A working-class neighborhood in Paris, its market, trafficking, and kebab, bodies intersecting, sometimes presenting. Money flows at the rate of looks. Cigarette vendors reign beneath the metro overpass at Barbès. They are champions of observation; nothing escapes their notice. The series Princes of the Streets is part of Hahn’s work-in-progress Boyzone, a project analyzing moments in which men’s bodies choreograph their relationship to public and private space.
Bodies and looks: Hahn’s film and photography on communities and rituals goes beyond the subject’s consenting to be viewed, showing how social beings make use of the gaze we turn towards them in order to express themselves: let yourself be seen without being had. By including archival photos, Hahn creates a desynchronization that allows invisible genealogies to come forward. These young men are descendants of French heroes recruited during the colonial period. Barbès, the Cour des Miracles, takes in both the elderly and outsiders, but the wounds of the marginalized are difficult to heal—flesh scars just like memory. (Michel Poivert)
About the Author
Born 1973, Paris, France. Lives and works in Paris.
Clarisse Hahn is a director and artist. Through film, photography, and video installation, she carries out research on communities such as the bourgeois Protestant community, the Kurdish community, actors in pornographic film, the S&M community, and hospital workers.
She teaches at the École Nationale Supérieure des Arts Décoratifs de Paris. She has participated as art critic in the reviews art press, Omnibus, and Bloc-Notes, and has shown her work at the Musée d’Art Moderne de la Ville de Paris, Mamco, Geneva, Reina Sophia, Madrid, Palais de Tokyo, and Centre Georges Pompidou, Paris, and Museo de Arte Raùl Anguiano, Guadalajara, among others.
CLARISSE HAHN is nominated for The Prix De La Photo Madame Figaro Arles 2021, with support from Kadist.