Noli me tanger[e], 2013

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Mexico City Waltz, 2012

Mexico City Waltz is inspired by three texts – Tristessa by Jack Kerouac, Under the Volcano by Malcolm Lowry, and Voyage au pays des Tarahumaras by Antonin Artaud-, which provided Nicolas Comment with the keys to Mexico. Although he goes in search of the traces of these authors, he finally departs from his search and builds a subjective visual poem about Mexico today. There we meet three young women, “as brown as berries” (Lowry), who are the real heroines in the story. The title refers, in a ternary mode, to Mexico City Blues by Kerouac. Nicolas Comment sees in his photographic work a response to the concept of “spontaneous prose” developed by the writer: instantaneousness, accumulation, and musicality.

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La visite, 2010

La visite is a tribute to Bernard Lamarche-Vadel who died in 2000. The series mixes places (the castle La Rongère, near Vitré, where the poet, novelist and critic lived), situations and pictures of "women-animal", freely inspired by the book Sa vie, son œuvre (Gallimard, 1998).

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Est-ce l'Est? (Berliner Romanze), 2008

“Is that the East?” is a Berlin romance, a fix film, an imaged disc.
It is a musical and photographical ballad in the ex-East Berlin, haunted by the ghost of the Wall and totalitarianisms, but also by the music of David Bowie and Lou reed.

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Fading, 2006

«Carefully and thoroughly, Nicolas Comment and Anne-Lise Broyer began listening to the Czech capital, its streets away, its abandoned places, its quiet moments, almost deafening at dusk. The title Fading expresses a previously planned project by Roger Vailland but also highlights the mitigation of the unacceptable accumulation of sounds, images and gestures that invades the city. Once the background noise removed, the crowd departed, the horizon cleared of sensitive unnecessary images, it becomes possible to perceive the essence, the details that have escaped the frenzy ambient and we return like surrounded by melancholy.»

Bertrand Schmitt

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A***, 2004

«The dust of time falls in the pictures, this way their content pours out in it and their substance becomes the one of a lost paradise. We think we watch a memory while we attend to the appearance of an instant, which seeks to incite in us its own following episode: the sequel of a history of which it was separated. This movement, from we feel it, disturbs our memory, and then there is it which pursues in the impression of a déjà-vu, as mislead. Is it someone, something, a country? It’s instead, and by turns, the knowledge of their fall behind the black and white thing, which softly snows. The return path stops in front of a curtain, which cut the space, and which is also in it. “Watch the halo flesh” says a voice which seems to be from the element. There is nobody, except a shadow, of which windings halo itself exactly in a vague light. Except if the air was troubled by the very distract touch of a look, which is coming back from far away. What does we know about the back of the visible and of the water of mirrors? Some chambers are like the bed of a river: we float in it like in a current, which keeps the dreams a long time in suspension before bringing it back and washing the sleep.»

Bernard Noël

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L'Oiseleur, 2004

Realised within the context of an artist residency, for the celebration of the fortieth anniversary of the death of Jean Cocteau, those pictures give off strangeness, not “worrying” but inherent to those pictures themselves. Their content remains enigmatic, keeping the viewer in a doubt state, transmitting bits of comprehension to dip back the next picture into a vagueness form, nearby the dreaming.
For Nicolas Comment, it’s not a matter to show to his viewer photography in where the obvious fact would win: if some references are explicit (as the Welcome Hostel of Villefranche-sur-mer where Cocteau wrote Opium, or the presence of the horse head and the black angel of the film “Le Testament d’Orphée”), the photographer transports us in unspecified places, between outside and inside, between sky and sea, in where he distils evidences through some recurrent elements of the poet’s work (star; bird...). Manner, Nicolas Comment’s pictures produce ambiguous situations which offer a space to fiction and imaginary, a sign dramatic art which carry the spectator in invented spaces by the only one photographical process.

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Le point, 2003

Someone is coming. Someone is leaving. As he doesn’t let a face, it’s the world that becomes to look like. Or, at least, a certain tendency for the world to make a sign when it goes pale tenderly. The thing is rare, of course: it appears hot on a passer-by’s heels, it lights its track with love. But, those ones who are seen on this track don’t already know who is passed by this piece of wall, who has smiled when he crossed those trees and has let float his smile, who has touched this hand or watched those ruins or desired in this room.

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La desserte, 2001

«Wrecks: a blind mirror, a black handbag on a pink bedspread, a car windscreen in the twilight, a motel room, a young girl with a look brimming in a white riddle light...You just are the witness of an obscure business, in which lost knowledge loaded clouds exchange themselves. You think you travelled but you never leaved your bed. You were the toy of a distract genius that took the wrong vehicle: somebody has travelled on your place, navigated without your knowing it in the most protected roundabout of your intimacy, stool your dream, and leaved you on the other side of the sleep – among those wrecks – only evidences, now, that it had happend.»

André S. Labarthe

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