How could it be otherwise?
The majority of your stories ooze homosexuality.
How could it be otherwise? It’s not that I want to hide it, or that I want to boast about it arrogantly. But it’s the least I can do to be sincere. How can you speak of photography without speaking of desire? If I mask my desire, if I deprive it of its gender, if I leave it vague, as others have done more or less cleverly, I would feel as if I were weakening my stories, or writing carelessly. It’s not even a matter of courage, (I’m not a militant) it has to do with the truth of writing. I don’t know how to say it more simply. The image is the essence of desire and if you desexualize the image, you reduce it to theory.
Guibert’s photographs, like his writings, are auto-fictions: documents of his daily life, but also self-consciously “artistic” inventions. The images — variously mundane, mysterious, and sentimental — refer to classical painting while maintaining a documentary focus.
In Hervé Guibert: How could it be otherwise?, Iceberg Projects will present a selection of Guibert’s photographs from the late 1970s to the early 1990s. The artist’s film La Pudeur ou L’Impudeur (Modesty or Immodesty), featuring newly translated transcription by Christine Pichini, will screen continuously in the gallery. Readings from Guibert’s texts, as well as other performances, will take place during the exhibition’s opening and throughout the run of the show.