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Uncanny, a real, unreal.


Real, yes, but something tells us that these beings are not fully human. There is a disenganged, robotic quality to them. Yet Eva Lauterlein’s subjects are real, and human – to a degree. Or rather to several degrees. Their faces and bodies are computer-aided reconstructions from photographs of real men and woman she knows, with as many as forty different photographs employed. Lauterlein might well have gone on to create freaks, but in her serie (re)creations she cleverly skirts the line between attraction and repulsion.

From Face: The New Photographic Portrait, 2006

William A.Ewing with Nathalie Herschodorfer

Thames & Hudson


First, worked images, images, clear images whose subject has been taken out from the black, from the space of the studio or of the space lost in a blur. It appears like they are simple images one is face to face with.

In this series of portraits, opening from the most restrained face to the complexity of the language of the body, one or several individuals pose in a convened serenity. We are in the idea of the representation of the human form, with this air of "deja vu", with their look of ease or unease in front of the photographer and through the lens. And yet, we feel lost.

Lost at first because a systematic, so dear to a certain contemporary photography, is broken by Eva Lauterlein : multiplicity of the format of the images, of scale, of the number of subjects on the image, multiplicity of their age, of the context they are in, of their attitudes. And yet, one doesn't want to believe that only the quality of light holds the series together and reassembles the series under the title.

So yes, as is often the case with Eva Lauterlein, one must mark a pause, in which, from being simply bothered with what goes before, the unease heighten through what it has of obscure and invisible. On this one, the lines define a man or a woman, someone whom lets himself be apprehended less the more he, or she, reveals. There, three times, it's the same child that poses in impatience. Here, the hand of a man on the shoulder of a girl evokes vaguely some bothersome and embryonic violence. Each time, an unhealthy dupery in the photograph goes to the spectator, and one is like in a show of zoological curiosities, the look in it's own will to detach itself and in the same movement in its imposibility to do so.

We are faced with discrete monsters, one again, bothered in the seemly tranquility of the role of the spectator. Finally, Vraisemblance has something of the world of our nightmares, altered, populated by beings that through the work of the artist enter our reality, and, who knows, anticipate it.

David Gagnebin-de Bons




 En quelque vingt images, l’artiste suisse livre son portrait de la ville d’Hyères. Un cheval au regard bleu et au manteau rouge, une jeune fille éthérée au bord de l’eau, une chaise d’enfant esseulée… Présages d’un fait à venir ou stigmates de ce qui a été ? Des indices se succèdent, pièces à conviction qui balisent une piste, la trame d’un fantasme : la ville, la nuit et ses chimères. Pour peindre cette dramaturgie du quotidien : le clair-obscur.

Les images ont ici leur part d’ombre. Certaines semblent se confier à d’autres et, à l’aune de ces résonances, on s’essaie à l’exercice de la reconstitution, pour reprendre le fil de l’histoire. Mais nulles n’assènent de vérité, toutes laissent entendre, sans rien affirmer. Eva Lauterlein photographe du non-dit et du faux-semblant, préserve le mystère du cliché, de son paraître et de son faire. L’image résiste, se refuse au dévoilement. Nous ne saurons rien de ce qui est réalité mise en scène ou fortuite. Une chose est sûre, nous aurons vacillé.

Raphaëlle Stopin

(extrait du catalogue du 20ème festival de la mode et de la photographie, Hyères 2005)





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