks of a history that struggles to heal – wounded flesh as much as wounded memory.

Many cultures around the world contain “Boyzones”: in joy, incarceration, devotion, survival, or labor, men speak the language of their anatomy. A procession of supple and brutal attitudes passes through the street. Hahn studies “men among themselves.” Her experience as a documentarian enables the construction of an invisible presence. Here, men’s gazes become the subject, their bodies eroticized. The male gaze has evaporated in the cold of morning.

It snowed in Barbès this winter; it was snowing in Algiers too.

Michel Poivert, 2021

Artwork's exhibition

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