Point de vue, point d’écoute (Clichés 2) is a series of post- cards sent from Tunisia be- tween the 1970s and 1990s, carefully incised, with only the written and stamped side ex- hibited.

By placing the cards this way, the picturesque photo invisi- ble, the artist transforms this common object, though it’s almost obsolete today, into a surface that is both critical and poetic. The handwritten texts can evoke something emotion- al, the memory of a place, a holiday, while the cut out con- tours of what is represented but not seen can only be im- agined, like a partial vision of reality.

This then becomes a gesture denouncing what the artist calls “the imposture of the tourist”: “The imposture of the tourist interests me greatly, as the partial and absent-minded observation of reality. That’s why I focused on objects cre- ated for tourists, like the post- card (…), through which I try to recreate this imposture with gestures of subtraction, cover- ing-up and indexation.”

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