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Patrick Cockpit works on the photographic representation of waiting, silence and the invisible. 

A fan of straight and square images, he cultivates his schizophrenia by creating various projects

on totalitarianism and its spectacle, or more prosaically on the feminist, punk and offbeat. He works essentially as a portrait photographer for the institutional, press media, Pôle Emploi and various publishing houses. The 29 images presented here do not exist. All are true fakes. Photography is lie

and truth. In the nineteenth century, when the collodion technique first appeared, it first served as an account. Today we would speak of photojournalism. The cannonballs seized by Roger Fenton in the Crimea are the most flagrant illustration of this. Things get more complicated when the first portraits appear. Very quickly, the notion of decoration takes its importance. But what to do with the blank images, without any other historical indication than the clothes, hairstyles, attitudes of the people represented? How to identify the time, the year, the historical truth of what we are looking at? 

This is the subject of Forgotten Figures of feminist resistance at the dawn of the twentieth century. Maintaining doubt, forcing the readers to question the veracity of what is presented to him. In the age of the Internet and Photoshop, when literally everything is doubtful, where is the truth? How to distinguish it? Where is the frontier between fiction and reality?

Patrick Cockpit

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