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Hôtel de Ville de Paris
Paris, until February 17, 2007

“It is not easy to catch a pedestrian, it is like a pigeon. It jumps.” Doisneau, his humour is permanent in the exhibition which the town hall of Paris devotes to him. The visitor encases the step with most popular French photographers and lets himself guide by the sound of his voice, for a hopping and merry posthumous walk. What's up in the kingdom of Doisneau? The question arises as of the entry of the exhibition of this artist from which certain images were drawn to thousands from specimens. Wink with this celebrity, a pulling signed by the artist of the famous stereotype, the Kiss of the Town hall, was offered, yesterday, with the mayor of Paris, Bertrand Delanoe, by Doisneau's daughters, Annette and Francine. “This time, we wanted to show another thing, explains Annette Doisneau. Another thing that kisses, bars and kids. Our father covered all the century. All amused it. We propose one strolls with him. A roof for him, which forever desired being accompanied in these walks. And for the occasion, we left the things which were never shown. ” These news to see as curiosities raise of what the artist called its “do-it-yourself”, of the assemblies carried out in the secrecy of the workshop which show how the man played with his images. For the House of the tenants, Doisneau takes the frontage of a stripped plaster Parisian building and y sticks photographs representing the common daily life to the place of the windows. The caretaker is on the step of the door, the waiting room of the doctor is full with the first, the lesson of music resounds with the second, the workman smokes under the roofs, beside the dressmaker who has just had a baby. Paris intimates of Doisneau way doll's house conceived in 1965 for an exhibition to the museum of decorative arts. In 1968, it exposes to the national Library the Markets of Paris, an assembly of 36 elements to tell the life of the belly of the capital. In 1978, it has fun to cut out in cubes the Bridge of arts, another subject of predilection of this fisherman of images and homage of the artist to the anonymous chalk painters. It presents same manner “cursed space” of the place of the Harmony, the famous pedestrian passage which, notes it, is “on the site where two centuries ago was the guillotine”. The pedestrians run there and the cars howl, already… Malicious Doisneau still tells that in “perfect sadist” it chose the terrace of the ministry for the Navy like observatory. The photographer with work: posted at the good place, it tallies simply without seeking the effect, leaving with others the brilliance. Its humanity and its humour will just undertake to fade on the image being done. The receipt is tested, registered with the inheritance of photography and written in the collective memory, does not say one today “to photograph in Doisneau”. The man however never was among those which give lessons. “Disobedience and curiosity are the two udders of this trade”, hears one just with the flight by visiting the exhibition. Nostalgia is not its war-horse, with due respect to those which would like to arrange it in this category. A photograph of the quays of the Seine of 1982, full of Parisian in shirt, lengthened on towels, murmurs us with the ear which it would certainly have adored to stroll in Paris beach. This walk in the universe of the photographer, more suggestive than exhaustive, must compose with the space of the Midsummer's Day room to the Town hall. It is not the best place to expose photographs. Scenography is freed from any chronology for better pointing the bulimia of the character by mixing dates and topics through 165 photographs and of the assemblies. The icons are there but exactly on the same plan as the other images. All were withdrawn for this exhibition and the numerical one makes even its appearance by the means of immense pulling. The daughters of Doisneau do not hesitate to hustle the paternal figure for better revealing the man behind the photographer.
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