• Bhagwati

  • Auteur : François Daireaux
  • Année : 2019
  • Catégorie : ESSAY
  • Fiche Technique

  • Title : Bhagwati
  • Director : François Daireaux
  • Photography and Sound : François Daireaux
  • With the support of : Institut Français (Bourse Hors-les-murs) and La Région Bretagne (Innovation-Recherche)
  • Production : Spectre Productions

'Devki' is the owner of "Bhagwati Glass Enterprises", a glass tube factory in Firozabad that he founded in 1973. Now old and tired, he no longer visits any of the production lines himself, remaining confined in his office, where he monitors through a screen the images sent from six surveillance cameras placed in different sections of the factory and offices. These blurred and vacillating images are his only contact with the activity of his workers, who produce phenomenal quantities of glass tubes, day and night.




To decide to leave and see how things happen elsewhere: this is the choice made by the artist François Daireaux, always ready to take the pulse of the world, its heartbeats, pressures and pulsations, its cadences, arhythmia, moments of rest, its silences and noises. On the lookout for possible points of contact, collecting sounds and images (both film and photos), all preserved by the recording material he brings with him on his journeys: digital video camera, analogue still camera and recording devices. François Daireaux seeks out original sites; his travels take him where men live and work.

Far from tourist maps or any form of exoticism, for almost twenty-five years now Daireaux has embarked alone, travelling to countries he's never visited before, to record his experiences there. In the process he composes the vocabulary of his oeuvre, which can be considered as an extended space of sculpture—notably through his manner of composing his photographic images and films. He works as a gleaner, or forager, harvesting forms, situations and images in a pugnacious and solitary exercise of observation. He hollows out and sculpts the layers of the real, obsessed by gesture and the transformations it creates, in physical matter as well as in social space. In the last few years, the artist's photographic and film work has intensified, affirming a visual oeuvre in which we appreciate the contours and the investment, both in its questionning of the alienation of bodies and in its sensitized approach to the urban entropy of emerging nations.


Haining, 26’, 2015
Dui ma ?, 58’, 2015
Aires, 54', 2013
Suite, 114', 2014
Firozabad, 64', 2013
Daireaux's Dreams, 55', 2012